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DTSTART;TZID=Asia/Shanghai:20250531T160000
DTEND;TZID=Asia/Shanghai:20250727T180000
DTSTAMP:20260404T230405
CREATED:20250616T110308Z
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SUMMARY:Han Mengyun: Jewels of Impermanence
DESCRIPTION:Singapore\, May 2025 — ShanghART Singapore is pleased to present Jewels of Impermanence\, London-based artist Han Mengyun’s first solo exhibition in the gallery’s Singapore space. The title is borrowed from a poem the artist penned amid the unsettling spring of 2020. The show gathers a selection of paintings and drawings made between 2020 and 2025\, providing a scintillating\, at times enigmatic\, glimpse into the artist’s pandemic-era turmoil and the spiritual composure she forged through an aesthetic meditation on impermanence. \nHan’s images stage an encounter between Dutch vanitas paintings and Buddhist depictions of skeletons and skulls. Whereas vanitas and memento mori traditions expose worldly vanity\, Buddhist “meditations on repulsiveness” confront impermanence as a precondition of enlightenment. Interweaving iconographies through a repertoire of skulls\, hourglasses\, and other emblems of transience\, Han constructs mandala-like configurations\, printed with woodblocks she has collected across Asia. The mandala serves as a phenomenological prism—an architectonic map through which both the macrocosm and the psyche can be apprehended. Such material and visual hybridity stages a tension between sensuous surface and metaphysical aspiration. Works such as Spaß und Tod\, with its skeletal hands poised in play\, recall the late-medieval danse macabre and Tibetan thangka of the citipati\, acknowledging death as a kinetic partner in the continuum of life and the catalyst of existential transformation. \nThe series marks the artist’s return to oil painting which she rejected for almost a decade in search of the alternative to ‘the Western’. “In the prospect of grim uncertainty”\, the artist says\, “I felt an urgent craving for the corporeal lusciousness of oil\, the exhilarating violence of the brush\, the humble endurance of canvas—capacities ink and rice paper cannot sustain. In this existential aporia\, I understood for the first time the Heideggerean Sein-zum-Tode\, being-toward-death—the unflinching awareness of finitude makes life infinitely possible.” \nJewels of Impermanence \nIn the silent altar of the mind\, the soul awakens to whisper words of truth. That’s the gift from disasters\, a garland of quietude. There is neither past nor future. The present is forever present. That is also my present. May the song of birds break the dawn. May fear manifest itself as mere illusion. The siege of clouds fails to capture the night-dwelling moon\, whose mission is to reveal the veracity of light and compassion. My mind becomes clear and still\, like a pond holding moonlight\, like a mirror polished in the river. The ancient Persians wear poetry like jewelry\, I take impermanence as treasury of light shedding on the vicissitudes of life. \n~ Han Mengyun
URL:https://artsequator.com/event/han-mengyun-jewels-of-impermanence/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20250418T120000
DTEND;TZID=Asia/Shanghai:20250511T180000
DTSTAMP:20260404T230405
CREATED:20250617T064221Z
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SUMMARY:Staging Realities
DESCRIPTION:ShanghART Singapore is proud to present Staging Realities\, a group exhibition featuring works by Lynn Hershman Leeson\, Melati Suryodarmo\, Tang Maohong\, Yang Fudong\, Zhou Tiehai and Zhu Jia. \nImplying a state of “becoming”\, the exhibition showcases portrait works in which the subjects are depicted in staged or posed positions\, whether in stillness or in motion. Rather than seeking to represent everyday scenes from the real world\, the works suggest an ongoing endeavor to form new\, fictional or imagined ones. With each mise en scene\, the artists empower us as viewers to experience their works on our own terms\, forming new perceptions and in turn\, creating alternative realities. \nDrawing from ancient Chinese classics and paintings\, Yang Fudong’s Endless Peaks series takes us on a journey traversing time and space in his investigation into the essence of human spirituality. Also borrowing elements of traditional portraiture but this time Western\, Zhou Tiehai and Tang Maohong re-enact their subjects: Zhou depicting his in A Dog’s Life and The Duke of Wellington in an idealised manner to convey their elevated status and position of power and importance; while Tang takes a classical\, sculptural approach in his A Part of Classics – 3. For both artists\, their injection of contemporary humour brings a plot twist to their narratives.\nThe works of Melati Suryodarmo and Lynn Hershman Leeson reveal the role of the camera lens and its relationship with whom it captures. Suryodarmo’s Tomorrow\, As Purposed series\, which began as a dance theatre piece inspired by Shakespeare’s Macbeth\, invites viewers to observe and question\, the bodily content framed in theatrical gestures. In a seemingly reversal of positions in Leeson’s Reach\, the camera—usually out of sight from the audience\, becomes the centre of attention. This exploration of identity is also reflected in Zhu Jia’s Zero\, through the performance and introspection of self by his female protagonist.
