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DTSTART;TZID=Asia/Shanghai:20230916T140000
DTEND;TZID=Asia/Shanghai:20230916T153000
DTSTAMP:20260412T123059
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SUMMARY:I See You | Artists & Curators in Conversation
DESCRIPTION:I See You | Artists & Curators in Conversation\nSat 16 Sep | 2pm (GMT+8) | Online on Gallery’s Facebook & YouTube channel\n\nWatch on Facebook: https://www.facebook.com/events/688035826568312\nWatch on YouTube: https://www.youtube.com/@NationalGallerySingapore\n\n—\nThe exhibition “See Me\, See You: Early Video Installation in Southeast Asia” explores the emergence of video installation art in the region during the 1980s and 1990s through the restaging and reproduction of important works by ten artists\, including Dr Baharudin Mohd Arus and Jean Marie Syjuco.\n\nIn this online conversation between the two artists as well as curators Clarissa Chikiamco and Cheng Jia Yun\, they will discuss the significance of their artistic innovations in the age of emerging technologies and the dynamic process of collaboration between the artists and curators as they worked closely to recreate their respective artworks.\n\n—\nAbout the Speakers\n\nBAHARUDIN MOHD ARUS is one of Malaysia’s pioneering media artists. Interested in motors from a young age\, Baharudin has been making robotic sculptures and kinetic artworks since 1989. He participated in the Balai Seni Visual Negara’s Young Contemporary Art Exhibition in 1969\, 1971\, 1975 and 1981. Baharudin is a professor at Universiti Malaysia Sabah and has also written several papers on fine art\, art education\, the indigenous art of Malaysia\, the art of Brunei and Islamic art history. He received his BFA and PhD from Universiti Sains Malaysia (USM)\, Malaysia and his MA from the University of Tulsa\, USA. He is currently a lecturer in the Art and Design faculty at City University Malaysia.\n\nJEAN MARIE SYJUCO is a visual artist whose practice spans painting\, performance\, sculpture\, installation and video. She is well known for performance art and the collaborative nature of her works. She won the gold medal for Sculpture in the 1980 Art Association of the Philippines Annual Art Competition for her minimal nylon string installation titled “Traps: A Spatial Approach to Mass and Insinuation”. She is also a recipient of the 1990 Cultural Center of the Philippines (CCP) Thirteen Artists Award. She is the co-founder and chief curator of ART LAB: Atelier Cesare and Jean Marie Syjuco\, a developmental art facility in Manila focused on multi-media art experimentation.\n\nCLARISSA CHIKIAMCO is a curator at National Gallery Singapore\, researching on Philippine art\, artists’ moving image practice and post-war art of Southeast Asia. Exhibitions at the Gallery she has worked on include “A Fact Has No Appearance: Art Beyond the Object”\, “Chua Mia Tee: Directing the Real” and “Nam June Paik: The Future is Now”. She is a PhD candidate in Film Studies at King’s College London.\n\nCHENG JIA YUN is a curator at National Gallery Singapore\, where she researches post-war art of Southeast Asia. Her projects include “Awakenings: Art in Society in Asia 1960s–1990s”\, “Suddenly Turning Visible: Art and Architecture in Southeast Asia 1969–1989” and “Chng Seok Tin: Drawn Through a Press”.\n\n—\nArtwork Credit: Jean Marie Syjuco. “See Me\, See You (Revenge of the Giraffe)”. 1986. Installation view of the Pinaglabanan Galleries\, 1986. Image courtesy of Pinaglabanan Galleries Ⓒ Jean Marie Syjuco
URL:https://artsequator.com/event/i-see-you-artists-curators-in-conversation/
LOCATION:Online
CATEGORIES:Workshop & Talks (Events)
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DTSTART;TZID=Asia/Shanghai:20230902T140000
DTEND;TZID=Asia/Shanghai:20230902T153000
DTSTAMP:20260412T123059
CREATED:20230822T043924Z
LAST-MODIFIED:20230822T043924Z
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SUMMARY:The Sixth Liu Kang Annual Lecture | نڬري داڬڠ | 蔚為大觀: Multicosmological Modernity in 1930s Penang
DESCRIPTION:The Sixth Liu Kang Annual Lecture | نڬري داڬڠ | 蔚為大觀: Multicosmological Modernity in 1930s Penang\nSat 2 Sep | 2pm | City Hall Wing\, Level B1\, The Ngee Ann Kongsi Auditorium | Free\, registration required: https://bit.ly/6thLKAL\n\n—\nNan Guo (南郭)\, a Penang correspondent for the Nanyang Siang Pau (《南洋商報》) daily newsletter\, published a series of articles from 1934 to 1936 that featured Chinese businesses in Penang. Amidst the aftermath of the Great Depression\, Nan Guo’s writing sought to capture the social and cultural development in the wake of a catastrophic global financial meltdown. Despite the fact that he had no training in the social sciences\, Nan Guo adopted sociological methods in his reporting. Besides reporting local news and affairs\, he surveyed empty houses\, counted bicycle shops\, observed Penang residents’ peculiar habits\, talked to Penang residents from various class backgrounds and even visited art exhibitions. Through Nan Guo’s data-rich\, yet reflexive writing\, one gets the sense that during the early 20th century\, aesthetics played a larger role in shaping one’s perception of their place in the world.\n\nIn this lecture\, Dr Simon Soon will contextualise the use of the Geographic Information System (GIS) to produce a cultural map of 1930s George Town\, Penang. He will explore Nan Guo’s articles alongside the paintings and activities of two of Penang’s modern artists—Abdullah Ariff and Yong Mun Sen. He will also discuss Penang’s modernity through theories of animism to highlight the island city’s multicosmological societies.\n\n* نڬري داڬڠ is Malay in the Jawi script for “negeri dagang” or “trade country\,” while “蔚為大觀” (wèi wéi dà guān) translates roughly to “exuberant vista”\n\n—\nAbout the Speaker\n\nDr Simon Soon completed his PhD in Art History from the University of Sydney under an Australian Postgraduate Award scholarship. His thesis “What is Left of Art?” investigates the intersection of left-leaning political art movements and modern urban formations in Indonesia\, Singapore\, Thailand and the Philippines from the 1950s to the 1970s. His reading and research interests span from comparative modernities to art historiography\, with a focus on 20th century art in Southeast Asia. He has an interest in historical GIS and the use of digital tools in the humanities. Soon is a co-editor of “Narratives of Malaysian Art\, Vol. 4”. He is also an editorial advisor to “Southeast of Now: Directions in Contemporary and Modern Art”\, a new peer review journal. He is currently the Deputy Dean of Postgraduate Studies and Senior Lecturer at the Faculty of Creative Arts\, Universiti Malaya.\n\n—\nAbout The Liu Kang Annual Lecture series\n\nThe Liu Kang Annual Lecture is a signature Gallery programme that is planned in partnership with the Liu Kang family. Each year\, the lecture presents new research that spotlights a pivotal period of Singapore’s art history\, shedding light on cultural forces and critical moments that have shaped our art.
