The Pocket Arts Guide (Apr 2012)

TPAG APR 201 2 / I SSUE 30
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TPAG Ads - Yves Klein Victory.pdf 1 26/3/2012 4:38:54 PM
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PARTICIPATING GALLERIES
AIKE-DELLARCO, Shanghai / Brancolini Grimaldi, Rome / EDS Galera, Mexico City / Eleven Rivington, New York / Gallery
EM, Seoul / Exhibit 320, New Delhi / Green Art Gallery, Dubai / Green Cardamom, London / Patrick Heide Contemporary Art,
London / Herald St, London / island JAPAN, Tokyo / Karma International, Zurich / Harris Lieberman Gallery, New York / Josh
Lilley Gallery, London / Ignacio Liprandi Arte Contemporneo, Buenos Aires / ltd los angeles, Los Angeles / Magician Space,
Beijing / Mendes Wood, Sao Paulo / Francesca Minini, Milan / mothers tankstation, Dublin / Mujin-to Production, Tokyo /
Neon Parc, Melbourne / Take Ninagawa, Tokyo / Nou Gallery, Taipei / Anna Pappas Gallery, Melbourne / PLATFORM3,
Bandung / Simon Preston Gallery, New York / Rokeby, London / Rotwand, Zurich / Saamlung, Hong Kong / Seven Art Limited,
New Delhi / Galleri Maria Veie, Oslo / WEINGRLL, Karlsruhe / Galerie West, Den Haag / WHITE SPACE BEIJING, Beijing
ARTCOURT Gallery, Osaka / Artinformal, Mandaluyong City / Blindspot Gallery, Hong Kong / Nellie Castan Gallery, Melbourne /
Chambers Fine Art, Beijing / Chan Hampe Galleries, Singapore / China Art Projects, Beijing / C-Space, Beijing / Gallery Espace,
New Delhi / Etemad Gallery, Dubai / Fine Arts Literature Art Center, Wuhan / GAJAH GALLERY, Singapore / Hemuse Gallery,
Beijing / ifa gallery, Shanghai / Yoshiaki Inoue Gallery, Osaka / JIA ART GALLERY, Taipei / Kaikai Kiki Gallery, Taipei / Tristian
Koenig, Melbourne / Richard Koh Fine Art, Singapore / Latitude 28, New Delhi / CONTEMPORARY BY ANGELA LI, Hong
Kong / Edouard Malingue Gallery, Hong Kong / Primo Marella Gallery, Beijing / Damien Minton Gallery, Sydney / MISA SHIN
GALLERY, Tokyo / Galerie du Monde, Hong Kong / MORI YU GALLERY, Kyoto / Alexander Ochs Galleries, Berlin / Tim Olsen
Gallery, Sydney / Galerie Ora-Ora, Hong Kong / Park Ryu Sook Gallery, Seoul / Pi Artworks, Istanbul / PIN Gallery, Beijing /
Ryan Renshaw Gallery, Brisbane / Semarang Gallery, Semarang / GALERY SIDE 2, Tokyo / Sin Sin Fine Art, Hong Kong /
GALLERY SKAPE, Seoul / Sullivan+Strumpf Fine Art, Sydney / A Thousand Plateaus Art Space, Chengdu / TIVAC (Taiwan
International Visual Arts Center), Taipei / TKG+, Taipei / Tolarno Galleries, Melbourne / valentine willie fine art, Kuala Lumpur /
x-ist, Istanbul / XVA Gallery, Dubai / Y++ / Wada Fine Arts, Beijing / YAVUZ Fine Art, Singapore
10 Chancery Lane Gallery, Hong Kong / 1301PE, Los Angeles / AANDO FINE ART, Berlin / acb Gallery, Budapest /
Acquavella Galleries Inc., New York / ALISAN FINE ARTS, Hong Kong / Andersens Contemporary, Copenhagen / Arario
Gallery, Seoul / ARATANIURANO, Tokyo / Ark Galerie, Jakarta / ARNDT, Berlin / ART ISSUE PROJECTS, Beijing / AYE
Gallery, Beijing / Beijing Art Now Gallery, Beijing / Beijing Commune, Beijing / Gallery Bernier/Eliades, Athens / Bitforms
Gallery, New York / Blum & Poe, Los Angeles / Boers-Li Gallery, Beijing / Marianne Boesky Gallery, New York / The
Breeder, Athens / Ben Brown Fine Arts, Hong Kong / CAIS Gallery, Seoul / carlier | gebauer, Berlin / Galleria Massimo De
Carlo, Milano / Casa Tringulo, Sao Paulo / Leo Castelli Gallery, New York / The Cat Street Gallery, Hong Kong / Cheim &
Read, New York / Chemould Prescott Road, Mumbai / Chi-Wen Galley, Taipei / James Cohan Gallery, New York / Sadie
Coles HQ, London / CONTEMPORARY FINE ARTS, Berlin / Galleria Continua, Beijing / Pilar Corrias Gallery, London / Alan
Cristea Gallery, London / Galerie Chantal Crousel, Paris / DNA, Berlin / The Drawing Room, Makati City / Galerie Eigen +
Art Berlin, Berlin / Eslite Gallery, Taipei / Gallery EXIT, Hong Kong / Stephen Friedman Gallery, London / Gagosian Gallery,
Hong Kong / Galerist, Istanbul / Gana Art, Seoul / Gandhara Art, Karachi / Annie Gentils Gallery, Antwerp / Gladstone
Gallery, New York / Galerie Gmurzynska, Zug / The Goodman Gallery, Johannesburg / Marian Goodman, New York /
Richard Gray Gallery, Chicago / Greenberg van Doren Gallery, New York / Greene Naftali Gallery, New York / Greengrassi,
London / Green On Red Gallery, Dublin / Galerie Karsten Greve Ag, St Moritz / Grotto Fine Art, Hong Kong / The Guild,
Mumbai / Hakgojae, Seoul / Hanart TZ Gallery, Hong Kong / Hauser & Wirth Zurich, Zurich / Rhona Hoffman Gallery,
Chicago / Hopkins Custot Gallery, London / Michael Hoppen Gallery, London / HORRACH MOYA, Palma de Mallorca /
GALLERY HYUNDAI, Seoul / I-20 Gallery, New York / IBID PROJECTS, London / Gallery IHN, Seoul / Ingleby Gallery,
Edinburgh / Bernard Jacobson Gallery, London / Galerie Michael Janssen, Berlin / Amelia Johnson Contemporary, Hong
Kong / Annely Juda Fine Art, London / Paul Kasmin Gallery, New York / gallery barry keldoulis, Sydney / Sean Kelly Gallery,
New York / Kerlin Gallery, Dublin / Galerie Peter Kilchmann, Zurich / Leo Koenig Inc., New York / Tomio Koyama Gallery,
Tokyo / Gallery Koyanagi, Tokyo / Galerie Krinzinger, Vienna / Kukje Gallery, Seoul / Kwai Fung Hin Art Gallery, Hong Kong
/ L&M Arts, New York / Pearl Lam Galleries, Shanghai / Yvon Lambert, Paris / Langgeng Gallery, Magelang / Simon Lee
Gallery, London / Galerie Gebr. Lehmann Dresden, Dresden / Lehmann Maupin Gallery, New York / Galerie Lelong, New
York / Lin & Lin Gallery, Taipei / Lisson Gallery, London / Lombard-Freid Projects, New York / Long March Space, Beijing /
Galeria Soledad Lorenzo, Madrid / Galleria dArte Maggiore G.A.M., Bologna / Marlborough Gallery Inc., New York / Galerie
Hans Mayer, Dusseldorf / McCaffrey Fine Art, New York / Galerie Urs Meile, Beijing / Galerie Mezzanin, Vienna / Galerie
Mirchandani + Steinruecke, Mumbai / Mizuma Art Gallery, Tokyo / The Modern Institute/Toby Webster Ltd., Glasgow /
Hadrien de Montferrand Gallery, Beijing / Galerie Mark Mller, Zurich / Nadi Gallery, Jakarta Barat / Galerie Christian Nagel
Kln, Cologne / NANZUKA, Tokyo / Nature Morte / Bose Pacia, New Delhi / neugerriemschneider, Berlin / Anna Ning Fine
Art, Hong Kong / Galerie Jerome de Noirmont, Paris / Galerie Nathalie Obadia, Paris / ONE AND J. Gallery, Seoul / Galleria
Lorcan ONeill Roma, Rome / Osage Gallery, Hong Kong / Ota Fine Arts, Tokyo / Roslyn Oxley9 Gallery, Sydney / The Pace
Gallery, Beijing / Pace Prints, New York / MAUREEN PALEY, London / The Paragon Press, London / Pkin Fine Arts,
Beijing / Galerie Emmanuel Perrotin, Paris / PKM Gallery, Seoul / Platform China, Beijing / Polgrafa Obra Grfica, S.L.,
Barcelona / Galera Joan Prats, Barcelona / Project 88, Mumbai / Galerie Quynh, Ho Chi Minh City / Rampa, Istanbul /
Galerie Almine Rech, Paris / Galeria Nara Roesler, Sao Paulo / Rntgenwerke AG, Tokyo / Galerie Thaddaeus Ropac, Paris /
Rossi + Rossi, London / Lia Rumma Gallery, Milan / de Sarthe Gallery, Hong Kong / SCAI THE BATHHOUSE, Tokyo /
Schoeni Art Gallery, Hong Kong / SCHUEBBE PROJECTS, Dusseldorf / Anna Schwartz Gallery, Melbourne / Shanghai
Gallery of Art, Shanghai / ShanghART Gallery, Shanghai / Stuart Shave/Modern Art, London / ShugoArts, Tokyo / Sies +
Hke, Dusseldorf / Sikkema Jenkins & Co., New York / Silverlens Gallery, Makati City / Singapore Tyler Print Institute,
Singapore / Skarstedt Gallery, New York / Fredric Snitzer Gallery, Miami / Galeria Filomena Soares, Lisbon / Soka Art
Center, Taipei / Sperone Westwater, New York / Sprth Magers Berlin London, Berlin / STARKWHITE, Auckland /
STEVENSON, Cape Town / Tang Contemporary Art, Beijing / Timothy Taylor Gallery, London / Galerie Daniel Templon,
Paris / Tornabuoni Art, Paris / Two Palms, New York / Vadehra Art Gallery, New Delhi / Van De Weghe Fine Art, New York /
Vilma Gold, London / Vitamin Creative Space, Guangzhou / Volte, Mumbai / Michael Werner, New York / White Cube,
London / Max Wigram Gallery, London / Wilkinson Gallery, London / XL Gallery, Moscow / YAMAMOTO GENDAI, Tokyo /
David Zwirner, New York
www.hongkongartfair.com
Education Partner
Produced in collaboration with Art Basel
Correct at time of going to press
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TPAG (Gallery list) L.pdf 1 12314 2:31
ARTCOURT Gallery, Osaka / Artinformal, Mandaluyong City / Blindspot Gallery, Hong Kong / Nellie Castan Gallery, Melbourne
/ Chambers Fine Art, Beijing / Chan Hampe Galleries, Singapore / China Art Projects, Beijing / C-Space, Beijing / Gallery
Espace, New Delhi / Etemad Gallery, Dubai / Fine Arts Literature Art Center, Wuhan / GAJAH GALLERY, Singapore / Hemuse
Gallery, Beijing / ifa gallery, Shanghai / Yoshiaki Inoue Gallery, Osaka / JIA ART GALLERY, Taipei / Kaikai Kiki Gallery, Taipei /
Tristian Koenig, Melbourne / Richard Koh Fine Art, Singapore / Latitude 28, New Delhi / CONTEMPORARY BY ANGELA LI,
Hong Kong / Edouard Malingue Gallery, Hong Kong / Primo Marella Gallery, Beijing / Damien Minton Gallery, Sydney / MISA
SHIN GALLERY, Tokyo / Galerie du Monde, Hong Kong / MORI YU GALLERY, Kyoto / Alexander Ochs Galleries, Berlin / Tim
Olsen Gallery, Sydney / Galerie Ora-Ora, Hong Kong / Park Ryu Sook Gallery, Seoul / Pi Artworks, Istanbul / PIN Gallery,
