Marilyn Goh

From this Author

New Waves, Korea

A dominant feature of contemporary Asian art has always been the reflection of cultural and historical frameworks within which such works are produced: firmly entrenched in tradition, yet forward-looking thanks to the far-reaching changes – and homogenisation – brought about by the formidable impact of globalisation. Even though artistic production in South Korea seems to follow this trend, it is problematised by the emergence of[…..]

Thukral & Tagra: Windows of Opportunity

Windows of Opportunity (2013), Jiten Thukral’s and Sumir Tagra’s (branded as Thukral & Tagra) latest show at Art Plural gallery, gives expression to the cacophonous spectacle of hybridity that defines contemporary India, a site that they deem to be a hotbed of conflicted histories and global transactions. These issues of societal flux are explored in their oeuvre through an eclectic visual language composed of cartoonish[…..]

Geng Jianyi: The Artist Researcher

Born in 1962 of parents who were attached to the Chinese People’s Liberation Army, Geng Jianyi grew up in a country shaped by rigid, state-mandated structures that had, by the late 1960s to the early ‘70s, fallen a long way short of the idealistic socialist Chinese state that Mao Zedong had envisioned. Where solidary socialism was intended to create commitment to the system by way[…..]

Agostino Bonalumi: The Glass of Shadows

When Lucio Fontana published his Spazialismo series in the 1940s, a fundamental reiteration of this theory was that matter should be transformed into energy to invade space in a dynamic form. In essence, only the conceptually abstract offered the freedom within linear space to explore ideas about movement and time in art. Fontana’s slash series went on to demonstrate this idea, where linear slashes and[…..]

Ronald Ventura: Recyclables

Ronald Ventura’s latest suite of works, produced at the Singapore Tyler Print Institute, examines how humanity relates to the environment, and how we often leave in our wake, a trail of destruction. Recyclables is Ventura’s show of lithographs, cast paper sculptures and paper relief on canvas produced from the discarded waste of urbanity, which he has recycled into a visual mélange of apocalyptic tales drawn[…..]

Joel Morrison at Gagosian Hong Kong

Joel Morrison, The Reaganomic Youth (version 2), 2012. Stainless steel, 28 1/2 x 18 x 22 1/2 inches (72.4 x 45.7 x 57.2 cm), Ed. of 3. Photo by Erich Koyama.

In his first solo exhibition in Asia at the Gagosian gallery in Hong Kong, Joel Morrison presents a reasonably entertaining series of recent works that challenges formalist sculpture while engaging in a constant critique of art historical directions. Drawing on readily-available objects utilised in daily life, Morrison’s composite sculptures begin as disparate Duchampian readymades: weather balloons, bullets, mannequin busts and shopping carts, just to list[…..]

We Like STATIC

Static, Luxury Vandals MMXI, 2011. Five color screen print , 220 gsm Mirriboard, 46 x 46 cm. Edition: 35 (per color variant).

Long entrenched in British literary tradition, parody, pastiche and caricature have, more recently, been revived in contemporary British urban art. Street artist Banksy’s foray into social criticism of war, art world commercialism and totalitarianism (just to name a few) or Mau Mau’s sprawling colourful murals, elaborately scrawled on public surfaces are such notable instances of irreverent commentaries that satirise and caricaturise. A more domestic, less[…..]