Aditi Shivaramakrishnan, Author at ArtsEquator

Two Cultural Medallion recipients, sitcom stars and an arts administrator who raised Singapore’s international profile

ArtsEquator remembers the artists and cultural workers from the Singapore we lost in 2022.

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Spectrum of Nature in SIFA 2022

ArtsEquator interviews four artists whose works depict nature in different spectrums, at the upcoming Singapore International Festival of Arts 2022. Singapore International Festival of Arts 2022 is just days away, with a diverse array of programmes, including at the intersections of art and nature. ArtsEquator speaks with four participating artists, each of whose works depict

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Kristina Flour via Unsplash

Quiz: What’s Your Guilty Pleasure?

It’s 2021 – and you’re constantly being told to be your best self! There’s that pile of books waiting to be read, countless browser tabs open with must-read articles, and a list of podcasts that are supposed to make you smarter. But at the end of a long day, all you find yourself reaching for

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Charmaine Poh

Alternative Lessons for Women: Sonia Kwek and Tan Weiying on sex, desire and the erotic

By Aditi Shivaramakrishnan Adapting its title from Lessons for Women <<女诫>>, a text by the first known female Chinese historian, Ban Zhao, Alternative Lessons for Women is a double-bill of two solo works: Hymen Instinct created and performed by Sonia Kwek and What? That’s It? created and performed by Tan Weiying. Hymen Instinct subverts the

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Courtesy of artists

In a Material World: IMPART Collectors’ Show 2020 & Justice for All

By Aditi Shivaramakrishnan (1,200 words, 5-minute read) When it comes to analysing an artwork, the artist’s choice of materials can be as revelatory as other elements in suggesting what they might wish to communicate. Two forthcoming shows due to open during Singapore Art Week 2020 are good examples of how and why materials matter. Happening

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Bernie Ng

ITI’s “Extremities”: Routes for Escape and Redemption

By Aditi Shivaramakrishnan (1170 words, five minute read) As I enter the Esplanade Theatre Studio to watch Extremities, I’m already on my guard. The plot synopsis and content advisory in my programme booklet have primed me for what’s to come, and so each move I make seems a tiny, if unconscious, exercise in vigilance. I

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