Beijing / Ryan Renshaw Gallery, Brisbane / Semarang Gallery, Semarang / GALERY SIDE 2, Tokyo / Sin Sin Fine Art, Hong
Kong / GALLERY SKAPE, Seoul / Sullivan+Strumpf Fine Art, Sydney / A Thousand Plateaus Art Space, Chengdu / TIVAC
(Taiwan International Visual Arts Center), Taipei / TKG+, Taipei / Tolarno Galleries, Melbourne / valentine willie fine art, Kuala
Lumpur / x-ist, Istanbul / XVA Gallery, Dubai / Y++ / Wada Fine Arts, Beijing / YAVUZ Fine Art, Singapore
Produced in collaboration with Art Basel www.hongkongartfair.com Education Partner
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TPAG (Gallery list) R.pdf 2 12314 2:32
ARTCOURT Gallery, Osaka / Artinformal, Mandaluyong City / Blindspot Gallery, Hong Kong / Nellie Castan Gallery, Melbourne /
Chambers Fine Art, Beijing / Chan Hampe Galleries, Singapore / China Art Projects, Beijing / C-Space, Beijing / Gallery Espace,
New Delhi / Etemad Gallery, Dubai / Fine Arts Literature Art Center, Wuhan / GAJAH GALLERY, Singapore / Hemuse Gallery,
Beijing / ifa gallery, Shanghai / Yoshiaki Inoue Gallery, Osaka / JIA ART GALLERY, Taipei / Kaikai Kiki Gallery, Taipei / Tristian
Koenig, Melbourne / Richard Koh Fine Art, Singapore / Latitude 28, New Delhi / CONTEMPORARY BY ANGELA LI, Hong
Kong / Edouard Malingue Gallery, Hong Kong / Primo Marella Gallery, Beijing / Damien Minton Gallery, Sydney / MISA SHIN
GALLERY, Tokyo / Galerie du Monde, Hong Kong / MORI YU GALLERY, Kyoto / Alexander Ochs Galleries, Berlin / Tim Olsen
Gallery, Sydney / Galerie Ora-Ora, Hong Kong / Park Ryu Sook Gallery, Seoul / Pi Artworks, Istanbul / PIN Gallery, Beijing /
Ryan Renshaw Gallery, Brisbane / Semarang Gallery, Semarang / GALERY SIDE 2, Tokyo / Sin Sin Fine Art, Hong Kong /
GALLERY SKAPE, Seoul / Sullivan+Strumpf Fine Art, Sydney / A Thousand Plateaus Art Space, Chengdu / TIVAC (Taiwan
International Visual Arts Center), Taipei / TKG+, Taipei / Tolarno Galleries, Melbourne / valentine willie fine art, Kuala Lumpur /
x-ist, Istanbul / XVA Gallery, Dubai / Y++ / Wada Fine Arts, Beijing / YAVUZ Fine Art, Singapore
Education Partner
Produced in collaboration with Art Basel
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TPAG (Gallery list) L.pdf 1 12314 2:31
ARTCOURT Gallery, Osaka / Artinformal, Mandaluyong City / Blindspot Gallery, Hong Kong / Nellie Castan Gallery, Melbourne
/ Chambers Fine Art, Beijing / Chan Hampe Galleries, Singapore / China Art Projects, Beijing / C-Space, Beijing / Gallery
Espace, New Delhi / Etemad Gallery, Dubai / Fine Arts Literature Art Center, Wuhan / GAJAH GALLERY, Singapore / Hemuse
Gallery, Beijing / ifa gallery, Shanghai / Yoshiaki Inoue Gallery, Osaka / JIA ART GALLERY, Taipei / Kaikai Kiki Gallery, Taipei /
Tristian Koenig, Melbourne / Richard Koh Fine Art, Singapore / Latitude 28, New Delhi / CONTEMPORARY BY ANGELA LI,
Hong Kong / Edouard Malingue Gallery, Hong Kong / Primo Marella Gallery, Beijing / Damien Minton Gallery, Sydney / MISA
SHIN GALLERY, Tokyo / Galerie du Monde, Hong Kong / MORI YU GALLERY, Kyoto / Alexander Ochs Galleries, Berlin / Tim
Olsen Gallery, Sydney / Galerie Ora-Ora, Hong Kong / Park Ryu Sook Gallery, Seoul / Pi Artworks, Istanbul / PIN Gallery,
Beijing / Ryan Renshaw Gallery, Brisbane / Semarang Gallery, Semarang / GALERY SIDE 2, Tokyo / Sin Sin Fine Art, Hong
Kong / GALLERY SKAPE, Seoul / Sullivan+Strumpf Fine Art, Sydney / A Thousand Plateaus Art Space, Chengdu / TIVAC
(Taiwan International Visual Arts Center), Taipei / TKG+, Taipei / Tolarno Galleries, Melbourne / valentine willie fine art, Kuala
Lumpur / x-ist, Istanbul / XVA Gallery, Dubai / Y++ / Wada Fine Arts, Beijing / YAVUZ Fine Art, Singapore
Produced in collaboration with Art Basel www.hongkongartfair.com Education Partner
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TPAG (Gallery list) R.pdf 2 12314 2:32
Contents
TPAG Apri l 201 2 / I ssue 30
6
EDITORS
LETTER
8
ART WIRE
Gallery updates and events
34
Frontiers
Human Conditions
40
PERSPECTIVES
Breaking the Silence
42
SPACE
Bringing Artists and
Curators together
47
MAP
Art Galleries in Singapore
52
DIRECTORY
LISTING
60
CLASSIFIED
1 4
IN ThE FRAME
History in the Remaking
22
ART LANDS
Building a State of the Arts
26
FEATuRE
Tales of Two Cities
30
GLIMPSE
Documenta: A look back at
Fang Lijun
04 TPAG | Apr 2012
06 TPAG | Apr 2012
edi tor s l etter
DeAr reADers,
With so many articles about taboo, the April 2012 issue of
The Pocket Arts Guide could be called the controversy
issue. But it also looks at the different ways that controversy
is perceived and understood in different contexts. There are
a lot of debates about the place of shock in art, and it is
interesting how the lines between art that addresses taboo
and art that sets out to shock can become blurred. Much
has come out of misunderstanding the differences between
pornography and artistic nudity in art, as well as the preten-
tiously surreal and the meaningful; all of these things call for
a more nuanced understanding.
The face of the art scene in Asia has changed consider-
ably since TPAG was frst launched. In March, the British
gallery White Cube opened its frst overseas branch in Hong
Kong, and it was interesting to see the mixed reactions to
another global art player in an entrepot that has traditionally
been overshadowed by the world of fnance.
One of my friends said he wasnt really into fying
the British fag when I asked if he attended the opening.
Despite historical links between art, nationality and culture,
I no longer fnd such connections relevant when it comes to
appreciating the actual pieces. Perhaps lifting associations,
such as pornography or even nationality, is the key to that
greater understanding. Hope this issue helps you dwell on
such matters.
Remo Notarianni
editor-in-Chief
ISSN 2010-4375 / MICA (P) 130/03/2011
Editor-in-Chief
Remo Notarianni
remo@thepocketartsguide.com
Art Director
Melvin Ho
melvinho@thepocketartsguide.com
Contributors
Roy Voragen, Gladys Teo
ADvErtISINg &
MEDIA PArtNErShIP
3-three Consulting Pte Ltd
23 Genting Road
#03-01 Chevalier House
Singapore 349481
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Advertising:
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sales@thepocketartsguide.com
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Press releases:
pr@thepocketartsguide.com
hong Kong Contact:
Sally Lee
T: (852) 9095 6316
sallylee@thepocketartsguide.com
ON thE COvEr
Ronald Manullang, MM Stalin-Red
Star, 193x168cm, 2010
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AS_NewScape1_ad_F2.pdf 1 22/3/12 10:12 AM
08 TPAG | Apr 2012
Essence of Performing
12.04.12 18.04.12
ION Art (Gallery) at ION
Orchard. L4, ION Orchard Mall
By Sunjin Galleries
www.sunjingalleries.com.sg
Singapore
This exhibitionthe third for Wu
Qiong in Singaporeis like a
homecoming for the artist. Wu
has done extremely well inter-
nationally and locally, having
participated in various interna-
tional art fairs, among them Art
Miami, Art Cologne, and Bridge
Art Fair.
Wus subjects seem buoyantly
afoat. The Beijing-born artists
fairytale visions of childlike fg-
ures against stark backgrounds
and pastel skies set him apart.
His work makes political stress
release and cynicism, once so
characteristic of contemporary
Chinese art, seem generations
away; and it is perhaps this con-
trast that refects the economic
leaps of his generation.
Wus cartoon aesthetics reso-
nate with a generation absorbed
by comic imagery and online
gaming. In the latest exhibition,
his cartoon form has matured
beyond social and personal rep-
resentation to indulge in its own
celebration of archetype and
celebrity. Perhaps Wus latest
works are saying that his gen-
eration has also seen China rise
admirably onto the international
stage.
Everything that has a point
makes a circle by SAI HUA
KUAN
02.03.12 15.04.12
Yavuz Fine Art
www.yavuzfneart.com
Singapore
Yavuz Fine Art is pleased to
present Everything that has a
point makes a circle. Both title
and exhibition refect Sais fas-
cination with space and time of
which a circle is defned by both
elements. The exhibition marks
Sais return to Singapore after
six years in the UK.
Throughout his career, Sai
has developed a distinctive vi-
sual language that is bold, witty
and underlined by the careful
minimalist placement of objects
that engage the audiences with
their humorously irresolvable
quality.
Comprising of drawings, flm,
photography, sculpture and
installations, the exhibition ex-
plores the idea of a journey
with no beginning and no end.
It looks at the infnite nature of
time and how cycles of life con-
tinue through change, rebirth
and transformation.
art wire
From Within: A group
exhibition by Chiam Shock
Yuen, Claude Bencheikh,
Ko Siew Luan, May Ho, Yip
Lee Kheng and Curated by
Ernest Chan (Singapore
and France)
19.04.12 24.04.12
SOCIETE GENERALE Gallery
Alliance Franaise de Singapour
www.alliancefrancaise.org.sg
Singapore
With the profound happiness
and contentment that an artist
obtains from the realisation of
fulflling ones innermost self.
he needs to have strong com-
mitment and perserverance
thoughout the process.
