Marilyn Goh

From this Author

Eye of the Messenger

The joy and plight of many contemporary, Western-centric cultural practices today is the recognition that artistic shouldering of the collective burden of history does not necessarily attribute any value to the work. At worst, it is unfashionable and counter-productive to contemporary discourse; at best, it provides a vague notion of plurality and diversity that benefits a particular portion of the arts patronage. On the contrary,[.....]

Lonely Furrow

Eschewing portrayals of the pastoral life, Shambhavi Singh’s canvasses are visceral, nebulous and profoundly spiritual, tending towards the cosmic and perhaps, even the anti-idyllic pastoral. Lonely Furrow, her solo exhibition at the Singapore Tyler Print Institute, re-centres our focus on the harsh existence of rural workers in her native Bihar but refrains quite remarkably, from any social commentary of the rural-urban divisions plaguing rapidly industrialising[.....]

We who saw signs

In what sort of hybridised mise-en-scene can a human-puppet, man-made flowers (or they could just be gigantic paper-clips) and a bellman’s trolleys co-exist? Finding explanations of deliberate instability in Ola Vasijeva’s Alchimie Du Verbe (2009) compositional decisions are likely to be as vexing as sorting through a storehouse populated with random artefacts that come with no cataloguing labels. We who saw signs presents works that[.....]

Idols and Icons

It is often that the photographic lens exemplifies the artistic genius behind the camera as much as the subject that it photographs. That’s not to say that this process is inapplicable to any other form of art production. But if it is only for the pictorial expression of eternal spiritual truths that justifies the existence of icons (and idols), the photography of belief systems –[.....]

Video, an Art, a History 1965 – 2010

In the self-explanatory show entitled Video, an Art, a History 1965 – 2010, the history and evolution of the video art genre are recounted through 50 video works and installations, drawn from the collections of both the Singapore Art Museum and Centre Pompidou. Having developed in tandem with the apparatus of television and the analogue and then digital video cameras, video art’s reconfiguration of the[.....]

Pure Satire by Maleonn

As Susan Sontag observed, “the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads”. Pure Satire by Maleonn at the 2902 Gallery in Singapore encapsulates this visual aesthetic, creating an open set of performative statements within a symbol-laden, dreamlike universe that amalgamates historical and contemporary trends, wherein protagonists are children with[.....]

Do-Ho Suh: New Works

A cursory look suggests that variations on the themes of individuality (as opposed to the collective social unit) and transcultural displacement dominate Do-Ho Suh’s oeuvre. Fabricated in nylon, Staircase (2003) is a gauzy blanket of red that hangs suspended from a ceiling spanning 2 floors, an ethereal, translucent replica of his living space in Chelsea, New York in which viewers can peer – rather obliquely –[.....]