URL:https://artsequator.com/event/the-sixth-liu-kang-annual-lecture-%d9%86%da%ac%d8%b1%d9%8a-%d8%af%d8%a7%da%ac%da%a0-%e8%94%9a%e7%82%ba%e5%a4%a7%e8%a7%80-multicosmological-modernity-in-1930s-penang/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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DTSTART;TZID=Asia/Shanghai:20230826T140000
DTEND;TZID=Asia/Shanghai:20230826T153000
DTSTAMP:20260412T123059
CREATED:20230822T044443Z
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SUMMARY:Vision\, Faith\, and A Journey in Indonesian Art: A Conversation with A.D. Pirous\, Kenneth M. George & Anissa Rahadiningtyas
DESCRIPTION:Vision\, Faith\, and A Journey in Indonesian Art: A Conversation with A.D. Pirous\, Kenneth M. George & Anissa Rahadiningtyas\nSat\, 26 Aug | 2pm (GMT+8) | Gallery’s YouTube & Facebook Channel\n\n*For viewing on Facebook: https://www.facebook.com/events/1673598806474453/\n*For viewing on YouTube: https://www.youtube.com/watch?v=t8TSASWkR-s\n\n—\nWritten by Kenneth M. George and Mamannoor in 2002\, “A.D. Pirous: Vision\, Faith\, and A Journey in Indonesian Art\, 1955-2002” is a thorough survey of Pirous’s life\, works and artistic practice\, and was born out of the long-term collaboration and friendship between Pirous and George. The book details Pirous’s stories about aspects of his life and artistic journey\, highlighting his explorations of calligraphic forms\, and his critical position in developing the practice and discourse of modern Islamic art in Indonesia.\n\nJoin us for a conversation between A.D. Pirous\, Kenneth M. George and exhibition curator Anissa Rahadiningtyas as they explore Pirous’s works in “The Neglected Dimension” while delving deeper into the process of making his prints and paintings and the stories behind them.\nThis event is supported by Serambi Pirous and CIVAS | Center for Indonesian Visual Art Studies\, Bandung Institute of Technology.\n\n—\nAbout the speakers\n\nABDUL DJALIL PIROUS graduated from the Department of Fine Arts\, Bandung Institute of Technology (ITB) (1964) and from the Rochester Institute of Technology\, Rochester NY\, United States (1969)\, where he studied printmaking and graphic design. Upon his return to Indonesia\, he pioneered graphic design education at the Fine Arts Department of ITB and founded art and design studio Decenta in 1973. Subsequently\, he served as the first Dean of the Faculty of Arts and Design ITB (1984–1990) and was an ITB Professor since 1994. He then built private gallery Serambi Pirous in 1992. He has been widely exhibited on a national and international scale. A complete description of his life and works can be read in the book “A.D. Pirous: Vision\, Faith\, and a Journey in Indonesian Art\, 1955–2002” and “Painting Islam; Charity and Ethics of Islamic Art in Indonesia”.\n\nKENNETH M. GEORGE is Professor of Anthropology Emeritus at the Australian National University\, having served previously at the University of Wisconsin-Madison\, at Harvard University\, and as Editor of the Journal of Asian Studies (2005–2008). Ken’s ethnographic and art historical research in Asia began with a decade of work on the cultural politics of ritual violence in highland Sulawesi\, Indonesia. He subsequently conducted a long-term project on contemporary Southeast Asian Islamic art in collaboration with Indonesian painter\, A. D. Pirous—a project supported by fellowships from the Aga Khan Trust for Culture\, the John Simon Guggenheim Foundation and the National Endowment for the Humanities (USA)\, among others. The fruits from that collaboration can be found in his book\, “Picturing Islam: Art and Ethics in a Muslim Lifeworld” (2010)\, in numerous articles and book chapters\, and in a recent lecture at the Musée National d’Art Moderne—Centre Pompidou and Bibliothèque Kandinsky\, Paris.\n\nANISSA RAHADININGTYAS is an art historian who earned her Ph.D. in Art History at Cornell University for her research on the position and question of Islamic religiosity\, rituals and performances in works of modern and contemporary art in Indonesia. She is currently an Assistant Curator of Islamic aesthetics in modern and contemporary Southeast Asia at National Gallery Singapore. Her research interests include comparative modernisms\, Indian Ocean studies\, postcolonial and decolonial theories\, gender and feminism\, environmentalism and Islamic studies.\n\n—\nAbout the exhibition\n\n“The Neglected Dimension” explores the period from the 1960s onward when calligraphy and abstraction became prominent modes of artistic production in Islamic art in Indonesia. This exhibition introduces four artists associated with the modernist artistic training in Bandung\, Indonesia\, a key site where experimentations with Arabic calligraphy and different forms of abstraction took place. The artists are Ahmad Sadali (1924 – 1987)\, A.D. Pirous (b. 1932)\, Haryadi Suadi (1938 – 2016)\, and Arahmaiani (b. 1961).\n\nThe exhibition will be housed in National Gallery Singapore’s Dalam Southeast Asia Gallery from 7 July to February 2024.
URL:https://artsequator.com/event/vision-faith-and-a-journey-in-indonesian-art-a-conversation-with-a-d-pirous-kenneth-m-george-anissa-rahadiningtyas/
LOCATION:Online
CATEGORIES:Workshop & Talks (Events)
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DTSTART;TZID=Asia/Shanghai:20230819T150000
DTEND;TZID=Asia/Shanghai:20230819T160000
DTSTAMP:20260412T123059
CREATED:20230803T095032Z
LAST-MODIFIED:20230803T095032Z
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SUMMARY:An Artist Talk with Chng Nai Wee
DESCRIPTION:An Artist Talk with Chng Nai Wee \nSat\, 19 Aug | 3pm | Supreme Court Wing\, Level 5\, Glass Room | Free\, registration required: https://bit.ly/ChngNaiWee \n—\nFeaturing six figures on 12 television monitors that embody six forms of crises in society—War\, Disease\, Poverty\, Famine\, Disaster and Refugee—Dr Chng Nai Wee’s work “Sin of Apathy” (1991) envelopes viewers within a field of monochromatic and coloured screens in a darkened space.\nOne of the earliest multi-channel video works made in Singapore\, “Sin of Apathy” was prompted by what Chng felt was a critical condition of Singapore society in 1990s: indifference. Created as a response to the 1991 National Sculpture Exhibition\, it also challenges the conventional notions of visual arts in Singapore at the time.\n\nIn this conversation between the artist and exhibition curator Cheng Jia Yun\, hear more about the challenges and opportunities for artists in the early days of the internet as they discuss more about “Sin of Apathy” and Chng’s long-standing engagement with technology and art. They will also share more about his website\, biotechnics.org\, which is one of the earliest web directories built for artists in Singapore\, and his early work consisting of assemblage\, video and synthetic material.\n\n—\nAbout the Artist\nChng Nai Wee (b. 1969\, Singapore)\, a practising ophthalmic surgeon\, is also an artist. Chng’s works are multidisciplinary\, often synthesising art\, technology\, and medicine\, and made with a range of mediums and approaches\, from mixed-media paintings to installations. He attended part-time classes at the Nanyang Academy of Fine Arts\, Singapore and graduated from the Royal College of Surgeons in Ireland and National University of Singapore\, and attended Yale University School of Architecture. He has received the Singapore Art Society Dr Tan Tsze Chor Art Award\, the National Art Council Young Artist Award\, and Honorable Mentions at the Phillip Morris ASEAN Art Awards.\n\n—\nAbout the Exhibition\nJoin us on a journey back in time to find out and explore the history of video installation art. This two-part series offers a fascinating look at the pivotal moments when video installation first emerged in the 1980s and 1990s\, staged and recreated at the latest “See Me\, See You: Early Video Installation of Southeast Asia” exhibition.\nThrough experimentation\, these ten Southeast Asian Artists combined installation\, performance\, audience participation together with video\, leading to a new form of art as a result of their interdisciplinary approach.\n\nIn its first installment\, featuring works by Apinan Poshyananda (Thailand)\, Baharudin Mohd Arus (Malaysia)\, Chng Nai Wee (Singapore)\, Johnny Manahan (Philippines) and Jean Marie Syjuco (Philippines).\n\nThe second part\, opening in October\, will showcase works by Heri Dono (Indonesia)\, Hasnul Saidon (Malaysia)\, Ray Langenbach (Malaysia)\, Vincent Leow (Singapore) and Krisna Murti (Indonesia).\n\nFor more details\, please visit nationalgallery.sg/SeeMeSeeYou
URL:https://artsequator.com/event/an-artist-talk-with-chng-nai-wee/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230819T110000
DTEND;TZID=Asia/Shanghai:20230819T120000
DTSTAMP:20260412T123059
CREATED:20230803T095237Z
LAST-MODIFIED:20230803T095237Z
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SUMMARY:Curator Tour | Living Pictures: Photography in Southeast Asia
DESCRIPTION:[FINAL] Curator Tour | Living Pictures: Photography in Southeast Asia \nSat 19 Aug | 11am – 12pm | Meeting Point: Singtel Special Exhibition Gallery\, Level 3\, City Hall Wing | Free\, registration required: https://bit.ly/LP_19Aug \nUnpack the curatorial narratives of “Living Pictures: Photography in Southeast Asia” and listen to behind-the-scenes stories with curators in this final curator tour of the exhibition.\nUncover the medium’s history in the region\, and how it contributed to the development of Southeast Asian visual culture through selected highlights from the exhibition. \n—\nAbout the Exhibition \nPhotographs surround us every day and everywhere. They shape the way we see the world and the way we see ourselves. Explore the changing roles of photography in Southeast Asia—from its beginnings as a tool of European exploration to the “performance” of studio portraits; from the incomplete realities of war to the rise of fine art; and finally to the memes and selfies that saturate social media today.