This group of art practitio-
ners from diverse backgrounds
share the common preposition
yet have their own thoughts
and approaches toward theirs
art fnding. The works present in
this exhibition will focus on the
formal appeal and substance.
The arts reveal deep insight
of each art practitioner ideas
and minds are apparent. It is
the hope of the art practitio-
ners intentions to offer fresh
perspectives to engage the
viewers by looking into and
thinking differently.
09
Glocal
19.04.12 22.04.12
The Arts House
www.theartshouse.com.sg
Singapore
PARADOX, which exclusively
represents Preeti Sood in South
East Asia, is hosting her frst-
ever solo exhibition in April at
Singapores The Arts House
from April 19 to 22 and we are
wondering if you would like to do
an interview (via phone or email)
with the artist, Preeti.
Preetis art has been featured
in notable exhibitions such as
BITE Contemporary Printmak-
ing Show at the Mall Gallery in
London; the 6th International
Digital Print Show at LeCentre
dartistes Voix Visuelle Gallery in
Ontario, Canada; and the New
Prints 2011/ Autumn Exhibition
at the International Print Cen-
tre, New York. Preetis explores
the theme of GLOCAL (Global
and Local) through the fne art of
printmaking.
This debut solo exhibition in
South East Asia will showcase
two series of work by the artist,
encompassing over 25 artworks
including digital prints, giclee
prints and prints with laser en-
graving and etching. Ripped
apart, re-stitched and re-creat-
ed, the imagery found in Preetis
work is inexplicably urban. For
more information, please refer
to the press release below.
Zhang Jianlongs Song
and Play
Ode to Art
www.odetoart.com
Singapore
Young and fourishing Chinese
artist Zhang Jianlong brings the
exuberant young boys of his
Playtime paintings to life, this
time through a new turning point
in his artistic career: sculpture.
Through glossy bronze and min-
imal usage of colour, Zhangs
boys are shining with innocence
while indulging in the joys of
song and play.
Children of the past are often
Zhangs favorite subjects, as he
believes people of that era were
much less narrow-minded com-
pared to those of today. Zhang:
Modern peoples states of mind
and thoughts are subjected
to infuences from civilization,
which causes a lack of creativity
and courage.
In his PlayTime series of
paintings, Zhang frst attempts
to look upon the world from the
unique perspective of a childs
eyes, then directly attacks the
way in which the civilization we
have created constrains our
hearts and souls.
REMEMBER by
Khosrow Hassanzadeh
28.03.12 14.04.12
Richard Koh Fine Art
www.rkfneart.com
Singapore
SINGAPORE Richard Koh Fine
Art (RKFA) Singapore is proud
to present Iranian artist/actor,
Khosrow Hassanzadeh (b. 1963)
frst solo exhibition in Singapore.
REMEMBER will feature a mu-
ral on tile, as well as works on
paper and canvas. The exhibi-
tion will feature works from his
acclaimed Terrorist and Ya Ali
Maddad series.
Hassanzadeh is known as a
political artist in Iran. His works
often deal with issues that are
considered sensitive in Iranian
society. His works are generally
concerned with Islam as a fac-
tor in the interplay between East
and West. Hassanzadeh frst
gained international recognition
with his War series (1998), a
grim and trenchant diary of his
own experiences as a volunteer
solider during the Iran-Iraq war
(1980-1988).
10 TPAG | Apr 2012
Koort Boodja (Heart Land)
04.04.12 12.05.12
ReDot Fine Art Gallery
www.redotgallery.com
Singapore
ReDot Fine Art Gallery is hon-
oured to host Lindsay HARRISs
frst ever international and solo
show titled Koort Boodja (Heart
Land); a ftting recognition for
a man that has been recently
selected as one of the top 20
indigenous artists in Australia
for the upcoming exhibition un-
Disclosed: 2nd National Indig-
enous Art Triennial to be held at
the National Gallery of Australia
just ahead of the opening of this
show.
Lindsay Harris is a contempo-
rary Indigenous Australian artist
who lives and works in Lesmur-
die, situated in the Perth Hills,
on the south coast of Western
Australia. He is from the Nyoon-
gar people, who have lived in
parts of Western Australia for at
least 45,000 years.
Lindsay Harris states: I am a
Nyoongar artist and my interest
has always been fnding ways of
representing my lands (Kwolyin).
I see through my eyes which in-
voke memories of Kwolyin in the
central wheat belt of Western
Australia and of the surrounding
districts where I once lived. As a
Noongar I have and I share in a
special relationship to the coun-
try of my forebears. Overarching
this relationship is the respect for
my country and my involvement
in its care and representation.
Circling the Confuence
03.04.12 04.05.12
Indigo Blue Art
www.indigoblueart.com
Singapore
INDIGO BLUE ART is pleased
to present Circling the Confu-
ence, a group exhibition show-
casing a large and diverse col-
lection of visual arts from all
around India. Tracing an evolu-
tion of innovative art trends and
movements in the contemporary
Indian Art scene, the exhibition
is presented on two levels of
the gallery: Gallery 1 focuses on
works by established young art-
ists whilst Gallery 2 focuses on
newer emerging talent.
Over the last few years Indian
artists have developed an ex-
tensive repertoire of styles using
new media as a vehicle for their
narrative. This collection, cov-
ering a wide range of subjects
and media, focuses on stylistic
expressions from tribal to natu-
ralism and fgurative to abstract
expressionism, each deriving its
artistry from the artists emotion-
al connection to their perceptual
reality.
Artists exhibiting in Gallery
1 Puja Kshatriya, Deepa Ma-
hajan, Deepak Tandon, Minal
Damani Nandi, Pratul Dash,
Saba Hasan, Sudhansu Sutar
and Vivek Vilasini. Artists exhib-
iting in Gallery 2 Kumar Ran-
jan, Dhaneshwar Shah, Kavita
Singh Kale, Soumya Samanta
and Vinita Dasgupta.
Latin American Art
27.04.12 13.05.12
Opera Gallery Singapore at ION
Orchard
www.operagallery.com
Singapore
Contemporary America is un-
equivocally a continent to be-
hold, but it is also the vast coun-
tries that has produced some of
the most famously daring, con-
vention-busting and unavoidably
beautiful art of the 20th and 21st
century.
Combining South and Cen-
tral America, as well as the Ca-
ribbean and Mexico, the Latin
American art collection to be
showcased at Opera Gallery this
April is one that is as stunning as
it is challenging and as engaging
as it is highly prized.
Get prepared to experience
the unadulterated freedom of
expression, illustrative and
sculptural genius and strikingly
bold brushstrokes of the likes
of Fernando Botero, Eduardo
Guelfenbein, Federico Uribe,
Diego Masi, Roberto Matta, Ru-
ben Berland, Antonio Segui and
Ahmed Gomez.
As the home of some of the
most important and collectible
creative expertise in the modern
and contemporary art felds, Lat-
in American Art at Opera Gallery
this month plays host to a world
of beautiful self-representation
and diversifed styles through
satirical and literal signs and
symbols unique to the region.
art wire
11
CANDY FACTORY
PROJECTS Kitakyushu
Biennial in Singapore
30.03.12 27.05.12
The Private Museum
www.theprivatemuseum.org
Singapore
The Kitakyushu Biennial is a
Japan-based platform for inter-
national collaborative multime-
dia art projects. This exhibition
features different collaborations
with internationally established
artists such as Charles Lim (Sin-
gapore), Takuji Kogo (Japan),
Mike Bode (Sweden), John
Miller (USA), Federico Baronello
(Italy) and Young Hae Chang
Heavy Industries (South Korea).
These collaborative projects
will be shown under the Kitaky-
ushu Biennial for the frst time
in Singapore, including a new
experimental and collaborative
work by Charles Lim and Takuji
Kogo, and there will be three
changes throughout the duration
of the exhibition. As a travelling
show, the Kitakyushu Biennial is
aimed at creating new art works
from various unique historic and
geographic conditions of the
countries it visits.
The Kitakyushu Biennial is
a bi-annual exhibition organized
by *CANDY FACTORY PROJ-
ECTS, a visual and musical mul-
timedia art project.
Revitalising the Glorious
Tradition:The Retrospective
Exhibition of Pan Tanshous
Art
25.12.11 02.05.12
Hong Kong Museum of Art
www.lcsd.gov.hk/ce/Museum/
Arts/english/exhibitions/exhibi-
tions01_oct11_02.html
Hong Kong
Acclaimed by critics and art his-
torians as one of the four giants
of traditional painting, Pan Tian-
shou (1897 1971) was a lead-
ing exponent of modern Chi-
nese art history. He developed a
unique style which is character-
ised by expressive brushwork,
vigorous form, forceful composi-
tion and monumental scale.
Pan was an outstanding grad-
uate of the Zhejiang Provincial
First Normal College. He taught
at a succession of art schools
including the Shanghai College
of Fine Arts, the Xinhua Art Col-
lege, and the Hangzhou National
College of Art.
Selected from the Pan Tianshou
Memorial Museum in Hangzhou,
the exhibition features 36 works
including landscape as well as
fower and bird paintings and
also calligraphy, accompanied
by a number of valuable docu-
ments. It is a look at the timeless
and the historical.
Transforming Minds:
Buddhism in Art
10.02.12 20.05.12
Asia Society Gallery
http://asiasociety.org/
Hong Kong
Transforming Minds: Buddhism
in Art showcases Buddhist
works from the world-renowned
Mr. and Mrs. John D. Rockefeller
3rd Collection of Asian Art along
with contemporary works by
leading Asian and Asian Ameri-
can artists that draw inspiration
from one of the worlds great
religions. The exhibition inau-
gurated the new Asia Society
Gallery (Former Magazine A), at
the newly restored 19th century
Explosives Magazine site.
In recent times, a combination
of individualism and an interest
in Buddhist beliefs has had an
impact on the artistic production
of contemporary artists such as
Montien Boonma, Zhang Huan,
Mariko Mori and Michael Joo.
Each of these four artists are
exhibited at the exhibition and
have a different approach to the
theme of Buddhism, from con-
ceptual and scientifc to ritualis-
tic and communal.
Their works provide the au-
dience with an opportunity to
question preconceived ideas
about Buddhism and to recon-
sider religious art and the ar-
tistic exploration of religion in
contemporary contexts. This ex-
hibition is a rare opportunity to
see examples of cultural adap-
tations and collective responses
to Buddhism in pre-modern
times, as well as individualized
responses to Buddhism in con-
temporary artistic practice.
12 TPAG | Apr 2012
china in China
26.03.12 16.04.12
Plum Blossoms Gallery
www.plumblossoms.com
Hong Kong
Plum Blossoms Gallery takes
great pleasure in presenting
china in China, Hong Kong
artist Raymond Fungs frst one-
person exhibition at the gallery.
Raymond Fungs mystical and
atmospheric ink landscapes
are rendered with discipline and
structure, yet are free in spirit. A
seasoned architectural designer,
Fung has mastered the vital skill
of dealing with space, as is evi-
dent in his paintings with care-
fully composed of ink or colour
blocks that emphasize the con-
trasts of solid and void. In his lat-
est china in China series, Fung
painted the mountains and wa-
ters with refned and exquisite
brushstrokes, and introduced
the tranquil chroma inspired by
the ceramics of the Song dynas-
ty (960-1279) into his works.
