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DTSTART;TZID=Asia/Shanghai:20250509T120000
DTEND;TZID=Asia/Shanghai:20250528T190000
DTSTAMP:20260407T035112
CREATED:20250616T110746Z
LAST-MODIFIED:20250616T110746Z
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SUMMARY:Imprints of a Vanished Time: Paintings and Prints by Lim Mu Hue
DESCRIPTION:artcommune proudly presents Imprints of a Vanished Time: Paintings and Prints by Lim Mu Hue\, an exhibition that spotlights the late Singapore artist’s dynamic exploration across oil\, ink\, woodcut and mixed media works. Featuring 19 works dating to the period of 1950s to 2002\, the show traces Lim’s thoughtful synthesis of Western academic techniques and deep sensitivity to local themes and identity. Lim Mu Hue (1936–2008\, Singapore) was a second-generation Singapore artist best known for his oil works and woodblock prints executed in a realist and often narrative-driven style. Born in 1936 to a Teochew family of Chinese descent\, Lim grew up in a period of social change and nation-building in early Singapore. His art would later reflect these historical shifts through intimate\, detailed portrayals of ordinary people\, local landscapes and vanishing trades. \nLim received his formal training at the Nanyang Academy of Fine Arts (NAFA)\, graduating in 1955 with a Diploma in Western Painting. There\, he studied under key figures of the Nanyang art style and was exposed to both Chinese and Western art mediums. Much of Lim’s output in the 1950s was focussed on Western oil\, charcoal\, watercolour\, and pastel works\, with many revealing of his spirited experimentation across the academic genres of landscape\, still life and portrait. \nManager of a Rubber Plantation Estate\, for instance\, portrays a figure that comes across as quietly dignified and almost austere in presence. Lim highlights particular physical traits of the figure\, such as histanned skin\, rugged arms\, and lean yet muscular frame to convey a daily life characterised by outdoor exposure and active labour. The steely greens of the background and opaque blacks of the pants are deployed in high contrast against the warm ochres of the skin and variated shades of whites used to illustrate the shirt and the hat. Lim combines clarity with tenderness in his treatment of the form to carve out a chiaroscuro-like focus\, giving the portrait a monumental and industrial character.
URL:https://artsequator.com/event/imprints-of-a-vanished-time-paintings-and-prints-by-lim-mu-hue/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Artist Opportunities,Children/Family (Events)
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DTSTART;TZID=Asia/Shanghai:20241203T120000
DTEND;TZID=Asia/Shanghai:20241218T190000
DTSTAMP:20260407T035112
CREATED:20241213T035343Z
LAST-MODIFIED:20241213T035445Z
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SUMMARY:The Gaze of TIme: Photographs by Hor Kwok Kin
DESCRIPTION:artcommune gallery is pleased to present the second solo exhibition of Singapore photographer\, Hor Kwok Kin (b. 1939\, Ipoh). On view from 3 to 18 December\, The Gaze of Time features a selection of 25 colour and 15 black-and-white photographic works dating from the early 1960s to the 2000s. The exhibition officially opens on 7 December\, Saturday\, 3-4.30pm with the artist in attendance. All Are welcome! \n​ \nHor Kwok Kin’s style can be classified alongside the works of other modernist photographers\, such as his friend and mentor\, Yip Cheong Fun. The thoughtful use of geometric elements in his compositions particularly recalls the latter’s influence. More significantly\, his black-and-white photographs were captured and developed personally using darkroom techniques in the period of 1960s-80s. Heavily influenced by humanist photographer Henri Cartier-Bresson’s pioneering street photography\, he captured scenes of everyday Singapore with a strikingly modernist composition. \n​ \nAs the period of Hor Kwok Kin’s photographic practice coincided with the transition of a post-independent Singapore\, he managed to archive in the process a variety of environments\, professions and social activities that once characterised life in Old Singapore. His identity as a working-class photographer also allowed him to effectively immortalise moments that proved intensely empathetic to his subjects\, like the quayside labourers or the worker at a quarry\, setting him apart from many of his contemporaries. \n​ \nHor Kwok Kin began to explore colour photography in the 1990s\, retaining his focus on portraying the lived lives and everyday interactions of local communities. In this later period\, he also delved into a close-up examination on the social-emotional life of animals\, such as the portrait of a growing Inuka – the first polar bear born and housed at the Singapore Zoo in the 90s.
