Posts Tagged ‘Singapore’

The Famous One from Lucas #1

A biblical parable tells of a wayward son who leaves home for a distant land after demanding his inheritance from his father. Squandering his riches quickly, he repentantly returns to his father’s house hoping to be hired as one of his father’s servants but find instead, his father’s unexpected kindness and forgiveness. Christine Ay Tjoe’s current site-specific show The Famous One from Lucas # I[.....]

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 –[.....]

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[.....]

Manuel Ocampo: The Painter’s Equipment

Beware of those guys who appear to paint the stuff of (mostly the Christian) religion. Often accompanying the gilded visual tales of Virgin and Child in various mediums are irresistible moral invectives, sexual innuendos and didactic spiritual laws, implicit political commentary and socio-cultural critique, which of course, make them loads of fun to look at. Yet these powerful undercurrents only emerge quite prominently if these[.....]