Fung has exhibited extensively
in New York, Paris, Avignon, Bei-
jing, Shanghai and Hong Kong.
His works are widely collected
by international corporations and
museums including the Asian Art
Museum of San Francisco, the
National Art Museum of China,
the Shanghai Art Museum, the
Hong Kong Museum of Art, the
University Museum and Art Gal-
lery, HKU and the Hong Kong
Heritage Museum.
Frances Barth
29.04.12 28.04.12
Sundaram Tagore
www.sundaramtagore.com
Hong Kong
For her frst solo show in Asia,
mid-career American artist Fran-
ces Barth presents imaginary
landscapes that are at once con-
founding and sublime. Her radi-
cally abstract paintings possess
a startling graphic clarity and
are made of lush combinations
of unnamable colorssaturated
blue-greys, fery orange-reds,
and pale yellow-greensthat
dont exist in nature.
Barth, who was a professor
of painting, drawing and critical
issues at Yale University from
1986 to 2004 where she infu-
enced a generation of young,
infuential artists, has pushed
her work into a realm between
landscape, geological mapping
and pure abstraction, she incor-
porates modeling, diagramming,
mapping symbols and charting,
creating a linear narrative, al-
most like a creation story, over
a period of geological time. Lay-
ering expanses of colour with
cartographical lines rendered
with hand-made stencils and en-
gineering drafting pencils, Barth
affords the viewer an aerial per-
spective one moment, and in an-
other, intimate views of lengths
of abstract colour.
Mimmo Paladino
28.03.12 21.04.12
Alan Cristea Gallery
www.alancristea.com
London
Alan Cristea Gallery will pres-
ent a major new construction
together with a site-specifc se-
ries of drawings as well as a ret-
rospective exhibition of Mimmo
Paladinos prints and multiples.
Born in Paduli, in the Benevento
region, in 1948, Paladino lives
and works in Italy where he has
studios in Rome, Paduli and
Puglia. The exhibition at 31 Cork
Street will focus on a large-scale
mixed-media installation as well
as a new body of watercolours
and works on paper backed onto
canvas specifcally conceived by
Paladino for the space.
For three months, from April
2011, Paladino dominated Mi-
lans cultural agenda. A jet fght-
er adorned by the artist landed
in the octagon of the galleria Vit-
torio Emanuelle. His flms were
shown in Milanese theatres, his
literary sources discussed in
a festival of art and literature.
His salt mountain strewn with
horses, which he frst installed
20 years ago, was resurrected
in the Piazetta Reale adjacent to
the Duomo. His gigantic Helmet
sculpture looked out from the
Castello Sofrzesco.
art wire
13
Published monthly, complimentary copies of TPAG
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14 TPAG | Apr 2012
In The Frame
Fhrer with Child,
200 180 Oil on
canvas
History in the Remaking
15
Crucifxion,
200 180 Oil
on canvas
Ronald Manullang
casts a vengeful
eye on histoRy. the
indonesian aRtist Metes
out justice on canvas
with paintings that
RefResh peRspectives on
politics, social issues
and pop cultuRe.
Text: Remo Notarianni
16 TPAG | Apr 2012
In The Frame history in the making
Expecting New Born Jugun Ianfu, 200x180cm Oil on canvas 2008
1 7
U
nlike Chinas Mao Tse-tung,
German leader Adolf Hitler
has never quite been given a Pop
Art afterlife, in which he might be
remembered in surreal, often mass-
produced, kitsch paintings. The ver-
dict is clear: Hitlers heinous crimes
made him the embodiment of evil
and that legacy of guilt would carry
into artistic memoriam.
Ronald Manullangs often semi-
naked depictions of Hitler as a preg-
nant woman, despite being parodic
and satirical, are controversial; but
thats part of his creative plan. In
the series of oil paintings called
The Final Judgement, one of the
images, titled Fuehrer with Child,
depicts Hitler cradling a Jesus-like
child; and in the anachronistic Ger-
man Mothers Cross of Honour, the
Fuehrer is part of the same family
as Holocaust martyr Anne Frank.
This is a terrifying evil man,
who has to breastfeed, sing lul-
labies and caress a baby who he
really hates, reveals Manullang.
Hitler committed sins on mankind,
Expecting New Born of KMT, 175x200cm Oil on canvas 2008
18 TPAG | Apr 2012
The Annunciation, 200 180 Oil on canvas
1 9
but he was never punished and he
was never taken to justice. One of
the purposes of my paintings is to
punish him by forcing him to love
that which he victimised. Manul-
langs poetic justice however, may
not be immediately realised in the
ambivalence of the images. At Art
Stage Singapore 2011, he was rep-
resented by the Indonesian Umah-
seni Gallery which flled the entire
booth with The Final Judgement
series. The freak show reactions of
passersby at these images did not
eschew their curiosity.
Manullangs technical mastery
might be enough to diffuse the shock
and this raises questions. Manullang
turns Hitlers plan on himself by
making him interbreed with his vic-
tims. But the series, seen in entirety,
reveals Manullangs moral perspec-
tive. The nuanced works also have
religious references, such as in
The Annunciation. Social and
political issues, especially with a
historical background have always
interested me, said Manullang,
because as an artist I can morally
respond in the work, playing with
the truth and adding humour. Ad-
dressing history has created differ-
ent responses in people. For exam-
ple in my Pregnant series, some
people like it, some people dont,
and others get furious.
Manullang might have been
slated for not choosing an Indo-
nesian leader in The Final Judge-
ment, but Asias rulers have not
escaped his canvas. In the oil paint-
ing Expecting New Born of KMT,
Manullang subjects Mao to the
same treatment as Hitler, showing
him as an expectant mother. He
also depicts Japans Emperor Hi-
rohito with the same punishment
for crimes in World War II in Ex-
pecting New Born Jugun Lanfu. I
punished Hitler not because he was
European but because he was evil,
just as I punished Mao and Hiro-
hito not because they were Asian,
but because they were evil. Manul-
langs Hirohito, which has also
been exhibited at major art events
in Singapore, shows a pregnant
Japanese emperor punished for im-
posing forced labour (Romusha)
in Indonesia during World War II.
The artist imagines him bending to
Heavens will so as to bring back
lost souls by giving birth to Ro-
musha babies.
In Manullangs life and experi-
ences, it is possible to unearth infu-
ences from history, religion and pop
culture that defne him as an inter-
nationally resonant Asian pop art-
ist. His work is characterised by the
blending of opposites, with swirl-
ing combinations of religion, celeb-
rity and politics such as in the MM
series, in which we see screen icon
Marilyn Monroe in Stalinist garb.
I have been an artist since I was a
This is a terrifying evil man,
who has to breastfeed, sing
lullabies and caress a baby
who he really hates.
Manullang.
20 TPAG | Apr 2012
kid, recalls Manullang. I lived in
a small city called Tarutung.
At that time I was really amazed
by pictures of classical Christian art
in postcards brought to my city by
European missionaries. So I began
to paint and reproduce them. I did
the same thing for Hollywood flm
posters that I saw in the cinema near
my house. The only painter nearby
was a political prisoner from an-
other city located near my school,
and I really wanted to see how that
painter worked, since my friend
told me he always worked near the
window. One day, I skipped school
curiously to see him paint in jail.
It was only for a few seconds and
I could see him paint a black-and-
white portrait, until he shooed me
away. That was the frst time I saw
a painter. It was in 1966, I was
12 years old and still in sixth grade
elementary school. Manullangs
early exposure to Christianity,
Hollywood and European painting
styles, before he formally studied
art, readied his talents for an age
in which Indonesian artists are not
confned to traditional folk art, and
can address the wider world that
the nation is an integral part of.
This is the frst time in the his-
tory of modern art that Asian art
is being taken into account by the
West, said Manullang, and it
is seen as a resurrection of tradi-
tional Eastern craftsmanship. All
of these things might happen when
geographical and cultural boundar-
ies start to blur, especially with the
universality of a global lifestyle and
the rapid fow of information.
This is the frst time in the history of
modern art that Asian artists are being
taken into account by the West
Manullang
German Mothers Cross of Honor, 200 x 180cm, Oil on canvas, 2010
P
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22 TPAG | Apr 2012
Building a
State of the Arts
Text: Roy Voragen
Indonesian Eye exhibition in Jakarta 2011
Erika Ernawan, Gruen 2012 Samsul Arifn, Time After Time
Art LAnds
I n d on e s I A
23
I
t is fair to say that the arts in Indo-
nesia are thriving. In recent years,
artists from Indonesia have en-
tered the limelight of the global art
arena and now enjoy a regular bill-
ing at events in Singapore and Hong
Kong. They participate in interna-
tional exhibitions and biennales,
and their works have been collected
by museums abroad. The irony is,
however, that these developments
are not supported by a solid infra-
structure at home.
The arts in Indonesia are not
strongly institutionalized due to,
among other things, a state with
minimal interest in art and a frag-
mented arts community. As a result,
art practices including curatorial
practices require a fair amount of
improvisation and resourcefulness
on the practitioners part.
Indonesia lacks an art museum
that collects, preserves and exhibits
artworks that are accessible to the
general public. Biennales and other
Mella Jaarsma, The Post Modernist 2011
Tromarama, Happy Hour
24 TPAG | Apr 2012
impermanent exhibitions are now
the only ways to offer a context and
they serve as temporary museums
for contemporary art in Indonesia.
An art museum could function
as an institute that supports the pro-
cesses of validation of contempo-
rary art practices and their develop-
ments in Indonesia. At the moment,
the Indonesian art market performs
this role. A much older argument is
that such a museum is an integral
part of nation-building. Indone-
sians, though, have good reasons to
distrust this argument after their ex-
periences under Suhartos New Or-
der regime (1966-1998), which only
allowed one way to tell or show the
story of the nation.
And its presence could improve
Indonesias image abroad (Indone-
sia is, for example, more than an
abundant reservoir of cheap labor);
and by improving its image be-
yond the exotic clichs, Indonesias
power could increase (according to
Joseph Samuel Nyes soft power
argument); and, in turn, this could
bolster the nations GDP (according
to Richard Floridas creative indus-
try argument), for example through
tourism.
These arguments, however, leave
out the audience. Even when an ex-
hibition can be considered an ar-
tistic (and/or commercial) success,
too little effort is made to grab the
attention of a public beyond fellow
artists, curators, art critics and col-
lectors, which is a relatively small
community.
Now, in Indonesia, we can go
to a gallery and see an exhibition
after which the works vanish (very
possibly forever or to surface again
at an auction house and then disap-
pear again from sight). Now private
museums (each one is dedicated to
An art museum could function
as an institute that supports
the processes of validation of
contemporary art practices and
their developments in Indonesia.
Fixer, exhibition of alternative spaces and art groups in indonesia 2010
Art LAnds Building a state of the Arts
25
showing the collection of one col-
lector), exhibition catalogs, maga-
zines, websites, libraries, and the
Yogyakarta-based Indonesian Visu-
al Art Archive fll parts of the void.