URL:https://artsequator.com/event/the-gaze-of-time-photographs-by-hor-kwok-kin/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Artist Opportunities,Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20241018T120000
DTEND;TZID=Asia/Shanghai:20241110T190000
DTSTAMP:20260407T035112
CREATED:20241024T063946Z
LAST-MODIFIED:20241024T063946Z
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SUMMARY:Tan Choh Tee: Shadows of Straits Settlements
DESCRIPTION:Official Opening with Guest-of-Honour and Artist in Attendance\nDate: Thursday\, 20 October 2024\, 3 – 4pm\nGuest-of-Honour: Lee Khai (Chairman of Penang State Art Gallery) \nTalk with Artist-in-Attendance\nTan Choh Tee’s Trips to Penang: Anecdotes and Philosophies\nDate: Thursday\, 20 October 2024\, 4.30 – 5.30pm\nSpeaker: Ho Sou Ping (Gallery Founder)\nRSVP required: kenix@artcommune.com.sg \n  \nartcommune gallery is pleased to present Shadows of Straits Settlements\, which features a new series of 21 oil paintings by Singapore’s 2nd-generation landscape master\, Tan Choh Tee. Focusing on the historic urban environs of Penang\, the series is a culmination of three separate trips to Penang between 2022 – 2023\, during which the artist endured unpredictable weather conditions and worked energetically to paint the landscapes on-site.  \nTan believes that an artist has to feel emotionally connected with a landscape in order to paint it. Penang\, like Singapore\, was once part of the Straits Settlements under the British Colonial rule and its landscape and culture today continues to reflect a melting pot of multi-ethnic influences. Mediated by his memories of Singapore in its yesteryears\, Penang\, saved from the behemothic sword of urban redevelopment\, has become reminiscent of the Old Singapore and offers him a continued source of artistic inspiration. This new series of Penang landscapes are marvellously expressed through the artist’s mature brush and palette knife techniques.  \nSince the 1980s\, Tan has developed a highly personal and recognisable style of landscape painting which eschews photographic details\, favouring instead\, an emotional and expressive handling of brushwork and colour. His thoughtful renditions of various landscape scenes around Southeast Asia\, such as an alley next to a weathered shophouse\, a rustic village\, a bustling open-air market\, local provision stores\, and streetside hawkers are bold in colours yet suffused with a mesmerising nostalgia.  
URL:https://artsequator.com/event/tan-choh-tee-shadows-of-straits-settlements/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Children/Family (Events),Visual Arts (Events),Workshop & Talks (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240928T120000
DTEND;TZID=Asia/Shanghai:20241116T190000
DTSTAMP:20260407T035112
CREATED:20240924T073325Z
LAST-MODIFIED:20240924T073325Z
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SUMMARY:Being and Nothingness – A Discourse on Identity | New Works by Nathan Yong
DESCRIPTION:Official Opening with Artist in Attendance\nDate: Thursday\, 3 October 2024\, 7 – 9pm\nRSVP required at kenix@artcommune.com.sg \nExhibition Period: 28 Sept – 16 Oct 2024 \nIn conjunction with Singapore Gallery Month 2024 and Singapore Design Week 2024\, artcommune gallery proudly presents the new solo exhibition of trailblazing industrial designer and artist\, Nathan Yong (b. 1971\, Singapore). The exhibition features 11 limited edition designs crafted from stainless steel and in the typology of everyday interior objects: sofa\, lounger\, chair\, bar stool\, standing screen\, and vase. Sculptural\, sleek and thought-provoking in shapes and polished to a mirror finish\, these works overturn conventional expectations of industrial design and push the symbiotic interdependence between form and functionality of such objects beyond their familiar material and presence. \nThe marriage of art and industrial design is an artistic process well explored in the creative world. Ushered in by the likes of Western artists such as Donald Judd\, John Chamberlain and Dan Flavin\, who opened up a new entire visual vocabulary since the 1960s\, this practice has continued to inform contemporary currents of art and industrial expressions in myriad ways. In Singapore\, however\, this remains a niche exploration and an undercelebrated creative practice. With his exceptional background in design and craftsmanship\, Nathan’s interest in challenging and bridging the formal expressions of art and object design has been at the forefront