URL:https://artsequator.com/event/curator-tour-living-pictures-photography-in-southeast-asia-2/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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DTSTART;TZID=Asia/Shanghai:20230805T133000
DTEND;TZID=Asia/Shanghai:20230805T163000
DTSTAMP:20260412T123059
CREATED:20230804T045158Z
LAST-MODIFIED:20230804T045158Z
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SUMMARY:Proyek Bendera (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani
DESCRIPTION:“Proyek Bendera” (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani\nSat 5 Aug | 1.30 – 4.30pm | Supreme Court Wing\, UOB Southeast Asia Gallery\, Level 3\, Dalam Southeast Asia | S$5\, registration required: https://bit.ly/ProyekBendera\n\nImportant note: Participants are advised to prepare for approximately 45 minutes of walking and carrying of flags\, which will include stair climbing\, and to dress in comfortable attire.\n\n—\nArtist Arahmaiani is widely known for her performance and installation works that address social\, political\, religious and environmental issues. Beginning in Yogyakarta in 2006\, “Proyek Bendera” (Flag Project) is a series of nomadic\, community-based and collaborative performances initiated by Arahmaiani which incorporate colourful flags with Jawi words inscribed onto them. The words on the flags reflect ideas that originate from diverse societies and cultures which draw attention to the impermanence of the physical world as well as the importance of having a sense of belonging and love\, as well as local knowledge and wisdom.\n\nIn many iterations of “Proyek Bendera”\, Arahmaiani worked closely with local communities to discuss ideas and visions based on particular problems that they face\, and helped to inscribe these concepts onto the flags used for their collaborative performances. They demonstrate her commitment to engage in transcultural and interreligious dialogues that often intersect with environmental concerns.\n\nThe exhibition “The Neglected Dimension” explores Arahmaiani’s practice alongside other artists from Indonesia who have reimagined the potentialities of Arabic calligraphic writing and expressions of spirituality.\n\nJoin us for an exciting programme as the artist shares more about “Proyek Bendera” and her work “Crossing Point” in the exhibition\, followed by a workshop. The workshop will culminate in a collaborative performance using the artist’s flags.\n\n—\nAbout the Artist\n\nArahmaiani is globally known for her performance and installation works that boldly address social\, political\, religious\, and environmental issues. Born in 1961 in Bandung\, Indonesia\, in the 1980s she established herself as a pioneer in the field of performance art in Southeast Asia. Her work has dealt with issues that include contemporary politics\, violence\, critique of capital\, the female body\, and in recent years\, her own identity—although she identifies as Muslim\, she also mediates between Islamic\, Hindu\, Buddhist\, and animist beliefs.\n\nShe often uses her public presence to raise awareness about violence in general\, particularly violence or discrimination against women in Indonesia’s Islamic society. Since the September 11 attacks\, she has combined her critical attitude towards Islam with a fight against its general stigmatisation. She has engaged with several communities in Yogyakarta and different parts of the world\, including Pesantren Amumarta\, one of the oldest Islamic boarding schools in Yogyakarta (since 2006) and with Tibetan monks on the Tibetan Plateau dealing with environmental issues (since 2010). Arahmaiani has been teaching in the Department of Southeast Asian Studies at the University of Passau in Germany since 2012.\n\n—\nAbout Dalam Southeast Asia\n\nDalam Southeast Asia is a project space located within the UOB Southeast Asia Gallery. Projects presented here ask critical questions and explore lesser-known narratives in Southeast Asian art\, while rethinking what a collections-based display is\, and what it may seek to achieve.\n\n—\nAbout the exhibition\n\n“The Neglected Dimension” explores the period from the 1960s onward when calligraphy and abstraction became prominent modes of artistic production in Islamic art in Indonesia. This exhibition introduces four artists associated with the modernist artistic training in Bandung\, Indonesia\, a key site where experimentations with Arabic calligraphy and different forms of abstraction took place. The artists are Ahmad Sadali (1924 – 1987)\, A.D. Pirous (b. 1932)\, Haryadi Suadi (1938 – 2016)\, and Arahmaiani (b. 1961).\n\nThe exhibition will be housed in National Gallery Singapore’s Dalam Southeast Asia Gallery from 7 July to February 2024.
URL:https://artsequator.com/event/proyek-bendera-flag-project-artist-talk-and-participatory-workshop-by-arahmaiani-3/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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END:VEVENT
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DTSTART;TZID=Asia/Shanghai:20230805T133000
DTEND;TZID=Asia/Shanghai:20230805T163000
DTSTAMP:20260412T123059
CREATED:20230719T053619Z
LAST-MODIFIED:20230719T053619Z
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SUMMARY:Proyek Bendera (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani
DESCRIPTION:“Proyek Bendera” (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani\nSat 5 Aug | 1.30 – 4.30pm | Supreme Court Wing\, UOB Southeast Asia Gallery\, Level 3\, Dalam Southeast Asia | S$5\, registration required: https://bit.ly/ProyekBendera\n\nImportant note: Participants are advised to prepare for approximately 45 minutes of walking and carrying of flags\, which will include stair climbing\, and to dress in comfortable attire.\n\n—\nArtist Arahmaiani is widely known for her performance and installation works that address social\, political\, religious and environmental issues. Beginning in Yogyakarta in 2006\, “Proyek Bendera” (Flag Project) is a series of nomadic\, community-based and collaborative performances initiated by Arahmaiani which incorporate colourful flags with Jawi words inscribed onto them. The words on the flags reflect ideas that originate from diverse societies and cultures which draw attention to the impermanence of the physical world as well as the importance of having a sense of belonging and love\, as well as local knowledge and wisdom.\n\nIn many iterations of “Proyek Bendera”\, Arahmaiani worked closely with local communities to discuss ideas and visions based on particular problems that they face\, and helped to inscribe these concepts onto the flags used for their collaborative performances. They demonstrate her commitment to engage in transcultural and interreligious dialogues that often intersect with environmental concerns.\n\nThe exhibition “The Neglected Dimension” explores Arahmaiani’s practice alongside other artists from Indonesia who have reimagined the potentialities of Arabic calligraphic writing and expressions of spirituality.\n\nJoin us for an exciting programme as the artist shares more about “Proyek Bendera” and her work “Crossing Point” in the exhibition\, followed by a workshop. The workshop will culminate in a collaborative performance using the artist’s flags.\n\n—\nAbout the Artist\n\nArahmaiani is globally known for her performance and installation works that boldly address social\, political\, religious\, and environmental issues. Born in 1961 in Bandung\, Indonesia\, in the 1980s she established herself as a pioneer in the field of performance art in Southeast Asia. Her work has dealt with issues that include contemporary politics\, violence\, critique of capital\, the female body\, and in recent years\, her own identity—although she identifies as Muslim\, she also mediates between Islamic\, Hindu\, Buddhist\, and animist beliefs.\n\nShe often uses her public presence to raise awareness about violence in general\, particularly violence or discrimination against women in Indonesia’s Islamic society. Since the September 11 attacks\, she has combined her critical attitude towards Islam with a fight against its general stigmatisation. She has engaged with several communities in Yogyakarta and different parts of the world\, including Pesantren Amumarta\, one of the oldest Islamic boarding schools in Yogyakarta (since 2006) and with Tibetan monks on the Tibetan Plateau dealing with environmental issues (since 2010). Arahmaiani has been teaching in the Department of Southeast Asian Studies at the University of Passau in Germany since 2012.\n\n—\nAbout Dalam Southeast Asia\n\nDalam Southeast Asia is a project space located within the UOB Southeast Asia Gallery. Projects presented here ask critical questions and explore lesser-known narratives in Southeast Asian art\, while rethinking what a collections-based display is\, and what it may seek to achieve.\n\n—\nAbout the exhibition\n\n“The Neglected Dimension” explores the period from the 1960s onward when calligraphy and abstraction became prominent modes of artistic production in Islamic art in Indonesia. This exhibition introduces four artists associated with the modernist artistic training in Bandung\, Indonesia\, a key site where experimentations with Arabic calligraphy and different forms of abstraction took place. The artists are Ahmad Sadali (1924 – 1987)\, A.D. Pirous (b. 1932)\, Haryadi Suadi (1938 – 2016)\, and Arahmaiani (b. 1961).\n\nThe exhibition will be housed in National Gallery Singapore’s Dalam Southeast Asia Gallery from 7 July to February 2024.