Such an art museum could pro-
vide a much-needed context to the
feeting exhibitions. As in other
parts of Indonesias socio-cultural
life, the arts are in a Catch-22
situation: ambitious efforts to found
art museums require funding but
this can only be attracted from the
state and private parties if public
interest in the arts increases sub-
stantially. In turn, public interest in
the arts might only increase if an art
museum is established.
To convince state institutions
and private parties that an art mu-
seum is feasible, existing art organi-
zations will have to cooperate. Or-
ganizations like Cemeti Art House
in Yogyakarta, the Common Room
Networks Foundation in Bandung
and ruangrupa in Jakarta have prov-
en to be successful. However, frag-
mentation needs to be overcome
to be a partner to state institutions
and private parties and to increase
public interest in the arts to make
the compelling argument that an art
museum in Indonesia is not merely
needed but also feasible.
Closer collaboration between
artists and art spaces, and between
art spaces could be a way to in-
stitutionalize an arts infrastructure
from the bottom-up (admittedly,
this could be a Sisyphus project).
Founding an art museum could be-
come the focal point for further de-
velopment of an arts infrastructure.
Hoping for the state to step in and
doing it properly if it does might
very well be like waiting for Godot.
Without question, art in Indone-
sia is thriving, however, if this suc-
cess is to be prolonged, discussions
on the sustainability of ideas and
practices, fnancial sustainability
and infrastructure are vital.
Roy Voragen is a Bandung-based
writer and he can be contacted at
http://fatumbrutum.blogspot.com/
Farhan Siki, I have the answer
Muhammad Akbar, The Tubes
P
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26 TPAG | Apr 2012
Feature
Tales of Two
Cities
Gilbert and George present London Pictures at White Cubes newly opened Hong Kong gallery.
27
B
ritish gallery White Cube
opened its Hong Kong branch
on March 2 with the inaugural ex-
hibition of the enigmatic Gilbert
and Georges London Pictures.
The London-based giant, which
helped to pioneer the Young British
Artists (YBA) in the 1990s, has fol-
lowed other international galleries
to Hong Kong as Asias art market
starts to thrive.
The Italian Gilbert Proesch and
English George Passmore, who
describe themselves as one artist,
two people, are ideal representa-
tives for the gallery in a city known
for symbiosis East and West un-
der one country, two systems. In
their latest series, made up of 292
pictures, the artists tell the story
of their native London. The
exhibition presents 22 of these im-
ages, revealing how that story is
also relevant to Hong Kong, while
demonstrating how artists in one
place can speak to audiences in an-
other. It took us nearly ten years
to make these pictures, George ex-
plains in gentlemanly tones. The
frst time we took one of these pic-
tures was 2001, and then we did an-
other one in 2004 and so on. It be-
came diffcult as we had to screen
each image.
Gilbert elaborates: It was quite
incredible because we were able to
create a townscape with these im-
ages that describes everything that
was going on in the city, and it is a
dark townscape. London Pictures
seems to echo across the walls of
the 6,000 square feet that White
Cube has nestled into 50 Connaught
Road Central, across two foors. The
series is made up of 4,000 headlines
from newspaper posters that the art-
ists collected over time.
Gilbert and George usually
work in series. They often place
themselves in the composition,
which has roots in their living
sculptures work. With their visual
diction, they make statements that
bind their emotions with landscapes
and streetsall encompassed by a
grid-like design. The works have
an iconic intensity that is reminis-
cent of a churchs stained-glass
Gilbert & George, Accused 2011 Gilbert & George, YOB 2011
P
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28 TPAG | Apr 2012
windows. And the images come
together like a graphic symphony
that touches upon universal themes.
These include nudity in The Naked
Shit Pictures (1994), nationhood in
The Jack Freak Pictures (2008),
taboo and respectability in The
Urethra Postcards (2011). The art-
ists use the same modus operandi
for all pictures collecting ephem-
era, such as postcards and phone
booth sex cards, from the city they
live in and then cataloguing what
they fnd to try and make sense of
people and society.
In London Pictures they take
on a more journalistic approach and
reveal how the media fnds words
for a world that is dark and unset-
tling. When you group the posters
into categories such as murder, dy-
ing, and rape, you realise what an
extraordinary world we live in and
have always lived in, says George.
In the gritty language of metropoli-
tan life, the story of London bears
an uncanny resemblance to that
of other cities in the world. And
the dialogue that the pictures start
could be one of many that White
Cube brings to Hong Kong. There
is something that moves beyond the
textual in these pieces and thats
why we wanted to bring them to
Hong Kong, says Graham Steele,
White Cubes Asia director. The
messages are very specifc but it is
our job as dealers to make the vi-
sion clear and to disseminate the
information that one needs in the
right context. Hong Kong is an in-
credibly dynamic metropolis.
Its a post-colonial hub and a
gateway to Asia, economically and
also culturally. For a British gallery
it made sense to bring international
dialogue to Hong Kong that hasnt
necessarily been here before. Un-
like Shanghai, there was space in
the cultural landscape, and the kind
of contemporary art that we exhibit
can add to the dialogue. It remains
to be seen if White Cubes Hong
Kong branch can help to incubate
epoch-making artists, like it did af-
ter opening in 1993 in St Jamess,
London. Gilbert and George have
achieved international recognition
but most of the images they use are
from the area around their home
in Fournier Street, Spitalfelds,
East London. Their global reach is
proof of how the story of one city
can also be that of another. These
are not only the London pictures,
says George. Hong Kong, Beijing,
London and, New York have all of
these messages every day. We are
all part of a new modern world and
its very interesting.
Feature tales of two Cities
When you group the posters into categories
such as murder, dying, and rape, you realise
what an extraordinary world we live in and have
always lived in. George
30 TPAG | Apr 2012
Glimpse
31
Text: Gladys Teoh
D
ocumenta, a retrospective
solo exhibition of Chinese
artist Fang Lijuns works at Singa-
pores Museum of Contemporary
Art with Linda Gallery, features
over 700 pieces of the contem-
porary hotshots early paintings,
drawings, documents and pho-
tographs charting his journey
as a schoolboy in Hebei prov-
ince to international art stardom.
Fangs dedication in document-
ing his journey allows audiences a
unique insight into the progressive
stages of his personal and artistic
experiences and creative processes.
It also showcases the impact of his-
torical moments in China on an in-
dividuals life.
Fang is one of the forefathers of
Cynical Realism, an art movement
in China that expressed the alien-
ation and disillusionment of the
generation that grew up during the
Cultural Revolution. His scathing
social and political commentary
speaks volumes to international
audiences who listen out for voices
within one of the most contentious
periods of Chinas history.
Best known for his paintings
of young men with shaven heads
looking bored, indifferent and dis-
illusioned with the world around
them, Fangs disenchantment with a
post-1989 China is depicted by por-
trayals of youths of that generation
seemingly without ambitions and
idealism, bored by state propagan-
da, and dampened by dashed hopes
and false expectations. Many have
called his paintings self portraits, as
his subjects look uncannily similar
to himself bald with cheeky gri-
maces and crescent-shaped eyes.
The strength of Fangs artistic
inspiration stems from his early
struggles as a child in the Cultural
Revolution and a land-owning fam-
ily that got denounced during that
period. Growing up, he was told that
his family was not a good one, he
was constantly teased and taunted
as a child, and his grandfather was
publicly denounced as Landlord
Fang. Subsequent events and
violence at Tiananmen Square in
1989 intensifed his woes of hu-
Documenta:
A look back at
Fang Lijun
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32 TPAG | Apr 2012
Glimpse Documenta: A look back at Fang lijun
manity and politics. And according
to the artist, this disillusionment
has helped him fnd artistic direc-
tion ever since. His poignancy was
refected in his works in the early
1990s, dominated by a dark pal-
ette of black, grey and deep blue.
His subjects are often seen adrift in
expansive bodies of water, trying to
keep afoat.
His works also refect his com-
plicated relationships with the
Chinese government. In the early
days he was viewed with suspicion
by the authorities, especially after
1989 when a hardline approach was
taken on dissenting views. Accord-
ing to Fang, this uneasy relation-
ship lasted almost ten years, during
which the government and artists
in general were at odds. Over time,
however, things have improved with
changes in China and as a result of
both sides learning to understand
each other more. Fangs pieces in
the late 1990s illustrate the politi-
cal shift, and the mood of his pieces
lightens with the introduction of
bolder colours. However, hopes are
still kept in check by Fangs con-
stant reminder that although the
state of affairs has improved, the
situation is still far from ideal. His
subjects look away from the audi-
ence, seemingly lost in thought or
refecting internally. Some even
look to the sky for inspiration.
Many assert that the birth of his
daughter in 2005 changed his out-
look on life and he became more
positive, although the artist himself
denies this. He stresses the indelible
mark of his childhood struggles on
his personal and artistic direction.
One can draw his or her own con-
clusions here, but a playful mood
defnitely surfaces in the 2000s,
where Fang features babies and
symbols of happier things like fow-
ers and fying swans prominently in
his paintings. Perhaps Fang is just
addressing a bigger theme of birth
and rebirth in cultural politics. He
is optimistic of the birth of a new
generation amidst improving times,
at least for some. But he cautions
that nothing is perfect. His painted
babies and birds sometimes fy into
menacingly tainted storm clouds,
as if making a statement on how
dissidents still need to tread waters
carefully. Conficts with the Chi-
nese government are still common-
place and although China has made
strides economically, political lib-
eralization is not as developed. In
2011, Fangs good friend and inter-
nationally acclaimed artist Ai Wei
In the early days he was viewed with
suspicion by the authorities, especially after
1989 when a hardline approach was taken
on dissenting views.
33
Wei was detained for more than 2
months and eventually charged for
supposed tax evasion.
The complicated trysts of con-
fict and harmony between Chi-
nese artists and the authorities
are constantly changing, which
makes works of the likes of Fang
so appealing to international audi-
ences. Yet it is telling that although
Fang has had major solo shows
internationally over 20 years, his
frst major solo show in China only
took place in 2006 at the Today Art
Museum in Beijing, which is in-
terestingly a privately-run, not-for-
proft museum.
The importance of Fangs works
in art history is recognised by Linda
Ma, director of Singapores Linda
Gallery, who decided to stage the
solo exhibition at MOCA@Loewen
instead of in a gallery space, em-
phasising a pedagogical discourse
about the Cynical Realist move-
ment and an engagement and inves-
tigation of Fangs quest to show the
relationship between artists, art, and
the societal environment. All the
works displayed are reproductions,
not original artworks, with the ex-
ception of a 4m by 8.5m painting.
None of the works on display are
for sale. This is also the frst time
that the exhibition has travelled out
of China since its start in 2008.
The works of Master Fang are
contemporary, well-executed and
daring. Each and every piece at-
tracts audiences in a way that in-
duces them to want to own a piece
of his work. The artist himself is
talented and smart, witty and bold.
He attracts people in such a way
that everyone wants a piece of his
story too! Linda smiles when ques-
tioned about her choice in showcas-
ing the artist in Singapore.Staging
his solo exhibition in Singapore
is a big thing for Master Fang as
well. Singapore has always been an
important market for Chinese con-
temporary artists. Like Indonesian
collectors, Singaporean collectors
have collected many of Chinas
great contemporary artists from
early years, and they can be said
to have helped propel the popular-
ity of these artists in Asia. Many
important works by these artists are
currently in private collections in
the region.