of his exploration with industrial materials over the decades. Being and Nothingness – A Discourse on Identity showcases Nathan’s latest series of work\, through which he examines the relationships surrounding material design\, space and identity. \nIn the realm of Singaporean artistry\, the choice of stainless steel pipes and sheets as a medium carries profound symbolism\, reflecting the cultural and societal ethos of the nation. This medium\, inherently sleek and efficient\, evokes a paradoxical narrative\, oscillating between cleanliness and coldness\, efficiency and a lack of warmth. Just as polished stainless steel mirrors its surroundings\, there is a reflection of Singapore’s societal fabric where efficiency often prevails\, but at times\, individual identity can feel overshadowed. Singapore\, a city-state known for its modernity and progress\, is often portrayed through the lens of efficiency and cleanliness. The use of stainless steel as an artistic medium echoes these themes\, embodying the precision and orderliness that define the cityscape. The smooth\, unblemished surfaces of stainless steel pipes and sheets represent the meticulous planning and execution characteristic of Singapore’s urban development. \nHowever\, beneath this surface of efficiency sits a deeper narrative. The coldness of stainless steel speaks to the potential loss of individual identity in a society that prioritises uniformity and conformity. Just as the reflective nature of polished stainless steel can obscure its own identity in favour of mirroring its surroundings\, individuals may find themselves caught in a similar predicament\, striving for perfection and assimilation while grappling with the erosion of personal distinctiveness. \nYet\, there is a poignant beauty in this reflection. The mirrored surfaces of stainless steel invite contemplation\, prompting viewers to question their own roles within the societal framework. The interplay between the material’s reflective qualities and its inherent lack of warmth challenges us to seek balance between efficiency and human connection\, between order and individuality. \nUltimately\, the symbolism of stainless steel in Singaporean artistry serves as a microcosm of the city-state itself— a place where efficiency and progress coexist with the complexities of human experience. It reminds us that beneath the gleaming facade of modernity\, there are nuanced narratives waiting to be discovered and expressed\, inviting us to reflect on our own identities within the ever-evolving tapestry of Singaporean society.
URL:https://artsequator.com/event/being-and-nothingness-a-discourse-on-identity-new-works-by-nathan-yong/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Artist Opportunities
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240803T120000
DTEND;TZID=Asia/Shanghai:20240821T190000
DTSTAMP:20260407T035112
CREATED:20240724T070215Z
LAST-MODIFIED:20240724T070215Z
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SUMMARY:Roof of the World : Journeys An Exhibition of New Works by Ong Kim Seng
DESCRIPTION:  \nartcommune gallery is pleased to announce Ong Kim Seng’s upcoming solo exhibition\, Roof of the World – Journeys. Featuring around 20 new works completed mostly in the period of 2020 – 2024\, the exhibition is on view at artcommune gallery from 3 to 21 August 2024. The exhibition officially opens with the artist in attendance on Saturday\, 3 August\, 3 – 5pm. This exhibition is part of Bras Basah Complex Galleries Joint Art Week 2024 – a presentation of exhibitions by Bras Basah Complex Galleries held from 17 – 25 August 2024. \n  \nA celebrated maestro of light and shade\, Ong Kim Seng (b. 1945\, Singapore)\, BBM. A.W.S. DF. N.W.S achieved international prominence for his lyrical and delicate rendering of landscapes in watercolours in as early as the 1980s\, and remains one of Singapore’s most important and successful artists. He was conferred the Cultural Medallion in Visual Arts by the Republic of Singapore in 1990.  \n  \nIn 1983\, Ong Kim Seng won the prestigious Paul B. Remmy American Watercolour Society Memorial Award with a breathtaking landscape featuring the distinct architectural brickwork of Nepal\, becoming the first Singapore watercolourist to rise to international prominence. He was also the first Asian outside of the United States to be awarded the American Watercolour Society (AWS) membership in 1990 and has clinched 9 awards from the AWS to date\, with several featuring the landscapes of Nepal. 