URL:https://artsequator.com/event/proyek-bendera-flag-project-artist-talk-and-participatory-workshop-by-arahmaiani-2/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
GEO:1.2897045;103.8512862
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230805T133000
DTEND;TZID=Asia/Shanghai:20230805T163000
DTSTAMP:20260412T123059
CREATED:20230719T042216Z
LAST-MODIFIED:20230719T042216Z
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SUMMARY:Proyek Bendera (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani
DESCRIPTION:“Proyek Bendera” (Flag Project): Artist Talk and Participatory Workshop by Arahmaiani\nSat 5 Aug | 1.30 – 4.30pm | Supreme Court Wing\, UOB Southeast Asia Gallery\, Level 3\, Dalam Southeast Asia | S$5\, registration required: https://bit.ly/ProyekBendera\n\nImportant note: Participants are advised to prepare for approximately 45 minutes of walking and carrying of flags\, which will include stair climbing\, and to dress in comfortable attire.\n\n—\nArtist Arahmaiani is widely known for her performance and installation works that address social\, political\, religious and environmental issues. Beginning in Yogyakarta in 2006\, “Proyek Bendera” (Flag Project) is a series of nomadic\, community-based and collaborative performances initiated by Arahmaiani which incorporate colourful flags with Jawi words inscribed onto them. The words on the flags reflect ideas that originate from diverse societies and cultures which draw attention to the impermanence of the physical world as well as the importance of having a sense of belonging and love\, as well as local knowledge and wisdom.\n\nIn many iterations of “Proyek Bendera”\, Arahmaiani worked closely with local communities to discuss ideas and visions based on particular problems that they face\, and helped to inscribe these concepts onto the flags used for their collaborative performances. They demonstrate her commitment to engage in transcultural and interreligious dialogues that often intersect with environmental concerns.\n\nThe exhibition “The Neglected Dimension” explores Arahmaiani’s practice alongside other artists from Indonesia who have reimagined the potentialities of Arabic calligraphic writing and expressions of spirituality.\n\nJoin us for an exciting programme as the artist shares more about “Proyek Bendera” and her work “Crossing Point” in the exhibition\, followed by a workshop. The workshop will culminate in a collaborative performance using the artist’s flags.\n\n—\nAbout the Artist\n\nArahmaiani is globally known for her performance and installation works that boldly address social\, political\, religious\, and environmental issues. Born in 1961 in Bandung\, Indonesia\, in the 1980s she established herself as a pioneer in the field of performance art in Southeast Asia. Her work has dealt with issues that include contemporary politics\, violence\, critique of capital\, the female body\, and in recent years\, her own identity—although she identifies as Muslim\, she also mediates between Islamic\, Hindu\, Buddhist\, and animist beliefs.\n\nShe often uses her public presence to raise awareness about violence in general\, particularly violence or discrimination against women in Indonesia’s Islamic society. Since the September 11 attacks\, she has combined her critical attitude towards Islam with a fight against its general stigmatisation. She has engaged with several communities in Yogyakarta and different parts of the world\, including Pesantren Amumarta\, one of the oldest Islamic boarding schools in Yogyakarta (since 2006) and with Tibetan monks on the Tibetan Plateau dealing with environmental issues (since 2010). Arahmaiani has been teaching in the Department of Southeast Asian Studies at the University of Passau in Germany since 2012.\n\n—\nAbout Dalam Southeast Asia\n\nDalam Southeast Asia is a project space located within the UOB Southeast Asia Gallery. Projects presented here ask critical questions and explore lesser-known narratives in Southeast Asian art\, while rethinking what a collections-based display is\, and what it may seek to achieve.\n\n—\nAbout the exhibition\n\n“The Neglected Dimension” explores the period from the 1960s onward when calligraphy and abstraction became prominent modes of artistic production in Islamic art in Indonesia. This exhibition introduces four artists associated with the modernist artistic training in Bandung\, Indonesia\, a key site where experimentations with Arabic calligraphy and different forms of abstraction took place. The artists are Ahmad Sadali (1924 – 1987)\, A.D. Pirous (b. 1932)\, Haryadi Suadi (1938 – 2016)\, and Arahmaiani (b. 1961).\n\nThe exhibition will be housed in National Gallery Singapore’s Dalam Southeast Asia Gallery from 7 July to February 2024.
URL:https://artsequator.com/event/proyek-bendera-flag-project-artist-talk-and-participatory-workshop-by-arahmaiani/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230716T150000
DTEND;TZID=Asia/Shanghai:20230716T160000
DTSTAMP:20260412T123059
CREATED:20230615T033105Z
LAST-MODIFIED:20230710T154321Z
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SUMMARY:Mandarin Curator Tour | Liu Kuo-sung: Experimentation as Method
DESCRIPTION:Sunday 16 July 2023 | 3 pm – 4 pm | Meeting point: National Gallery Singapore\, City Hall Wing\, Level 4\, Level 4 Gallery\n\n*This tour will be conducted in Mandarin.\nJoin our curator and delve into the curatorial narratives of Liu Kuo-sung: Experimentation as Method.\n*本次导览语言为华语。\n欢迎参加本次华语导览，了解《刘国松：实验悟道》的策展理念。
URL:https://artsequator.com/event/mandarin-curator-tour-liu-kuo-sung-experimentation-as-method/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230618T150000
DTEND;TZID=Asia/Shanghai:20230618T163000
DTSTAMP:20260412T123059
CREATED:20230530T013823Z
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SUMMARY:Thweep Rittinaphakorn on "Unseen Burma: Early Photography 1862–1962"
DESCRIPTION:Sun 18 Jun | 3.00pm | National Gallery Singapore\, Supreme Court Wing\, Level 5\, Glass Room \n \n“Unseen Burma: Early Photography 1862–1962” presents a curated set of rare images from his personal collection that brings readers through different facets of Burmese culture and heritage. Rittinaphakorn uses 1962—the year of the Burmese coup d’etat which overthrew the civilian government under prime minister U Nu—as the starting point and looks back to the colonial era in the late 1800s. In this talk by the author himself\, Rittinaphakorn will share the research process behind his book and highlight selected images\, including those of King Thibaw and Queen Suphyalat\, Burma’s last royal couple. This will be followed by a conversation between the author and Peter Lee where they will share more about their individual collections and collecting practices.\n\n—\nAbout the Speakers \nThweep Rittinaphakorn (AKE) is an independent scholar whose work focuses mainly on textiles and arts history of mainland Southeast Asia. He is a textiles curator of the Siam Society’s collection and a regular speaker for the Siam Society\, Thai Textiles Society and the Bangkok National Museum Volunteer group. His research on Shan elites’ costumes and photographs and Burmese tapestry silk known as Luntaya Acheik was presented at the annual conference of the Association of Asian Studies in 2014 and 2016. \n\nHe also spoke at the 13th International Burma Studies Conference of Northern Illinois University Burma Studies Center in 2018\, the 7th and 8th ASEAN Traditional Textiles Symposium in 2019 and 2022\, and at the Irrawaddy Literary Festival\, Mandalay in 2019. His research articles on these subjects were published in Textiles Asia Journal as well as Arts of Asia magazine. He recently launched his book\, “Unseen Burma: Early Photography 1862–1962”\, a compendium of old photographs accompanied with well-researched information.\n\n\nPeter Lee is an independent researcher\, and the Honorary Curator of the NUS Baba House – a historical house museum managed by the National University of Singapore. He has produced “Junk to Jewels – The Things that Peranakans Value” (2008)\, co-curated “Sarong Kebaya” (2011) and later published a book on the subject which was shortlisted for the Singapore History Prize (2018) and “Singapore\, Sarong Kebaya and Style” (2016). He was a guest curator of “Port Cities: Multicultural Emporiums of Asia\, 1500-1900” (2016) and “Amek Gambar: Peranakans and Photography” (2018-2019).\n\nHe also co-authored “The Straits Chinese House” (1998 and 2006) and hosted “The Mark of Empire” (2020). The exhibition “Inherited and Salvaged: Family Portraits” (2013) from the NUS Museum Straits Chinese Collection comprised largely of portrait paintings he had assembled. He contributed a chapter to the new iteration of the Cambridge History of Southeast Asia and is preparing for two exhibitions in Singapore for 2024 and 2026.