Documenta Fang Lijuns Solo
Exhibition is hosted by MOCA@
Loewen in association with Linda
Gallery. The exhibition runs from
8th March to 30th April 2012. For
more information, please contact
Singapore MOCA@Loewen, 27A
Loewen Road, Singapore 248839,
email: info@mocaloewen.sg.
Thecomplicatedtrystsofconfict
and harmony between Chinese
artists and the authorities are
constantly changing.
34 TPAG | Apr 2012
Frontiers
Taboo and arT have always made an odd couple, wiTh one
inspiring The oThers daring, while spoTlighTing whaT is and whaT
is noT being discussed in socieTy. arTisTs across asia are creaTing
provocaTive works, sparking dialogue and TesTing The limiTs of
The places They are exhibiTing in.
Human Conditions
Diane Mantzaris exhibited her works with Thai artist Vasan Sitthiket in Bangkok after failing to stage an exhibition in Australia.
35
I
havent come across anyone
whos been offended or found
the work too confronting to look at
since Ive been here, says Austra-
lian artist Diane Mantzaris, whose
exhibition with guest artist Vasan
Sitthiket The Human Clay ran in
February and March at Thailands
Number 1 Gallery, Bangkok. There
is a certain irony in the relief that
pieces shell include called Foun-
tain of Eve (7 foot tall) and Fountain
of Venus, which both depict a na-
ked woman urinating, have found
an exhibition space. Their story has
made Mantzaris trip to Bangkok
into a pilgrimage that realises how
art and politics can clash.
The title of the show (the Hu-
man Clay) refers to the fact that
all human beings are bound togeth-
er by their commonality and they
each deserve equality and quality
of life, says Mantzaris whose (250
x 113cm) c-type prints were made
with digital printmaking techniques,
Both Fountain of Eve (and Fountain
of Venus) have been constructed
in a Frankenstein-like way from
a variety of sources. I have a col-
lection of limbs in storage, which
are manipulated to look like mine or
self-photographed and combined
with sculpture from a variety of
sources including art history, Greek
classicism, and Eve, in religion
which is parody.
The classicism of the images
bears familiar hallmarks. The apple
alludes to the biblical Eve, and the
female form resembles contrappos-
tos of Renaissance art, but what sets
the image apart, other than also be-
ing self portraiture, is the act of uri-
nation, which seems to fow through
time into modern debate. Mant-
zaris mixes the seductive with the
defant in the gestures of a seven-
foot-tall Eve who in the act itself (of
urinating for relief or as animals do
when they are angry or to mark
territory) protests. And as if giving
the apple a Newtonian gravitas, it
becomes clear that it represents
transgression.
Women artists who draw from
their own bodies tend to employ an
allegorical commentary on a male
dominated society, says Mantzaris.
I wanted to create an image where-
by the protest itself becomes an act
of seduction and is also beautiful.
Standing at over 7 feet tall, Eve is
meant to be seen as an image of
power over adversity.
Naked humanity has stood for
many things, from humanism to the
dust of mortals, and the human fg-
Vasan Sitthiket, Life Identity MYTH,

2012. 190 X 107cm, Tempera
Pastel on Canvas
Vasan Sitthiket, Taste Easy Culture,
2012. 186 X 107cm, Tempera
Pastel on Canvas
36 TPAG | Apr 2012
Frontiers Human Conditions
ure is part of an ongoing dialogue in
art that spans the work of classic re-
naissance artists, Bacon, Hamilton,
Michael Andrews, Jim Dine, Euglo
and Carel Weight and Lucien Freud.
In the story of how The Human
Clay was staged in Thailand instead
of Australia, Mantzaris fgures have
turned into mascots of dissent.
During 2011, Mantzaris ap-
proached major university galleries
and public spaces in Melbourne
which also had residency pro-
grammes that accept guest artists,
with intent on staging The Human
Clay and inviting Thai art icon Vasan
Sitthiket, who exhibited works on
canvas in the exhibition. The ven-
ues included Asialink associated
with Melbourne University, which
facilitated her residency at the Thai
university Silpakorn 20 years ago,
project space/spare room gallery /
Air residency program associated
with RMIT university, and govern-
ment run public gallery spaces.
She also applied for and discussed
with funding sources in Melbourne,
Asialink and the City of Melbourne,
Sitthiket. presented works that de-
picted leaders such as George W
Bush using custom-made rubber
stamps at the 50th Venice Bien-
Enthusiasm was expressed
by gallery and residency
managers, but the show kept
being pulled at the committee
stage from above Mantzaris
Diane Mantzaris, Terras Australis Incognita: Constellation 2011. 120(H) X 176(W)cm, C-Type Photograph
37
nale in 2003. Major setbacks soon
became known, not so much with
the galleries, but from the upper
echelons of the institutions.
Enthusiasm was expressed by
gallery and residency managers,
but the show kept being pulled at
the committee stage from above,
says Mantzaris, and otherwise the
interest was in pleasing and ap-
peasing government funding sourc-
es and university management. All
these organisations set up to assist
artists, are all about helping them-
selves. Vasan has a profle as an ac-
tivist, but this is not something that
stopped him doing a residency in
mainland China or so-called dicta-
torial Singapore, or the USA for that
fact. I faced objections at the bu-
reaucratic level, and I tried for most
of 2011 to get through convoluted
application processes in public gov-
ernment run or university spaces,
which I thought to be amenable
towards a visiting Thai artist of his
international standing if not mine.
Both Mantzaris and Sitthiket
have been involved in social and
political activism but the failure to
get the exhibition off the ground in
Australia reveals how bureaucratic
powers are making decisions on
what kind of art gets showcased
weakening the power of art as a
vehicle of statement.
In Thailand, my work it all about
politics, reveals Sitthiket, and I
have used my art as a weapon to
uncover the masks of idiot power
that control our society. They have
banned some of my works. But it
Vasan Sitthiket, People can do no wrong, 2012. My greed never enough, 2012.
38 TPAG | Apr 2012
Frontiers Human Conditions
Diane Mantzaris, Circassian Beauty, Poodle Exhibit with Unzle the Australian Albino Apollo 2011. 120(H) X 176(W)cm, C-Type Photograph
They have banned some of my works. But it depends on the
space to show the art as well. For private galleries, it tends not
to be a problem but if you show in state space like the National
Museum, it becomes an issue. Sitthiket
P
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39
depends on the space to show the
art as well. For private galleries, it
tends not to be a problem but if you
show in state space like the Nation-
al Museum, it becomes an issue.
In the story of how The Human
Clay went to Thailand, it is pos-
sible to see a panoramic contrast
in emergent and mature markets
across Asia. Even as China remains
intolerant of Ai Wei Wei, Singapore
has lifted the ban on performance
art that began after Joseph Ng
performed naked in 1993. But
these contrast with the recent news
that the Australia Council consid-
ered putting a rating system on
art exhibitions in 2011, after a
Senate enquiry launched by the
conservative senator Guy Barnet
received calls to classify all full fron-
tal nudity as X-rated.
Bangkoks Number1 Gallery is
a private gallery and is not govern-
ment or educational institution, but
its acceptance of an exhibition that
was rejected elsewhere, may signify
tolerance that could offer art lovers
work they may not otherwise see.
When I produced Fountain of Eve, I
posted in on Facebook, says Man-
tzaris, and this was the precursor
of what was to come I guess. Fa-
cebook removed it after it was re-
ported on for containing nudity. This
was not from art ignorant people
but two prominent members of the
Australian art community. Every
aspect of the image makes a state-
ment about male dominated views
of woman, and that makes it more
than pornography. Maybe my work
has simply offended, having come
from a woman; in a male dominated
art world that often draws on wom-
ens bodies. That is the taboo.

The Human Clay ran from 22nd
February to 3rd March 2012 at
Bangkoks Number 1 Gallery. It was
also presented by the gallery at
AHAF at the Mandarin Oriental in
Hong Kong between 24th February
and 26th February 2012.
Vasan Sitthiket, Mother earth in blues, 2012.
P
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40 TPAG | Apr 2012
PersPectives
Breaking the Silence
41
T
he rise of the contemporary art
fair has added some pizzazz
to the gallery experience. This has
sparked debate about whether an
environment, once better suited to
business expos, can fulfll the goals
of art appreciation. If everything
looks for sale, as in a street market,
then that makes the attraction of
artworks different, said Grace Ko,
director of Hong Kong-based Yino-
go Art. Letting the bustling street
market enter the silent space of the
gallery, might break down barriers
of exclusivity and stuffness.
But the emergence of the art fair
cant be explained by the evolution
of the market, and it is in no way a
21st century phenomenon.
The art fair in its modern mani-
festation can be traced back to the
Kunstmark art fair of1967 in Berlin,
in which German art dealers Hein
Stunke and Rudolf Zwirner played
host to 18 galleries for fve days.
What became apparentand this
was also expressed by the organis-
erswas that the environment it
created was not conducive to art
absorption. It was clearly a com-
mercial showcase. It may be unfair
to say that the art fair has taken the
gallery model and put it in a corpo-
rate context though. Its rise affects
the viewers experience more than
anything else.
Galleries have developed along
with philosophies about the power
of an interior to absorb the viewer.
With the growing traffc at art fairs,
one of the biggest challenges may
be achieving such absorption at
a fast pace. It might be that in an
age of looking for new alternatives
to the gallery space fragmented
by opportunities created by the
net and art events, there is a whole
new experience that is yet to be
understood.
German artist Anselm Kiefer said
art is diffcult, it is not entertain-
ment. He recalled the 1980s and
1990s, when collectors such as
Donald Fischer took one year to de-
cide on an art piece. By comparison,
in 2012, the art world has perhaps
more in common with entertain-
ment, especially with the events it is
setting up.
Time, Kiefer points out, may
be an integral part of this process,
especially as art fairs are starting
to resemble business expos. Lack
of time to engage with the ob-
jects may be better suited to those
who immediately know a pieces
investment value. The relationship
is not only between the art piece
and the viewer. Art fairs are an
excellent means of opening new
markets and meeting buyers, said
Anna Hunter of Belgravia Gallery,
which has branches in London
and Hong Kong. We believe, how-
ever that a gallery presence in a
major art centre with a series of
exhibitions accessible throughout
the year is the preferred option
for most of our clients. It offers a
chance for relationships to develop
and clients feel less pressured than
at an art fair. P
h
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42 TPAG | Apr 2012
SPACE
Choo Jing Sarah, Commodifcation The Ideal Woman
Tok Wei Yuan
Bringing
artists and
curators
together
Three young Singaporean
arTiST-curaTorS underScore The
imporTance of communicaTing
a common viSion. in march,
Their winning exhibiTion waS
ShowcaSed aT The 2nd emerging
curaTor 2012 Show in SingaporeS
SculpTure Square.
By Gladys Teoh
43
A
curator is responsible for sub-
suming artworks into an autho-
rial vision. The curator is perhaps
to an artist what a flm director
is to a screenwriter, and as the art-
ists work seeks an audience, the
curator helps to communicate his
or her vision.
And just as the canvas is the art-
ists medium, the exhibition itself is
the curators medium. The curator
decides on the works to be fea-
tured, and the title and theme of the
exhibition. He or she should know
the audience and the context. So,
what happens when artists them-
selves become curators? Notions of
authorship and identity are negoti-
ated. Such change leads to shifts of
power within the gallery space.