URL:https://artsequator.com/event/roof-of-the-world-journeys-an-exhibition-of-new-works-by-ong-kim-seng/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240511T120000
DTEND;TZID=Asia/Shanghai:20240526T190000
DTSTAMP:20260407T035112
CREATED:20240429T145757Z
LAST-MODIFIED:20240429T145757Z
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SUMMARY:Tung Yue Nang: Life
DESCRIPTION:artcommune gallery is pleased to present Life  by veteran artist Tung Yue Nang. Tung (b. 1959\, Singapore) has secured a reputation\, over the past decade\, as an accomplished draughtsman and ink painter with a recognisable landscape style that is stupendously rich in detail yet delicately poetic in its espousal of Chinese ink-and-brush aesthetic. However\, Photography\, as much as painting\, has been a constant in Tung’s life as an artist. In the period of 2000s\, the passion he reserved for photography even took precedence over painting and he devoted well over a decade to mostly travelling and developing a body of photographic work. \nLife  is Tung Yue Nang’s first solo photography exhibition and focuses on an aspect of his work that is less well known and exposed to the public. This curated showcase of 60 photograph prints at artcommune gallery features locales and topics spanning 6 countries – China\, India\, Thailand\, Vietnam\, Cambodia\, and Singapore. While these works constitute but a fraction of Tung’s dedicated engagement with the medium\, they bring to sharp focus some classically human themes that have always preoccupied him – beauty in the mundane\, family bonds\, the interior lives of ordinary people\, old-world values in a changing society\, childhood innocence\, the resilience of life\, and\nthe quest for spirituality.
URL:https://artsequator.com/event/tung-yue-nang-life/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Children/Family (Events),Event of the Day,Visual Arts (Events)
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ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240405T120000
DTEND;TZID=Asia/Shanghai:20240421T190000
DTSTAMP:20260407T035112
CREATED:20240403T043712Z
LAST-MODIFIED:20240403T043712Z
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SUMMARY:Cheong Soo Pieng: 1970s Mature Abstract Works
DESCRIPTION:Happening from 5 to 21 April 2024\, artcommune is pleased to present Cheong Soo Pieng: 1970s Mature Abstract Works\, a showcase of over 10 significant abstract and mixed media works by the Singapore pioneer master! \nSoo Pieng’s mature abstract output in the 1970s is synonymous with the most accomplished artistic period of his career. However\, due to the scarcity of oral and written materials left behind by the artist\, the abstract series of this period are amongst his least understood works\, and scholars and audience have struggled to contextualise their complex forms and meanings. The 1970s mature abstract works featured in this exhibition range from mixed media metal relief works to abstract ink on paper\, throwing the spotlight on Soo Pieng’s exploration of a new artistic discourse and his continuous strive for original expressions during this period.
URL:https://artsequator.com/event/cheong-soo-pieng-1970s-mature-abstract-works/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
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GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240112T120000
DTEND;TZID=Asia/Shanghai:20240128T190000
DTSTAMP:20260407T035112
CREATED:20240109T054100Z
LAST-MODIFIED:20240109T054100Z
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SUMMARY:Literati Spirit in Nanyang : The Landscape and Figure Paintings of Fan Chang Tien
DESCRIPTION:In conjunction with Singapore Art Week 2024\, artcommune proudly presents this new exhibition focussing on the landscape and figure paintings of Singapore pioneer artist\, Fan Chang Tien (1907\, Jieyang\, China – 1987\, Singapore). After migrating to Singapore in 1957\, Fan dedicated much of his life to art and helped nurture a new generation of local ink artists. Amongst his notable students are Nai Swee Leng\, Lim Kay Hiong\, Tan Oe Pang\, Henri Chen Kezhan\, Lim Cher Eng\, and Chua Ek Kay. As a conduit between the haipai tradition in China and the burgeoning art scene in Singapore\, Fan was essential in providing Singaporean artists an alternative mode of modernist ink expression in the early Singapore art scene. The exhibition features 16 ink works that were mostly completed in the period of 1960s-1980s.  The body of work illuminates Fan’s cultivation of an authentic literati spirit through his practice as well as training of younger artists in Nanyang.  \nFan Chang Tien is most famed for his paintings of Orchid and Bamboo. During his lifetime\, he was lauded as the ‘king of Bamboo’ in the Chinese art circle. Yet Fan was also a well-rounded Shanghai school artist who sought to express himself through a diverse range of subject matters. After several years of effort\, and with support from the artist’s family\, we managed to gather this exquisite selection of landscapes and figures\, among which many measure large in scale or exhibit rare themes. These wonderful masterpieces are rarely on exhibit or seen by the public. Fan’s figure paintings are especially rare and will prove significant for the collectors of his work.  \nThe history of Chinese landscape painting spans thousands of years and is regarded as a sacred tradition by literati painters. For the literati\, Chinese painting facilitates the expression of inner worlds and feelings\, with a philosophical emphasis on self-reflection and purification of the soul. The ideal state or expression exemplifies the harmony between nature and man. Thematic expositions frequently focus on a life detached from the worldly desires of fame and fortune\, with one content with peace and solitude in the mountains or forest. They often articulate values that align with strands of Taoism and Buddhism. The genre of Chinese landscape painting has thus been exalted throughout the centuries for such artistic conceptions.  \nFan’s ink expression was modelled and built upon the Chinese landscape traditions established by the ‘Four Wangs’ of the early Qing period. Additionally\, he searched beyond the Shanghai school style of Wu Changshuo – which conveys the bold\, majestic grandeur of a landscape often at the expense of minute and delicate details – by developing a personal landscape style that successfully combines and balances the tensions between majestic and delicate elements.   \n  \nAbout the Artist\nFan Chang Tien 范昌乾 (1907\, Jieyang\, China – 1987\, Singapore) graduated from the Xinhua Academy of Fine Arts and the Changming Art Academy\, both in Shanghai\, under the tutelage of Shanghai School (haipai 海派) masters such as Wang Geyi\, Wang Zhen (Yiting)\, Pan Tianshou\, and Zhu Wenyun. This allowed Fan to draw a direct lineage to the great haipai master Wu Changshuo\, who modernised literati ink paintings for the cosmopolitan inhabitants of Shanghai.  \nFan migrated to Bangkok\, Thailand to teach in 1947\, then to Singapore in 1956\, with the Chinese Civil War preventing his return to China. Establishing himself in a studio in Balestier Road\, Fan taught ink painting free of charge. Many of his students were involved in the Hwa Han Art Society\, established in 1973 with Fan as head advisor.  \n Being part of the Teochew intellectual community led Fan to emphasise the literati aspects of the haipai tradition\, most importantly in the assemblage of meanings provided within a piece of artwork through the four components of poetry\, calligraphy\, painting\, and seal-carving. In particular\, his self-composed poems\, making full use of the metaphorical meanings of flora and fauna entrenched in Chinese literary culture\, set him apart from other ink painters in Singapore. It is also within this textuality that Fan made sense of his Nanyang environs. 
URL:https://artsequator.com/event/literati-spirit-in-nanyang-the-landscape-and-figure-paintings-of-fan-chang-tien/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Event of the Day,Visual Arts (Events)
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GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230513T120000
DTEND;TZID=Asia/Shanghai:20230528T190000
DTSTAMP:20260407T035112
CREATED:20230511T071857Z
LAST-MODIFIED:20230517T043327Z
UID:90208-1683979200-1685300400@artsequator.com
SUMMARY:Forever | 人长久 Ink Paintings by Tung Yue Nang
DESCRIPTION:artcommune gallery is pleased to present the latest solo exhibition of veteran artist Tung Yue Nang. The show\, which is on view at artcommune gallery from 13 to 28 May 2023\, features 24 new ink works by the artist\, including a momentous and large-scale ink landscape of Chinatown scene measuring 95 x 548 cm. \n\nBorn in Singapore in 1959\, Tung Yue Nang (邓汝能) cultivated a keen interest for the arts since young. He delved into the formal arts world at the age of 15\, when he began learning Chinese painting\, calligraphy\, seal carving and engraving under the tutelage of pioneer artist-educator\, Shi Xiang Tuo. Over the past three decades\, his art practice has evolved to encompass Western mediums such as acrylic and mixed media painting\, collage\, sculpture\, and photography. However\, the medium of Chinese brush and ink remains the cornerstone of his practice and his immersion in the art form is guided by the Chinese Tao philosophy\, which centres on harmony\, tranquility and simplicity. \nOver the past decade\, Tung Yue Nang has established a dynamic ink repertoire that is recognisable for its dramatic and ornate figurative style. These works combine Western compositional techniques with a delicate Chinese brush-and-ink execution to express the unique beauty and richness of our local cultural landscapes. Architectural environments and human figures are related through tremendous accuracy and detail in these dramatically monochrome paintings. \n\n\nThe exhibition title\, ‘Forever’\, was translated from the artist’s original Chinese title\, ‘⼈长久’. The phrase was taken from a famous Song Chinese poem\, Prelude to Water Melody (⽔调歌头- 明⽉⼏时有)\, which was composed by court-official and literati artist-poet Su Shi (also commonly known as Su Dongbo). The poem was written during the Chinese Mid-Autumn Festival of 1076 while Su Shi was feeling melancholic and missing his brother\, who was a court official stationed in another faraway state. \nSu Shi points out in the poem that\, ‘People have sorrows\, joys\, partings and reunions/ Just as the moon turns dark or bright\, and waxes or wanes during different phases/ This is but a reality since ancient times/ Yet one hopes that every man enjoys longevity/ Even with thousand miles apart\, that we may all see and be connected by the moon’s beauty.’ \nThrough his art and in his own way\, Tung Yue Nang seeks to immortalise the unique cultural elements and everyday beauty of our local heritage streets. Every painting is a nuanced display of humanity\, and through it he connects the audience with the vitality and immediacy of life. Because his sincere being and profound connection with the landscape flow ever so naturally into the composition\, the old buildings with their weathered charms\, and folks passing by the streets or engrossed in their daily routines\, come alive organically in his works. One is easily transfixed by the fascinating atmosphere of his Singapore riverside\, Chinatown or Joo Chiat shophouse scene\, where the coming and going of people and their myriad interactions amplify the hustle and bustle of daily life.