URL:https://artsequator.com/event/thweep-rittinaphakorn-on-unseen-burma-early-photography-1862-1962/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230617T100000
DTEND;TZID=Asia/Shanghai:20230709T190000
DTSTAMP:20260412T123059
CREATED:20230608T073157Z
LAST-MODIFIED:20230608T073157Z
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SUMMARY:National Gallery Singapore Gallery Wellness Festival 2023: Art Connects
DESCRIPTION:The Gallery Wellness Festival is back from 17 June to 9 July 2023 with a new theme—”Art Connects”. This year join us for more than 20 unique art-inspired wellness experiences that engage our five senses and help us connect deeply with ourselves as well as the people around us. Visit the Gallery and take part in a range of activities where art meets wellness! \nTicketing and registration are required for select programmes. For more information\, visit nationalgallery.sg/gwf2023.
URL:https://artsequator.com/event/national-gallery-singapore-gallery-wellness-festival-2023-art-connects/
LOCATION:National Gallery Singapore\, City Hall Wing\, Level B1\, The Spine Hall\, National Gallery Singapore\, City Hall Wing\, Level B1\, The Spine Hall\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Children/Family (Events),Festival (Events),Visual Arts (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230611T143000
DTEND;TZID=Asia/Shanghai:20230611T163000
DTSTAMP:20260412T123059
CREATED:20230530T012918Z
LAST-MODIFIED:20230530T074306Z
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SUMMARY:Mandarin Reading Group | Liu Kuo-sung "On Abstract Paintings"
DESCRIPTION:Sunday 11 June 2023 | 2.30pm – 4.30pm |  National Gallery Singapore\, Supreme Court Wing\, Level 5\, Glass Room\n\n*This reading group will be conducted in Mandarin.\n*The English reading group will be held between September and October.\n\n“The occurrence of an abstract concept is not foreign but has a deep root in our aesthetics …… It is not that Chinese artists don’t have the urge to express their abstract thoughts\, but the urge was expressed in another artistic form – calligraphy\, which enables them to vent emotionally.”\n – From Liu Kuo-sung’s On Abstract Paintings (1960)\n\nJoin this reading group and delve into ink master Liu Kuo-sung’s written text On Abstract Paintings (1960) as he unpacks modern abstract art in relation to Chinese aesthetic thought. Together\, we will discuss and meditate on the visual sensation and perception of his abstract ink paintings.\n\nThis reading group is led by Curatorial Assistant Tan Teen Zhen.\nRecommended age: 16 years and above.\n\n—\n*本次读书会将以华语进行。\n*英文读书会将在九月和十月之间举办。\n\n“抽象观念的发生并非舶来，在我国艺术思想由来已早……中国画家并非没有表现抽象意念的冲动，只是把这种情感冲动借另一种特有的艺术形式——书法——表现出来，在感情的宣泄上寻到了出路。”\n– 摘自刘国松1960年撰写的《论抽象绘画》\n\n本次读书会将品读水墨大师刘国松1960年发表的文章《论抽象绘画》，探讨他如何从东方艺术思想下解读西方现代艺术中的抽象主义。通过细品刘大师的水墨实验作品，了解其创作中的视觉感受和感知。\n\n本次读书会由策展研究助理陈庭真导读。\n推荐参与年龄：16岁以上
URL:https://artsequator.com/event/mandarin-reading-group-liu-kuo-sung-on-abstract-paintings-2/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230611T143000
DTEND;TZID=Asia/Shanghai:20230611T163000
DTSTAMP:20260412T123059
CREATED:20230517T075202Z
LAST-MODIFIED:20230517T075202Z
UID:90433-1686493800-1686501000@artsequator.com
SUMMARY:Mandarin Reading Group | Liu Kuo-sung "On Abstract Paintings"
DESCRIPTION:Join this reading group and delve into Ink Master Liu Kuo-sung’s written text “On Abstract Paintings” (1960) as he unpacks modern abstract art in relation to Chinese aesthetic thought. Together\, we will discuss and meditate on the visual sensation and perception of his abstract ink paintings. This reading group is led by Curatorial Assistant Tan Teen Zhen.\n\nRecommended age: 16 years and above.\n*This reading group will be conducted in Mandarin.\n*The English reading group will be held between September and October.\nSun 11 June 2023 | 2.30pm – 4.30pm | Supreme Court Wing\, Level 5\, Glass Room |\nFree\, registration required: https://bit.ly/LKS_MandarinRG
URL:https://artsequator.com/event/mandarin-reading-group-liu-kuo-sung-on-abstract-paintings/
LOCATION:National Gallery Singapore\, Supreme Court Wing\, Level 5\, Glass Room\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230610T130000
DTEND;TZID=Asia/Shanghai:20230610T140000
DTSTAMP:20260412T123059
CREATED:20230530T013538Z
LAST-MODIFIED:20230530T015047Z
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SUMMARY:Curator Tour | See Me\, See You: Early Video Installation in Southeast Asia
DESCRIPTION:Sat 10 Jun | 1pm – 2pm | Meeting Point: The Ngee Ann Kongsi Concourse Gallery\, Level B1\, City Hall Wing\, National Gallery Singapore \n\nBy staging and recreating seminal works by ten artists\, “See Me\, See You: Early Video Installation of Southeast Asia” locates the moment when the form first emerged in the region in the 1980s and 1990s. Discover the behind-the-scenes stories of the exhibition and its curatorial narratives with exhibition curators Cheng Jia Yun and Clarissa Chikiamco.
URL:https://artsequator.com/event/curator-tour-see-me-see-you-early-video-installation-in-southeast-asia/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230610T110000
DTEND;TZID=Asia/Shanghai:20230610T120000
DTSTAMP:20260412T123059
CREATED:20230530T013305Z
LAST-MODIFIED:20230530T015348Z
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SUMMARY:Curator Tour | Living Pictures: Photography in Southeast Asia
DESCRIPTION:Sat 10 Jun | 11am – 12pm | Meeting Point: Singtel Special Exhibition Gallery\, Level 3\, City Hall Wing \n\nUnpack the curatorial narratives of “Living Pictures: Photography in Southeast Asia” and listen to behind-the-scenes stories with the exhibition’s curators. Uncover the medium’s history in the region\, and how it contributed to the development of Southeast Asian visual culture through selected highlights from the exhibition.\n\nKindly note that this programme will take place in the exhibition space. Participants are reminded to book their Gallery Passes in advance.