In March, 2012, artist-curators
Guo Yixiu, Sarah Choo and Tok Wei
Yuan led me through their winning
exhibition of the 2nd Emerging Cu-
rator 2012 Show, titled Singapore:
Culture is Dead. I couldnt help
but notice the seamless interweav-
ing of their dual roles. While they
reprised their roles as curators by
defning the message and fow of
the artworks, they simultaneously
embraced roles as artists when
describing the inspirations and pro-
cesses behind each piece.
The frst presented work was
Chope by Guo, who makes a hu-
morous allegory about the unique,
self-created, Singaporean social
practice of using tissue packets as
placeholders for seats. In In Time to
Come, the intentional use of small
black spaces amidst small images
of utensils and plastic bags to cre-
ate discontinuity emphasizes the
ephemeral nature of culture itself.
As a further statement on how
Guo YiXiu, In Time to Come
44 TPAG | Apr 2012
SPACE
choice can be exercised in creating
a unique culture, Guo contrastingly
blends the graphic lines and shapes
predominant in Western contempo-
rary art with the soft abstract swirls
of Indonesian artist Affandi in her
Void Deck series. She explores a
form of aesthetic that is unique to
her identity as an artist.
Choo is caught between moder-
nity and tradition. She takes on the
persona of a traditional seamstress
living in a contemporary society.
She uses photograms and cyano-
types which are contemporary tech-
niques, but also renders photo neg-
atives of her family in the traditional
darkroom, and then deconstructs
them to form images of modern
wedding dresses. Her constant
struggle between traditional ideals
about perfection and the constraints
of modern living is also portrayed in
A Flawless Futility where Choo es-
pouses her emotions into tailoring
a silk dress. She soaks the dress in
a photographic solution and subse-
quently prints on images, wonder-
ing if her inability to create a perfect
dress only means that perfection is
simply ideal, which is outdated and
irrelevant in the 21st century.
Finally, Toks pessimistic view
that local traditions are being sub-
sumed by a homogeneous globa-
lised culture is evident in his satirical
sculptures of local icons juxtaposed
with global icons. He abandons his
usual mediums to create sculptures
of a pop-art style in the form of a de-
mon slayer Zhong Kui fghting Justin
Bieber, Frankenstein, and a hawker
fghting a boxer. Traditional culture
has been belittled by the globalised
world. What sells today is not de-
termined by quality and authentic-
ity, but how accessible and popular
something is to the masses. The
consequence is the extinction of lo-
cal culture as traditions become en-
gulfed by a tsunami of marketable
popular culture.
Taking on the dual role of artist-
curator was refreshing for Tok, who
found the collaborative process
organic. In other shows there was
a typical lead by the curator. The
group activities emphasize dialogue
and the exchange of ideas. In fact,
collaboration through responsive
projects like artist-curator shows, in
which artists are invited to a space
to work with the curator, helps to
cultivate a democratic space in the
art world, thus removing dominant
structures in the visual arts.
Perhaps the artist-curator role is
flling the gaps between the actual
works and their eventual presenta-
tion by curators. Choo observes
how in conventional group exhibi-
tions, the overarching theme does
Choo Jing Sarah, Lacerated Life Guo YiXiu, Living with the Void
45
not always come through in every
piece. This results from a lack of
dialogue between artists and cura-
tors. She does caution a bias in her
views, though, as an artist, and she
tends to focus on her own work and
neglect the holistic nature of an ex-
hibition. Perhaps one of the most
important takeaways from a cura-
tor role for both Choo and Guo is
emphasis on a holistic view of the
exhibition theme above and over a
more narrow and self-centred focus
as an artist.
All three also refect on a greater
understanding and knowledge of
the curators role of presentation,
the internalization of which would
surface in their future roles as art-
ists. Tok who primarily works with
sculptures now has a greater ap-
preciation of the dynamics and
contention for both wall space and
foor space, whereas Choo admits
a new paranoia about the framing
and placement of artworks. This is
an important decision that is usually
determined by the curator with lim-
ited involvement of the artist.
Ultimately, Guo still feels that
the identity of a curator is dis-
tinct. He or she has to think about
space, how to outlay the artwork
and how to create a cohesive fow.
She likens curating to installation art,
where an effective curator presents
a concise, focused message that
draws audiences. The responsibil-
ity and success of the exhibition, in
her view, lies with the curator. There
are different aspects to curating. Of
special importance is the curatorial
writing of catalogues and press re-
leases. Most of the time, artists are
unable to translate their thoughts
into words, creating a gap for cura-
tors to fll.
The Emerging Curator Pro-
gramme was founded to provide a
platform and space for curators. By
choosing artists/artworks, setting a
theme, and subsequently interpret-
ing the art, the role of a curator is
distinguished from that of the art-
ist. However democratic the space
might be, no matter how the prod-
uct might be shaped by dialogue
and collaboration, an exhibition is
defned and interpreted by the ide-
ologies of the curator, creating a
structure of power and identity for
the role. What has changed, per-
haps, is the progression from a di-
dactic to collaborative process of
presentation.
Singapore: Culture is Dead was
presented by Sculpture Square as
the winning entry of the 2nd Emerg-
ing Curator 2012 Show.
Tok Wei Yuan, Fearless
Pablo Picasso (1881 - 1972) photograph by Brassai (Gyula Halasz).
Brassai holding his camera, s.7610 (Gyula Halasz), 1899 - 1984.
PICASSO & THE SCHOOL OF PARIS
Drawings, Lithographs, Etchings & Photographs of Artists
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Nat i onal Museum
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R
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R
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b
in
s
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R
d
Dhoby Ghaut
Bras Basah
City Hall
10
7
6
3
2
1
5
8
8
8
9
7
3 4
5
1
2
6
7
6
3
1
2
5
4
4
10 9
11 12
11
10
12
10 9
11 12
13 14
15
16
Tanjong Pagar, Chinatown & Raffles Place Singapore Art Museum Area
Esplanade &
Marina Bay Sands
1 iPreciation,
The Fullerton Hotel
2 Utterly Art
3 Galerie Sogan & Art
4 Indigo Blue Art
5 Cham Hampe Galleries @

Tanjong Pagar
6 DreamSpace Art Studio
7 Art Commune Gallery
8 Galerie Belvedere
9 Galerie Steph
10 Ikkan Art International
11 ReDot Fine Art Gallery
12 Valentine Willie Fine Art
13 Richard Koh Fine Art
1 The Substation
2 Art Plural Gallery
3 Art Trove
4 Yavuz Fine Art
5 The Private Museum
6 M Gallery
7 Forest Rain Gallery
8 The Gallery of Gnani Arts
9 Sculpture Square
10 Art Galleries @ NAFA
11 The Luxe Art Museum
12 Yisulang Art Gallery
1 Ode To Art
2 Opera Gallery
3 Art Science Museum
4 The Asian Civilisation

Museum
5 The Arts House
6 Gallery NaWei
7 Ode To Art
8 Chan Hampe Galleries
9 Cape Of Good Hope

Art Gallery
10 Art-2 Gallery
11 S.Bin Art Plus
12 Y2Arts
13 Gajah Gallery
14 Tembusu Art Gallery
15 ArtXchange Gallery
16 Artfolio
GALLERY SPOTTED Legend
Art Trove Gallery
51 Waterloo Street
#02-01/2/3
Singapore 187969
T: +65 6336 0915
F: +65 6336 9975
E: enquiry@art-trove.com
W: www.art-trove.com
Opening Hours
Wed- Sun:
11am to 6.30pm
Call for private viewing
MRT Station
1
1 2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
2
H
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Regent
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Renaissance
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Plaza
Paragon
Shopping
Centre
Mandarin
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Singapore
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Shopping
Centre
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Singapore
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Tanglin Mall
Regent
Hotel
Palais
Renaissance
ION Orchard
Mall
Shaw
Centre
Tangs
Plaza
Paragon
Shopping
Centre
Mandarin
Orchard
Singapore
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Holland Village
Orchard Road
Dempsey Hill Tanglin Road
1 Sunjin Galleries
2 Taksu
1 Linda Gallery
2 Red Sea Gallery
1 The Gallery of Gnani Arts
2 GJ Asian Art
3 Bruno Gallery
4 Boons Pottery
5 HaKaren Art Gallery
6 ZiJuan Art Gallery
7 Mulan Gallery
8 Yang Gallery
1 Pop and Contemporary

Fine Art
2 Gallery Reis
3 Art Space @ Scotts
4 Opera Gallery
5 Heng Artland
6 Sin Hua Gallery
7 M.A.D Museum of

Art & Design
8 Vue Prive
51, Waterloo Street, #02-01/02/03, Singapore 187969
Operation hours: Wed - Sun: 11am to 6:30pm. All other times by appointment.
Call for private viewing, tel: +65 6336 0915 or fax: +65 6336 9975
email: enquiry@art-trove.com | website: ww.art-trove.com
Henri Matisse
Alberto Giacometti Fernand Leger
Pablo Picasso
art directories
52 Singapore Galleries 53 Art Auctioneers 54 Museums / Art Services 54 Conservation/
Restoration 54/55 Art Schools / Artist Studios 56 Hong Kong Galleries 56 Other
International Galleries 56 Art Fairs 58 TPAG Art Tours HK 60 TPAG Classifeds
Singapore Galleries
ARTXCHANGE Gallery
6 Eu Tong Sen Street, #02-65,
The Central,
Singapore
059817
v +65 9027
3997
Y benny.
oentoro@live.com
www.artxchangegallery.com
Mon - Sat: 11am-9pm
Boons Pottery
91 Tanglin Road,
#01-02A, Tanglin
Place, Singapore
247918
v +65 6836
3978
www.boonspottery.com
Daily: 11am-6pm. Closed on
Public Holidays
Bruno Gallery
91 Tanglin Road,
#01-03 Tanglin
Place, Singapore
247918
v +65 6733 0283
Y singapore@
brunoartgroup.com
www.brunoartgroup.com
Weekdays: Tue - Fri: 10am-7pm
Weekend: Sat & Sun 11am-8pm
Closed on Monday
The Gallery of Gnani Arts
#01-17, Tanglin
Shopping Centre,
19 Tanglin Road
Singapore
247909
v +65 6735
3550
Y arts@gnaniarts.com
www.gnaniarts.com
Mon - Sat: 10am-7pm; Sun:
10am-6pm.
Indigo Blue Art
33 Neil Road, Singapore 088820
v +65 6372 1719/38
Y info@indigoblueart.com
www.indigoblueart.com
Mon - Sat: 11am-6pm
Ken Crystals
6 Eu Tong Sen Street, #03-72,
The Central,
Singapore
059817
v +65 6339
0008
Y kencrystals@
yahoo.com.sg
Mon - Sat: 11am-7pm; Sun:
1pm-5pm.