URL:https://artsequator.com/event/forever-%e4%ba%ba%e9%95%bf%e4%b9%85-ink-paintings-by-tung-yue-nang-2/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230303T120000
DTEND;TZID=Asia/Shanghai:20230319T190000
DTSTAMP:20260407T035112
CREATED:20230304T014131Z
LAST-MODIFIED:20230304T014131Z
UID:89471-1677844800-1679252400@artsequator.com
SUMMARY:Cheong Soo Pieng: Drawings
DESCRIPTION:artcommune proudly presents Cheong Soo Pieng: Drawings\, an exhibition of over 30 drawings on paper that span three decades of the artist’s career arc. Drawing was integral to Soo Pieng’s practice and many drawings made during his lifetime were fashioned into recurring forms and expressions in his oil and ink paintings. It is estimated that his drawings alone amount to around two or even three thousand works\, many of which are now in Singapore’s national collection. \n\nCheong Soo Pieng (b. 1917\, Xiamen\, China – d. 1983\, Singapore) is an important pioneer of the Nanyang art style and one of the most creative Chinese artists of the 20th century. Soo Pieng studied at Xiamen Academy of Fine Arts and furthered his education at Xinhua Academy of Fine Arts in Shanghai. After the 2nd World War\, he relocated to Singapore in 1946 to take on a teaching post at the Nanyang Academy of Fine Arts (NAFA) and thereon began his fervent amalgamation of Modern Western and Chinese pictorial styles. Often drawing inspiration from themes and subject matters relating to his new\, immediate environment in Southeast Asia\, the landmark trip to Bali in 1952 inspired Soo Pieng (and three other pioneer artists Chen Wen Hsi\, Chen Chong Swee\, Liu Kang) to reinvent groundbreaking pictorial modes culminating to the Nanyang art style. A trailblazer throughout his lifetime\, his creative output of varied styles and mediums was instrumental in shaping the early Singapore art scene. \n\nThe selection in this exhibition largely dates from the period of late-1940s-early 1960s\, which offers a glimpse into Soo Pieng’s captivating repertoire of everyday encounters on the streets of Singapore and Malaysia\, as well as his sojourns abroad at places such as Bali (1952)\, Borneo (1959) and Europe (1962-63). Also featured are drawings of Balinese scenes and figures completed by Soo Pieng during his last known visit to the island in 1977\, which captures his aesthetic shift to a highly ornate and detailed style of drawing in the later period. Together\, these drawings apprehend the interiority of Soo Pieng’s thoughts and the primacy of form in his painting process.