URL:https://artsequator.com/event/curator-tour-living-pictures-photography-in-southeast-asia/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230528T143000
DTEND;TZID=Asia/Shanghai:20230528T153000
DTSTAMP:20260412T123059
CREATED:20230517T080838Z
LAST-MODIFIED:20230517T081024Z
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SUMMARY:Gallery Keynote | Kaywin Feldman on Building a National Collection in a Changing Nation
DESCRIPTION:Gallery Keynote is a series that invites the world’s visionaries\, thinkers and industry and opinion leaders to consider issues fundamentally relating to the future of museums and their role in culture and society.\n\nKaywin Feldman (Director\, The National Gallery of Art in Washington\, D.C.) leads an institution of intriguing paradox: The National Gallery of Art in Washington\, D.C. was founded in 1941 by millionaire Andrew Mellon to educate a monolithic populace and to bestow contemporary ideas of good taste. Mellon’s offering was in fact a grand populist gesture\, a true gift that continues to benefit his nation to this day. Yet as societies shift and change\, what is the unique but ever-evolving role of a national art museum as it navigates the challenges and opportunities of a dynamic and expanding global audience? What does it mean to be and to become a nation’s art museum during a time of immense global volatility and complexity? Kaywin Feldman shares her insights in a lecture\, which is followed by a conversation with Eugene Tan (Director\, National Gallery Singapore and Singapore Art Museum).\n\n\nThis programme is supported by The Culture Academy. \n\nSun 28 May | 2.30pm | The Ngee Ann Kongsi Auditorium\, City Hall Wing\, Level B1\, National Gallery Singapore |\nFree\, registration required: https://bit.ly/GalleryKeynote_2023
URL:https://artsequator.com/event/gallery-keynote-kaywin-feldman-on-building-a-national-collection-in-a-changing-nation/
LOCATION:The Ngee Ann Kongsi Auditorium\, City Hall Wing\, Level B1\, National Gallery Singapore\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230521T140000
DTEND;TZID=Asia/Shanghai:20230521T153000
DTSTAMP:20260412T123059
CREATED:20230510T031421Z
LAST-MODIFIED:20230510T031421Z
UID:89952-1684677600-1684683000@artsequator.com
SUMMARY:Images on the Run | Through the Lens of Wawi Navarroza & Miti Ruangkritya
DESCRIPTION:The early history of photography in Southeast Asia is largely defined by an ethnographic approach that attempted to “fix” the colonised body. In these images\, the subject often remained rooted in space and in (developmental) time\, while the photographer was highly itinerant. But what happens when the itinerant photographer is also the subject\, or when the photographer turns their attention towards a subject matter that is in a highly agitated state of flux? This panel considers the works of artists Wawi Navarroza and Miti Ruangkritya against how photos are created\, manipulated and circulated today via social media.\n\nThis panel discussion is moderated by Kenneth Tay (Assistant Curator\, Singapore Art Museum)\, and organised in conjunction with the Gallery’s special exhibition “Living Pictures: Photography in Southeast Asian Art”.\n\n—\nAbout the Speakers\n\nMITI RUANGKRITYA is a visual artist whose photography practice incorporates video\, text\, and publishing in examining the notion of the City. Encompassing topics ranging political upheaval\, ecological change\, dislocation\, and economic inequalities\, his oeuvre chronicles personal responses to his everyday observations while communicating the urban urgencies of contemporary living. His utilisation of media beyond traditional digital and film photography elucidates the nature of image generation\, presentation\, and consumption in a world increasingly defined by the visual experience. He is the recipient of numerous awards and commendations\, and his art practice and publications are represented in public and private collections and libraries worldwide. He lives and works in Bangkok\, Thailand.\n\nWAWI NAVARROZA is a Filipina contemporary artist with an international art practice known for her works in photography. Her works navigate self and surrounding as seen in her self-portraits\, landscapes and installations. She is informed by tropicality within the dynamics of post-colonial dialogue\, globalization\, and the artist as a transnational agent. As a female artist\, Southeast Asian and Filipino\, her works transmute lived experience to the symbolic using material and studio techniques; creating images that explore the hybridity of identity\, photography and place. Her works are surveyed in books “Photography Today” (Phaidon)\, “Contemporary Photography in Asia” (Prestel) and is currently nominated for the Leica Oskar Barnack Award 2023. Navarroza is also a speaker on art and visual culture\, most recent at UNESCO Dhaka and at the Atatürk Kültür Merkezi\, Istanbul. Navarroza was born and raised in Manila\, has lived in Spain and is currently based between Manila and Istanbul.\n\nKENNETH TAY is Assistant Curator at Singapore Art Museum. He writes on media histories\, global infrastructures and logistics\, and is the author of The Sea is All Highway (Temporary Press\, 2019). His curatorial project\, FLAT.SPACES (2018)\, examines the infrastructural critique in the work of Singaporean net-art collective tsunamii.net (2001‒2005). Presently\, he is working on a curatorial project that looks into postwar Singapore’s relationship to oil and its global networks. He holds a MA in Media Studies from The New School.\n\n—\nAbout “Living Pictures: Photography in Southeast Asian Art”\n\nPhotographs surround us every day and everywhere. They shape the way we see the world and the way we see ourselves. Explore the changing roles of photography in Southeast Asia—from its beginnings as a tool of European exploration to the “performance” of studio portraits; from the incomplete realities of war to the rise of fine art; and finally to the memes and selfies that saturate social media today.\n\nClick here to find out more about the exhibition and its upcoming programmes: https://www.nationalgallery.sg/livingpictures
URL:https://artsequator.com/event/images-on-the-run-through-the-lens-of-wawi-navarroza-miti-ruangkritya/
LOCATION:National Gallery Singapore\, City Hall Wing\, Level 2\, Singapore Courtyard\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Visual Arts (Events)
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GEO:1.289704;103.851285
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230507T140000
DTEND;TZID=Asia/Shanghai:20230507T153000
DTSTAMP:20260412T123059
CREATED:20230427T025834Z
LAST-MODIFIED:20230510T030345Z
UID:89947-1683468000-1683473400@artsequator.com
SUMMARY:I See You | Artists and Curators in Conversation
DESCRIPTION:The exhibition “See Me\, See You: Early Video Installation of Southeast Asia” explores the emergence of video installation art in the region during the 1980s and 1990s through the restaging and reproduction of significant works by ten artists.\n\nJoin us for a discussion between artists Dr Baharudin Mohd Arus and Jean Marie Syjuco\, and exhibition curators Clarissa Chikiamco and Cheng Jia Yun\, where they will delve into curatorial narratives and the dynamic process of collaboration between the artists and curators in the exhibition.\n\n—\nAbout the Speakers\n\nBAHARUDIN MOHD ARUS is one of Malaysia’s pioneering media artists. Interested in motors from a young age\, Baharudin has been making robotic sculptures and kinetic artworks since 1989. He participated in the Balai Seni Visual Negara’s Young Contemporary Art Exhibition in 1969\, 1971\, 1975 and 1981. Baharudin is a professor at Universiti Malaysia Sabah and has also written several papers on fine art\, art education\, the indigenous art of Malaysia\, the art of Brunei and Islamic art history. He received his BFA and PhD from Universiti Sains Malaysia (USM)\, Malaysia and his MA from the University of Tulsa\, USA. He is currently a lecturer in the Art and Design faculty at City University Malaysia.\n\nJEAN MARIE SYJUCO is a visual artist whose practice spans painting\, performance\, sculpture\, installation and video. She is well known for performance art and the collaborative nature of her works. She won the gold medal for Sculpture in the 1980 Art Association of the Philippines Annual Art Competition for her minimal nylon string installation titled Traps: A Spatial Approach to Mass and Insinuation. She is also a recipient of the 1990 Cultural Center of the Philippines (CCP) Thirteen Artists Award. She is the co-founder and chief curator of ART LAB: Atelier Cesare and Jean Marie Syjuco\, a developmental art facility in Manila focused on multi-media art experimentation.\n\nCLARISSA CHIKIAMCO is a curator at National Gallery Singapore\, researching on Philippine art\, artists’ moving image practice and post-war art of Southeast Asia. Exhibitions at the Gallery she has worked on include “A Fact Has No Appearance: Art Beyond the Object”\, “Chua Mia Tee: Directing the Real” and “Nam June Paik: The Future is Now”. She is a PhD candidate in Film Studies at King’s College London.\n\nCHENG JIA YUN is a curator at National Gallery Singapore\, where she researches post-war art of Southeast Asia. Her projects include “Awakenings: Art in Society in Asia 1960s–1990s”\, “Suddenly Turning Visible: Art and Architecture in Southeast Asia 1969–1989” and “Chng Seok Tin: Drawn Through a Press”.\n\n—\nAbout “See Me\, See You: Early Video Installation of Southeast Asia”\nJoin us on a journey back in time to find out and explore the history of video installation art. This two-part series offers a fascinating look at the pivotal moments when video installation first emerged in the 1980s and 1990s\, staged and recreated at the latest “See Me\, See You: Early Video Installation of Southeast Asia” exhibition.\n\nThrough experimentation\, these ten Southeast Asian Artists combined installation\, performance\, audience participation together with video\, leading to a new form of art as a result of their interdisciplinary approach.\n\nFor more details and upcoming programmes\, please visit nationalgallery.sg/SeeMeSeeYou.