URL:https://artsequator.com/event/staging-realities/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20250111T120000
DTEND;TZID=Asia/Shanghai:20250223T180000
DTSTAMP:20260404T230405
CREATED:20250207T144853Z
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SUMMARY:Robert Zhao: The Divine in the Trash Stratum
DESCRIPTION:The symbols of the divine show up in our world initially at the trash stratum.\n– Philip K Dick \nShanghART Singapore is pleased to present The Divine in the Trash Stratum\, a solo exhibition by Robert Zhao Renhui featuring his latest photographic works. The exhibition highlights the profound transformations that emerge from layers of waste and decay\, as the artist invites us to reimagine the relationship between humanity and nature. \nA series of photographs of various creatures on a fallen Albizia tree trunk welcome visitors into the space. These strange scenes depict how a site of destruction has transformed into one of regeneration and life. Mysterious images of precious gems are in fact created with remnants of human activity such as glass shards and discarded fragments\, manifesting them as symbols of how forest processes and human histories intertwine. \nOpening 11 January 2025 ahead of Singapore Art Week\, the exhibition coincides with the Singapore Art Museum’s presentation of Seeing Forest\, first shown at the Singapore Pavilion at the Venice Biennale\, extending Zhao’s ongoing explorations of ecological resilience.
URL:https://artsequator.com/event/robert-zhao-the-divine-in-the-trash-stratum/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20241130T120000
DTEND;TZID=Asia/Shanghai:20241215T180000
DTSTAMP:20260404T230405
CREATED:20241129T015515Z
LAST-MODIFIED:20241129T015515Z
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SUMMARY:Li Dezhuang: Well M Farmland
DESCRIPTION:ShanghART Singapore is honoured to present Li Dezhuang’s solo exhibition “Well M Farmland” (井山田 Jing Shan Tian)\, opening next Sat\, 30 Nov\, at 4pm. This is the second time the artist has returned to Singapore to hold a solo exhibition\, since he left Singapore 24 years ago. Surrounding his iconic “Well M Farmland” series of paintings\, the exhibition strives to share fascinating stories from nearly half a century of his colourful and creative artistic practice. \nThe exhibition comprises selected highlights from his career\, providing an overview of his artistic practice spanning nearly half a century. From the earliest work created in the late 1970s\, to his subsequent revisiting of his “Abstract Landscape” series\, the exhibited works are threaded through “Well M Farmland – Square Puzzle”\, a landmark work created in Singapore during the Covid-19 years that depicts a fascinating narrative of Li’s personal reflection towards the pandemic. The gallery is pleased to reintroduce this globetrotting artist to the public eye through this exhibition\, giving local audiences the opportunity to have a glimpse into his illustrious journey.