URL:https://artsequator.com/event/cheong-soo-pieng-drawings-2/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
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ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20230303T120000
DTEND;TZID=Asia/Shanghai:20230319T190000
DTSTAMP:20260407T035112
CREATED:20230304T013753Z
LAST-MODIFIED:20230304T013753Z
UID:89473-1677844800-1679252400@artsequator.com
SUMMARY:Cheong Soo Pieng: Drawings
DESCRIPTION:artcommune proudly presents Cheong Soo Pieng: Drawings\, an exhibition of over 30 drawings on paper that span three decades of the artist’s career arc. Drawing was integral to Soo Pieng’s practice and many drawings made during his lifetime were fashioned into recurring forms and expressions in his oil and ink paintings. It is estimated that his drawings alone amount to around two or even three thousand works\, many of which are now in Singapore’s national collection. \n\nCheong Soo Pieng (b. 1917\, Xiamen\, China – d. 1983\, Singapore) is an important pioneer of the Nanyang art style and one of the most creative Chinese artists of the 20th century. Soo Pieng studied at Xiamen Academy of Fine Arts and furthered his education at Xinhua Academy of Fine Arts in Shanghai. After the 2nd World War\, he relocated to Singapore in 1946 to take on a teaching post at the Nanyang Academy of Fine Arts (NAFA) and thereon began his fervent amalgamation of Modern Western and Chinese pictorial styles. Often drawing inspiration from themes and subject matters relating to his new\, immediate environment in Southeast Asia\, the landmark trip to Bali in 1952 inspired Soo Pieng (and three other pioneer artists Chen Wen Hsi\, Chen Chong Swee\, Liu Kang) to reinvent groundbreaking pictorial modes culminating to the Nanyang art style. A trailblazer throughout his lifetime\, his creative output of varied styles and mediums was instrumental in shaping the early Singapore art scene. \n\nThe selection in this exhibition largely dates from the period of late-1940s-early 1960s\, which offers a glimpse into Soo Pieng’s captivating repertoire of everyday encounters on the streets of Singapore and Malaysia\, as well as his sojourns abroad at places such as Bali (1952)\, Borneo (1959) and Europe (1962-63). Also featured are drawings of Balinese scenes and figures completed by Soo Pieng during his last known visit to the island in 1977\, which captures his aesthetic shift to a highly ornate and detailed style of drawing in the later period. Together\, these drawings apprehend the interiority of Soo Pieng’s thoughts and the primacy of form in his painting process.
URL:https://artsequator.com/event/cheong-soo-pieng-drawings/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
ATTACH;FMTTYPE=image/jpeg:https://artsequator.s3.ap-southeast-1.amazonaws.com/2023/03/e-invite_v5-1.jpg
ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221112
DTEND;VALUE=DATE:20221128
DTSTAMP:20260407T035112
CREATED:20221110T070844Z
LAST-MODIFIED:20221110T070844Z
UID:87080-1668211200-1669593599@artsequator.com
SUMMARY:Chng Seok Tin: Through All Vicissitudes
DESCRIPTION:ART:DIS (Singapore) Ltd and artcommune proudly present Through All Vicissitudes: Prints & Sculptures by Chng Seok Tin\, which is on view at artcommune gallery from 12 to 27 November 2022. Featuring over 30 prints and sculptures that span the period of 1976-2010s\, the exhibition traces the motivations that shaped Chng’s four decade-long creative journey and celebrates a life lived large in spite of obstacles and misfortunes. \nChng Seok Tin (b. 1946\, Singapore – d. 2019\, Singapore)\, Cultural Medallion recipient\, was a renowned printmaker\, sculptor and multi-media artist whose devoted practice to printmaking became synonymous with the Singapore printmaking development between the 1980s and 1990s. Chng’s printmaking oeuvre encompasses a variety of techniques and experiments (lithography\, etching\, engraving\, silkscreen\, woodcut\, monotype and ink transfer)\, and reflects her mediations on Zhuang Zi (庄子) and various philosophical texts. Themes of existentialism resonate strongly in her prints and sculptures\, which often dramatise man’s pursuits of dream\, love and freedom\, and the struggles towards enlightenment. At times\, wry social commentary or humorous banter permeate her imagery. \nAn accident in 1988 left Chng visually impaired. This forced her to rely on mainly dry point or mixed media method\, and the help of an assistant to continue her printmaking into the 2000s. Having earlier adopted mixed media installation and sculpture into her practice during her studies abroad in the 1980s\, she decided to focus more on these mediums beginning in the mid-90s as they afforded her a more tactile and flexible exploration of forms and materials. \nA firm believer in inspiring and building the capabilities of the younger generation\, this exhibition will also raise funds towards the CST Education Fund to support young artists with disabilities to participate in a new Industry Mentorship Programme organized by ART:DIS.