URL:https://artsequator.com/event/i-see-you-artists-and-curators-in-conversation/
LOCATION:National Gallery Singapore\, City Hall Wing\, Level B1\, The Ngee Ann Kongsi Auditorium\, 1 St Andrew’s Road\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230506T130000
DTEND;TZID=Asia/Shanghai:20230506T163000
DTSTAMP:20260412T123059
CREATED:20230427T030539Z
LAST-MODIFIED:20230510T030832Z
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SUMMARY:The Modern In Southeast Asian Art: A Reader | Publication Launch & Symposium
DESCRIPTION:This symposium will consider the writing of art in Southeast Asia within and across national boundaries in the region. Speakers will respond to the development of the landmark publication “The Modern in Southeast Asian Art: A Reader”\, touching on issues of modernism and modernity\, regionality\, vernacular expression and post-coloniality.\n\nThey will discuss the locus and languages of the modern in the region and consider how these writings have been circulated\, translated\, distilled\, interpreted and re-presented. The symposium will also highlight the close collaboration between Southeast Asian institutions\, agencies and individuals which has resulted in this research publication.\n\n*Note: Please note that the location of the event has changed to the Supreme Court Terrace.\n\n—\nThe symposium includes two panel discussions:\n\n“Debates and Polemics in Southeast Asian art writing”\nOne of the key dynamics to emerge from the Reader is the lively back-and-forth of textual polemics on art. Focusing on the idea of polemics\, the speakers will pull out key instances from the Reader concerned with opposition and debate within Southeast Asian art writing\, as well as its meaning and purpose.\n\n“Language and Translation in Southeast Asian art writing”\nWhat were the languages in which the discourse of Southeast Asian modern art was written? What does this linguistic make-up reveal about the field\, and how is it reflected in the kind of terminology and vocabulary that has emerged? Issues of translation within the Reader will also be discussed in this panel.\n\n—\nAbout “The Modern in Southeast Asian Art: A Reader”\n\nEdited by: T.K. Sabapathy and Patrick Flores\nAssociate Editors: Phoebe Scott and Julie Ewington\nContributing Editors: Antarika\, Gridthiya Gaweewong\, Horikawa Lisa\, Yin Ker\, Manuporn Leungaram\, Roger Nelson\, Roberto Paulino\, Seng Yu Jin\, Aminudin T.H. Siregar and Simon Soon\n\nWho spoke of the modern in Southeast Asia? When and where was the modern written? How was it written? How was it received? This collection brings together nearly 300 texts that were originally published between the late 19th to late 20th centuries\, selected by a group of scholars as responses to questions such as these. The texts were produced chiefly in various locations in the region\, by artists\, critics\, historians and curators in 11 languages\, many of which had never before been translated into the English language. Years in the making\, this publication is the first to present such breadth and depth of art writing in the region of Southeast Asia\, and will be a valuable resource to students\, teachers and scholars of Southeast Asian studies and art history.\n\nCo-published by National Gallery Singapore and NTU Centre for Contemporary Art Singapore\nTwo volumes\, approx. 1300 pages\, paperback\nISBN: 978-981-14-0664-5\nS$120 (before GST)\, 25% discount on the event day
URL:https://artsequator.com/event/the-modern-in-southeast-asian-art-a-reader-publication-launch-symposium/
LOCATION:National Gallery Singapore\, Supreme Court Wing\, Level 4M\, Supreme Court Terrace\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Literary Events/Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230505T100000
DTEND;TZID=Asia/Shanghai:20230917T190000
DTSTAMP:20260412T123059
CREATED:20230510T042009Z
LAST-MODIFIED:20230510T042009Z
UID:89997-1683280800-1694977200@artsequator.com
SUMMARY:See Me\, See You: Early Video Installation of Southeast Asia
DESCRIPTION:Join us on a journey back in time to find out and explore the history of video installation art. This two-part series offers a fascinating look at the pivotal moments when video installation first emerged in the 1980s and 1990s\, staged and recreated at the latest See Me\, See You: Early Video Installation of Southeast Asia exhibition. \nThrough experimentation\, these ten Southeast Asian Artists combined installation\, performance\, audience participation together with video\, leading to a new form of art as a result of their interdisciplinary approach. \nIn its first installment\, featuring works by Apinan Poshyananda (Thailand)\, Baharudin Mohd Arus (Malaysia)\, Chng Nai Wee (Singapore)\, Johnny Manahan (Philippines) and Jean Marie Syjuco (Philippines). \nThe second part\, opening in October\, will showcase works by Heri Dono (Indonesia)\, Hasnul Saidon (Malaysia)\, Ray Langenbach (Malaysia)\, Vincent Leow (Singapore) and Krisna Murti (Indonesia).