URL:https://artsequator.com/event/li-dezhuang-well-m-farmland/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240907T120000
DTEND;TZID=Asia/Shanghai:20241110T180000
DTSTAMP:20260404T230405
CREATED:20240826T095753Z
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SUMMARY:Playing it Safe in 2023\, Praying for Wealth in 2024
DESCRIPTION:ShanghART Singapore is delighted to present Lin Aojie’s solo exhibition “Playing it Safe in 2023\, Praying for Wealth in 2024”\, opening 7 September 2024 at 4pm. The exhibition brings together recent works by the artist\, showcasing witty insights gathered from his observations of the art industry\, the society\, and the world at large. \nMarking his debut exhibition in Southeast Asia\, the self-proclaimed Southeast Asian artist (Lin is based in Guangzhou) was inspired to adapt the iconic political cartoon “The Situation in the Far East” (时局图) with a contemporary twist to create his new iPad painting “Southeast Asia Art Scene”. His distinctive style is perfectly demonstrated through the cartoon-like aesthetics\, historical references\, layered symbolisms\, as well as reflections and observations of the art world and its relations to the wider society. These elements continue to manifest themselves across the other works in the exhibition in various forms. \nAs the exhibition title suggests\, the works presented reflect the human condition as perceived by the artist\, most notably through the pair of video works created in last and this year. A series of conversations across the two videos reveal the inner desires and the fundamentals of human nature\, with “Ultimate Super Dodgy Talk” (2024) hidden within the gallery and only accessible to the ones who are brave enough to take the extra step. \nThe Chinese title “人间” roughly translates to ‘the world of mortals’\, highlighting the observations of the human society from a broader perspective. However instead of positioning himself as a superior viewpoint\, Lin humorously inserts himself across his works. These paintings reference various settings such as the life of an artist and the art gallery system\, to the geopolitical situation\, as well as the unspoken rules and power dynamics in a society. \nConspicuously\, the only works that he is absent from are the triptych depicting the Three Deities. The figures are instead surrounded by a diverse variety of motifs ranging from traditional beliefs to urban myths\, forming a comprehensive image of humanity’s biggest wants through the ages. Once again showcasing Lin’s signature style\, the works blend traditional references with a contemporary approach by presenting these mouse paintings akin to how traditional Chinese posters are stuck onto the walls of their homes for blessing and protection\, except that they are in a commercial gallery space this time. \nThreading both personal narratives and universal motifs\, Lin ingeniously creates seemingly simple yet extremely layered paintings that present a multitude of ways of reading. His approach of discussing serious topics in a light-hearted manner positions himself as a unique voice in this increasingly complex and fragmented world.
URL:https://artsequator.com/event/playing-it-safe-in-2023-praying-for-wealth-in-2024/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20240518T120000
DTEND;TZID=Asia/Shanghai:20240630T180000
DTSTAMP:20260404T230405
CREATED:20240620T040218Z
LAST-MODIFIED:20240620T040218Z
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SUMMARY:Evidence of Things Not Seen: An investigation into Robert Zhao's artistic practice
DESCRIPTION:Evidence of Things Not Seen\, presented by ShanghART Singapore\, is a showcase of art books\, archival materials\, and documentation of past projects outlining Robert Zhao Renhui’s artistic practice spanning nearly two decades. Coinciding with his representation of Singapore at the ongoing 60th Venice Biennale\, this presentation offers an unprecedented overview of his career leading up to the solo presentation of Seeing Forest at the Singapore Pavilion in Venice. \nThe showcase delves into the artist’s diverse projects\, transforming the gallery space into a physical repository of his career milestones\, including the founding of the Institute of Critical Zoologists (ICZ) and his ventures into the secondary forests in Singapore. Evidence of Things Not Seen guides visitors through the highlights of Zhao’s practice\, gathering past exhibitions\, interviews\, media features\, publications\, and research materials to offer a comprehensive review of his thematic explorations and conceptual development. \nBookmaking\, an essential part of Zhao’s practice\, signifies deep dives into different subjects and phases of his career. The exhibition presents numerous publications created by Zhao and various collaterals from past projects. Visitors will also have the opportunity to have a first look of the new catalogue produced for Seeing Forest. \nIn response to the strong interest in his practice garnered from his participation in the Venice Biennale\, this exhibition strives to provide a comprehensive overview of his artistic journey\, from his interest in photography as a tool for storytelling\, to constructing narrative-rich universe through installations inspired by “cabinet of curiosities” and exploring secondary forests for unseen aspects of the human-nature relationship.
URL:https://artsequator.com/event/evidence-of-things-not-seen-an-investigation-into-robert-zhaos-artistic-practice/
LOCATION:ShanghART Singaproe\, Block 9 Lock Road #02-22\, 108937\, Singapore
CATEGORIES:Visual Arts (Events)
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