URL:https://artsequator.com/event/chng-seok-tin-through-all-vicissitudes/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Event of the Day,Visual Arts (Events)
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ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
GEO:1.2962693;103.8524962
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221008
DTEND;VALUE=DATE:20221101
DTSTAMP:20260407T035112
CREATED:20221004T050610Z
LAST-MODIFIED:20221005T055834Z
UID:86078-1665187200-1667260799@artsequator.com
SUMMARY:Wong Keen: Forest
DESCRIPTION:artcommune proudly presents Wong Keen: Forest\, in which the artist’s first major installation work\, along with his latest series of acrylic on rice paper paintings and collage works\, will make their debut. The show opens at the gallery on 8 October 22\, Saturday\, 3 – 6pm\, with Wong Keen in attendance. 
URL:https://artsequator.com/event/wong-keen-forest/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Event of the Day,Visual Arts (Events)
ATTACH;FMTTYPE=image/jpeg:https://artsequator.s3.ap-southeast-1.amazonaws.com/2022/10/e-invite.jpg
ORGANIZER;CN="artcommune%20gallery":MAILTO:valerie@artcommune.com.sg
GEO:1.2962693;103.8524962
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220916
DTEND;VALUE=DATE:20221001
DTSTAMP:20260407T035112
CREATED:20220929T075243Z
LAST-MODIFIED:20220929T075246Z
UID:85352-1663286400-1664582399@artsequator.com
SUMMARY:Anthony Chua Say Hua the echoes and eclipses of traditions
DESCRIPTION:AC43 Gallery is pleased to present Singapore artist Anthony Chua Say Hua’s latest solo exhibition\, Anthony Chua Say Hua: The Echoes and Eclipses of Traditions. Featuring around 15 ink works completed in the period of 2015-2022\, the showcase provides audience a quick survey of Anthony Chua’s contemporary ink approach\, which experiments widely with effects of smudging\, rubbing and layering of ink\, as well as non-brush and collage techniques. The show officially opens on Friday\, 16 September 2022\, 6 – 8pm at AC43 Gallery\, with the artist in attendance. \nAnthony Chua is most known for his contemporary abstract ink renditions of local heritage shophouse scenes. His interpretations of these familiar landscapes and buildings\, such as Under the Banyan Tree and Boat Quay\, merge Chinese monochrome aesthetics and daxieyi (大写意; writing the idea) brush style with Western abstraction techniques in pure lines and shapes. \nLike the Nanyang art pioneers before him\, Anthony Chua holds sacrosanct the principle of learning from and drawing on traditions without being slavishly bound by them. Having worked with Chinese ink and rice paper for over two decades\, he constantly seeks to transcend beyond familiar techniques and conventions. His new mixed media collage\, In Search of Shangri-la\, presents an enormous euphonious network of association formed through disparate and painted paper fragments that include spliced rice paper\, newspaper\, calendar pages and even a money bill. Images are laid upon images\, just as his ink sits layered upon ink\, evoking a multi-layered continuum where time\, space and cultures collide. Amidst this Western collage approach\, his handling of materials and paints amplifies rather than diminishes the rich ink wash subtleties intrinsic to Chinese ink tradition\, revealing a work that successfully embodies an East-West fusion and the expressive potential woven from these tensions. Bold and stylised in conception\, his work invites viewers to meander through the echoes and eclipses of traditions. \n\n\n\nAnthony Chua Say Hua (b. Singapore\, 1966) is a multiple award-winning artist who has been practising full-time art since 1996. An alumnus of the Goldsmiths College\, University of London under the Chen Chong Swee Overseas Art Scholarship and former winner of the National Arts Council’s Young Artist Award (2001)\, Anthony Chua also won the Silver Award in the established artist category in the 33rd UOB Painting of the Year Competition in 2014. \nApart from experimenting with different compositional themes\, Anthony Chua is versatile in employing effects of smudging\, rubbing and layering of ink to expand on the interesting subtleties of ink wash on rice paper. The artist is also known for utilising different types of brushes and unconventional tools such as peacock feathers and squeeze bottles in his paintings.
URL:https://artsequator.com/event/anthony-chua-say-hua-the-echoes-and-eclipses-of-traditions/
LOCATION:artcommune gallery\, 76 Bras Basah Rd\, #01-01\, Singapore 189558\, Singapore\, Singapore\, 189558\, Singapore
CATEGORIES:Visual Arts (Events)
ATTACH;FMTTYPE=image/jpeg:https://artsequator.s3.ap-southeast-1.amazonaws.com/2022/09/e-invite_v2.jpg
ORGANIZER;CN="AC43%20Gallery":MAILTO:peilin@artcommune.com.sg
GEO:1.2962693;103.8524962
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END:VEVENT
END:VCALENDAR