URL:https://artsequator.com/event/see-me-see-you-early-video-installation-of-southeast-asia-2/
LOCATION:National Gallery Singapore\, Ngee Ann Kongsi Concourse Gallery\, Concourse Level\, City Hall Wing\, 1 St Andrew’s Road\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Children/Family (Events),Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230225T150000
DTEND;TZID=Asia/Shanghai:20230225T163000
DTSTAMP:20260412T123059
CREATED:20230208T092709Z
LAST-MODIFIED:20230301T035419Z
UID:89301-1677337200-1677342600@artsequator.com
SUMMARY:Panel Discussion: Art as Historical Method in Southeast Asia
DESCRIPTION:Sat 25 Feb | 3 PM | Supreme Court Wing\, Level 4M\, Glass Room\n\nHow can contemporary art create new ways of understanding the past?\n\nThis panel explores the turn toward history in Southeast Asian contemporary art practice\, how it offers models for the ways in which we understand the past and the work that history can do in the world. Panellists will discuss works by Dinh Q. Lê\, Yee I-Lann and Ho Tzu Nyen\, whose practices draw upon historical photographs\, cultural artefacts\, collage\, video and performance to consider the roles of history and memory in the making of social experiences in colonial and postcolonial Southeast Asia.\n\nThe panel will feature Dương Mạnh Hùng\, Goh Sze Ying\, Issa Yi Xian Sng\, Mark Philip Bradley and Seng Yu Jin. The discussion will be moderated by Patrick Flores (Deputy Director of Curatorial & Research\, National Gallery Singapore).\n\nThis programme is part of “Art as Historical Method\,” a collaborative project between the National Gallery Singapore and The American Historical Review.\n\nRegister here at: https://bit.ly/ArtAsHistoricalMethod\n\n*There will be a short tour in the galleries after the panel\, with a chance to see some of the works that will be discussed. Participants who wish to join are kindly reminded that Gallery Passes are required and should be booked separately in advance.\n\n—\nAbout the Panellists\n\nDương Mạnh Hùng is an independent translator\, writer and curator. Their practice weaves together textual intricacy with visual subtlety to raise questions about art and society. Hùng’s interest in the dynamics of translation in art is informed by global and Southeast Asian socio-political and ecological histories.\n\nGoh Sze Ying is a Curator at National Gallery Singapore. She has worked on various exhibitions\, including “Something New Must Turn Up: Six Singaporean Artists After 1965” (2021)\, “Singapore Biennale 2019: Every Step in the Right Direction” (2019) and “Minimalism: Space. Light. Object.” (2018).\n\nIssa Yi Xian Sng is a Researcher at the National Heritage Board Singapore. Beyond her work in heritage preservation\, she pursues research\, writing\, and creative projects like the independent online publication of “Bagyi Aung Soe (1923–1990): Juggling Paradoxes in the Here & the Now\,” the curatorial essay for the 2021 exhibition “Bagyi Aung Soe (1923–1990)” at Centre Pompidou\, Paris.\n\nMark Philip Bradley is the Bernadotte E. Schmidt Distinguished Service Professor of History at the University of Chicago and Editor of the American Historical Review. He is the author of multiple publications including “Imagining Vietnam and America: The Making of Postcolonial Vietnam” (2000)\, which won the Harry J. Benda Prize from the Association for Asian Studies.\n\nSeng Yu Jin is Senior Curator at National Gallery Singapore. He currently lectures in the Minor in Art History at the National University of Singapore. His research interests cover regional art histories\, with a focus on exhibition histories and collectivism in Southeast Asia.\n\nPatrick Flores is Deputy Director of Curatorial & Research at National Gallery Singapore. Up till 2022\, he was Professor of Art History and Criticism at the Department of Art Studies\, University of the Philippines\, Quezon City\, which he chaired from 1997 to 2003. He was also concurrently the curator of the Jorge B. Vargas Museum.\n—\nImage Credit: Yee I-Lann. ‘Tabled’. 2013. Ceramic rimmed flat plates with digital decal prints and back-stamp (set of 50) and custom-made plate cabinets made from recycled colonial era solid teak wood\, 195 × 312 cm overall\, (ed. 2/5). Collection of Singapore Art Museum. Photo credit: “Living Pictures” Exhibition View\, National Gallery Singapore.\n\nSee less
URL:https://artsequator.com/event/panel-discussion-art-as-historical-method-in-southeast-asia/
LOCATION:National Gallery Singapore\, Supreme Court Wing\, Level 4M\, Glass Room\, 1 St Andrew's Rd\, #01 – 01\, 178957\, Singapore
CATEGORIES:Workshop & Talks (Events)
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DTSTART;TZID=Asia/Shanghai:20230127T190000
DTEND;TZID=Asia/Shanghai:20230127T210000
DTSTAMP:20260412T123059
CREATED:20230117T094747Z
LAST-MODIFIED:20230127T013516Z
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SUMMARY:Dinh Q. Lê in Conversation: Crossing the Farther Shore\, at National Gallery Singapore
DESCRIPTION:Displayed for the first time in Asia in the exhibition Living Pictures: Photography in Southeast Asia\, Vietnamese American artist Dinh Q. Lê’s installation Crossing the Farther Shore (2014) is a rare record of the everyday lives of Southern Vietnamese people in the pre-Vietnam war period\, reflected through abandoned images collected by the artist himself. \n\nIn this artist talk moderated by art historian Roger Nelson\, Dinh Q. Lê will delve into the processes and motivations behind the work\, its relation to his practice in photography\, his perspectives on his work in the context of the exhibition\, and his involvement in the independent art space Sàn Arts\, which he co-founded in 2007.
URL:https://artsequator.com/event/dinh-q-le-in-conversation-crossing-the-farther-shore-at-national-gallery-singapore/
LOCATION:National Gallery Singapore\, City Hall Wing\, Level B1\, The Ngee Ann Kongsi Auditorium\, 1 St Andrew’s Road\, Singapore\, Singapore\, 178957\, Singapore
CATEGORIES:Literary Events/Talks (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230107T190000
DTEND;TZID=Asia/Shanghai:20230107T220000
DTSTAMP:20260412T123059
CREATED:20230106T043900Z
LAST-MODIFIED:20230106T045032Z
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SUMMARY:The Kolektif Takeover: Trivia Night!
DESCRIPTION:Spearheaded by Kolektif\, the experimental youth arm of the Gallery that aims to empower young people to bring their creativity and concerns to art museums\, this year’s The Kolektif Takeover at Light to Night Festival features a youth trivia night! Look forward to a superb range of general knowledge questions on topics ranging from pop culture fun facts to scientific references from your primary school textbooks to art and local culture! \nDate and Time: 7 January 2023 AND 14 January 2023 (Saturday)\, 7pm-10pm \nVenue:Supreme Court Terrace\, Level 4\, Supreme Court Wing\, National Gallery Singapore
URL:https://artsequator.com/event/the-kolektif-takeover-trivia-night/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Festival (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20221028T170000
DTEND;TZID=Asia/Shanghai:20221028T220000
DTSTAMP:20260412T123059
CREATED:20221027T080129Z
LAST-MODIFIED:20221027T080129Z
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SUMMARY:Kolektif Chills
DESCRIPTION:Welcome to Kolektif Chills\, the Gallery’s first Halloween-themed Youth Social! The season often features the ghoulish and horrible\, but this October\, we want to talk about the dead and the haunted. Expect to explore the exhibitions with a stranger\, adorn yourself with art and engage in intimate chit chat about your deepest fears. Come decked out in your Halloween best and maybe you’ll discover what goes bump in the night. Who knows what we’ll find after the sun goes down?
URL:https://artsequator.com/event/kolektif-chills-2/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Festival (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20221028T170000
DTEND;TZID=Asia/Shanghai:20221028T220000
DTSTAMP:20260412T123059
CREATED:20221020T031701Z
LAST-MODIFIED:20221020T031701Z
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SUMMARY:Kolektif Chills
DESCRIPTION:Welcome to Kolektif Chills\, the Gallery’s first Halloween-themed Youth Social! The season often features the ghoulish and horrible\, but this October\, we want to talk about the dead and the haunted. Expect to explore the exhibitions with a stranger\, adorn yourself with art and engage in intimate chit chat about your deepest fears. Come decked out in your Halloween best and maybe you’ll discover what goes bump in the night. Who knows what we’ll find after the sun goes down?
URL:https://artsequator.com/event/kolektif-chills/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Festival (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20221007T180000
DTEND;TZID=Asia/Shanghai:20221016T200000
DTSTAMP:20260412T123059
CREATED:20221003T084011Z
LAST-MODIFIED:20221005T055937Z
UID:86041-1665165600-1665950400@artsequator.com
SUMMARY:October Gathering
DESCRIPTION:Take this opportunity to chart critical issues in the field of Southeast Asian art with artists\, cultural workers and thinkers this October Gathering! Between 7thand 16th Oct\, join us for 27 multi-formatted programmes\, from performance lectures\, tours\, live readings\, panel discussions and film screenings\, to a mini-exhibition and pop-up library. Delve into new strategies and innovative perspectives while dreaming up manifold possibilities of our collective futures. \nVisit https://www.nationalgallery.sg/october-gathering-2022 for the full programme line-up!
URL:https://artsequator.com/event/october-gathering/
LOCATION:National Gallery Singapore\, 1 St Andrew's Rd\, #01 – 01\,\, Singapore\, 178957\, Singapore
CATEGORIES:Visual Arts (Events)
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END:VCALENDAR