Muse The Art Gallery
4 Toh Tuck
Links, Unit 01
01 Singapore
596226
v +65 6762
6617
Y enquiries@
musetheartgallery.com
Mon - Fri: 8.30am-5.30pm
Cape of Good Hope Art Gallery
140 Hill Street,
#01-06, MICA
Building,
Singapore
179369
v +65 6733
3822
Y capeofgood
hope@pacifc.net.sg
www.capeofgoodhope.com.sg
Daily: 11am-7pm
Chan Hampe Galleries @
Raffes Hotel
328 North Bridge Road,
#01-04, Raffes Hotel Arcade,
Singapore 188719
v +65 6338 1962
www.chanhampegalleries.com
Daily: 11am-7pm. Closed on
Public Holidays
Chan Hampe Galleries @
Tanjong Pagar
27 Kreta Ayer Road,
Singapore 088994
v +65 6222 1667
www.chanhampegalleries.com
Weekdays: 10am-6pm.
Weekends: 11am-4pm. Closed
Wednesday and Public Holidays
Forest Rain Gallery
261 Waterloo Street, #02-43/44,
Singapore 180261
v +65 6336 0926
Y info@forestraingallery.com
www.forestraingallery.com
Tue - Fri: 11am-7pm; Sat - Sun:
11am-5pm.
52 TPAG | Apr 2012
OVAS Art Gallery
9 Penang Road,
#02-21 Park
Mall, Singapore
238459
v +65 6337
3932
www.ovas-home.
com
Daily: 11.30am-8.30pm
Richard Koh Fine Art
71 Duxton Road, Singapore
089530
v +65 6221
1209
Y info@rkfneart.
com
www.rkfneart.
com
Tues - Fri: 11.30am-7pm,
Sat: 12noon - 6pm
Mon by appointment only.
Closed on Public Holidays
Galerie Sogan & Art
33B Mosque Street,
Singapore 059511
v +65 6225 7686
Y vera@soganart.com
www.soganart.com
Mon - Sat: 12noon-7.30pm;
Sun: 2pm-5pm
Lion City Art Gallery
19 Tanglin Road, #0207 Tanglin
Shopping Centre, Singapore
247909
v +65 6733 0289
HP: +65 8160
0058
Y LionCityArt
Gallery.SG@
gmail.com
Facebook: Lion City Art Gallery
Mon - Sat:
11am-6.30pm
Closed on Sunday
Art Auctioneers
Christies Hong Kong Limited
22/F, Alexandra House,
18 Chater Road, Central,
Hong Kong
Sothebys Singapore Pte Ltd
1 Cuscaden Road
Regent Hotel Singapore,
Singapore 249715
Larasati
30 Bideford Road #03-02,
Thong Sia Building,
Singapore 229922
Sunjin Galleries
43 Jalan Merah Saga, #03-62,
Work Loft @ Chip
Bee, Singapore
278115
v +65 6738 2317
Y sales@
sunjingalleries.
com.sg
www.sunjingalleries.com.sg
Tue - Fri: 11am-7pm; Sat:
11am-6pm
Yisulang Art Gallery
6 Handy Road,
#01-01,
The Luxe,
Singapore
229234
v +65 6337
6810
Y mktg@yisulang.com
http://yisulang.com
Tue - Sun: 11am-7pm
Yong Gallery
Calligraphy and Woodcarving
260 South Bridge
Road Singapore
058809
Tel/Fax: +65
6226 1718
HP: +65
97866916
Y yong_gallery_singapore@
yahoo.com
http://yonggallerysart.blogspot.
com/
Daily: 10am-7pm
53
Museums
The Luxe Art Museum
6 Handy Road, #02-01, The
Luxe, Singapore
229234
v +65 6338
2234
Y enquiry@
thelam.sg
www.thelam.sg
Tues - Sun: 11am-7pm
Singapore Art Museum
71 Bras Basah Road
SAM at 8Q
8 Queen Street
National Museum
93 Stamford Road, Singapore
178897
Asian Civilisations Musem
1 Empress Place, Singapore
179555
National University of
Singapore Museum (NUS)
University Cultural Centre, 50
Kent Ridge Crescent, National
University of Singapore,
Singapore 119279.
Goodman Arts Centre
90 Goodman Road, Singapore
539053
Art Services
Florenz
10 Changi South Street 1,
Singapore 486788
v (65) 65464133
Y enquiry@forenz.com.sg
www.forenz.com.sg
Mon-Thur 8.30am-5.45pm,
Fri 8.30am-5.30pm,
Sat 8.30am-12.30pm
Closed on Sundays
Introduction of Company: Florenz
was frst established in 1986 and
was recently re-launched with
a showcase exhibition featuring
artworks by the current in house
team and also past collaborators.
Florenz specialises in glass art
of all disciplines and processes
ranging from traditional stained
glass, blown work, kiln forming,
sandcarving and engraving.
Artworks may be purchased
or commissioned for commercial
and private settings. Florenz is
also an active participant in the
Singapore art scene, participating
in events such as Art Singapore,
Affordable Arts and FLasia.
PIA Preserve in
Aesthetics
63 HillView Avenue,
#02-06B, Lam Soon
Industrial Building,
Singapore 669569
v +65 6760 2602 /
+65 9118 7478
Y josephine@
thepiastudio.com
www.thepiastudio.com
Specialised in Paper & Book Con-
servation. Art Preservation, Con-
servation and Restoration.
Art Schools
LASALLE
1 McNally Street
Nanyang Academy of
Fine Arts
38/80/151 Bencoolen St
The Singapore Tyler Print
Institute
41 Robertson Quay
art directories
Conservation / Restoration
54 TPAG | Apr 2012
Rays Transport & Services
v +65 9152 2511
Y artswithray@
gmail.com
Artwork
Installation
& Delivery
Services.
Santa Fe Relocation Services
(S) Pte Ltd
v +65 6398 3015
Y artsolutions@santafe.com.sg
Art Collection
Management
Art Storage
Facilities
Exhibition &
Project
Management
Art Transport & Installation
Urich Lau Wai-Yuen
Goodman Arts Centre
90 Goodman
Road, Block
B #04-07,
Singapore
439053
v +65 9682
7214
Y urichlwy@gmail.com
By appointment only
Jennifer Yao Lin
Goodman Arts Centre
90 Goodman
Road Block
B, #03-14,
Singapore
439053
v +65 9151
3227
Y cice_lin@yahoo.com
By appointment only.
Artist Studios
Chieu Sheuy Fook Studio
Studio 102, 91
Lorong J, Telok
Kurau Road,
Singapore
425985
v +65 9669 0589
Y chieusf@gmail.
com
Koeh Sia Yong
10 Kampong Eunos, Singapore
417774
v +65 9671 2940
Y koehsy@
singnet.com.sg
www.yessy.com/
koehsiayong
www.
koehsiayong.artfederations.com
55
Leo Hee Tong
Blk173 Bishan
St 13 #05-105
Singapore
570173
v +65-62588787
/ +65 97946511
Y leoheetong@
hotmail.com
Studio 404, 91 Lorong J Telok
Kurau Road Singapore 425985
Leslie Goh
v +65 96811418
Y paint@leslie
goh.com.sg
www.lesliegoh.
com.sg
By appointment
only
Lim Leong Seng
Telok Kurau
Studios,
91, Lorong J,
Telok Kurau,
(studio 107),
Singapore
425985
v +65 97382792
Y leongseng8@hotmail.com
www.limleongseng.com.sg
By appointment only
Liu Xuanqi Art Studio
Goodman Arts Centre, 90
Goodman Road,
Block B #0408,
Singapore
439053
v +65 9168
7785
Y hillad2006@
gmail.com
Opens daily 9am-6pm
Hong Kong Galleries
Puerta Roja
Private Latin Art
Space Shop
A,. G/F Wai Yue
Building,
15 17 New
Street, Sheung
Wan, Hong Kong
v +852 2803 0332
Y info@puerta-roja.com
www.puerta-roja.com
By appointment
Belgravia Gallery
12/F Silver Fortune Plaza,
1 Wellington Street, Central,
Hong Kong
Karin Weber Gallery
G/F, 20 Aberdeen Street Central,
Hong Kong (Close to Hollywood
Road)
Koru Contemporary Art
Hing Wai Centre, 7 Tin Wan Praya
Road, Aberdeen, Hong Kong
Art Fairs
China International Gallery
Exposition (CIGE)
April 2012
www.cige-bj.com
Young Art Taipei
11 13 May 2012
www.youngarttaipei.com
Hong Kong International Art
Fair (ART HK)
17 20 May 2012
Spoon Art Fair HK12
18 20 May 2012
www.spoonartfair.com
Art Fair JOG, Indonesia
14 28 July 2012
www.artfairjogja.com/
Melbourne Art Fair
1 5 Aug 2012
www.artfair.com.au/fair/
Asia Top Gallery Hotel Art Fair
(AHAF SEOUL)
24 26 August 2012
www.hotelartfair.kr
The Asia Pacifc Contemporary
Art Fair (Shanghai, China)
7 9 Sept 2012
www.shcontemporary.info/en/
Fine Art Asia 2012 (Hong Kong)
4 7 Oct 2012
www.fneartasia.com/
Affordable Art Fair (Singapore)
17 20 Nov 2012
www.affordableartfair.sg
India Art Fair (New Delhi)
1 3 Feb 2013
www.indiaartfair.in/
International
Flo Peters
Gallery
Chilehaus C,
Pumpen 8,
20095 Hamburg,
Germany
v +49 40 3037
4686
Y info@fopetersgallery.com
www.fopetersgallery.com
GALERIE CHRISTIAN LETHERT
Antwerpener Strasse 4
D - 50672 Kln (Cologne)
Germany
Alan Cristea Gallery
31 & 34 Cork Street,
London W1S 3NU
White Cube
48 Hoxton Square,
London N1 6PB
L & M Arts
45 East 78 Street
New York 10075
art directories
56 TPAG | Apr 2012
Get listed with TPAG. Email us for sales form at sales@thepocketartsguide.com
58 TPAG | Apr 2012
TPAG Art Tours: Hong Kong
will launch TPAG Art Tours. This brings art lovers from around the world
to Hong Kongs art scenes, art exhibitions, events and activities. Participating galleries, artists,
companies and organisations have a chance to showcase their venue and artists.
10 Chancery Lane Gallery
G/F, 10 Chancery Lane, Central
Tel: (852) 2810 0065
info@10chancerylanegallery.com
a gallery
Cockloft, 2-4 Mee Lun Street,
Central
Tel: (852) 2868 0776
michael@a-gallery.com
CAIS Gallery
G/F, 87 Hollywood Road, Central
Tel: (852) 2527 7798
caisart@caisart.com
Connoisseur Contemporary
Shop G4, 1 Hollywood Road,
Central
Tel: (852) 3521 0300
info@connoisseurcontemporary.
com
Contemporary by Angela Li
G/F, 90-92 Hollywood Road,
Central
Tel: (852) 3571 8200
info@cbal.com.hk
Edouard Malingue Gallery
1/F, 8 Queens Road, Central
Tel: (852) 2810 0317
mail@edouardmalingue.com
Experimenta
Lower G/F, 89-95 Hollywood
Road, Central
(entrance at rear lane
off Mei Lun Street)
Tel: (852) 9192 9275
info@experimenta.hk
Hanart TZ Gallery
Shop 407, 4/F, Pedder Building
12 Pedder Street, Central
Tel: (852) 2526 9019
hanart@hanart.com
Identity Art Gallery
G/F, 53 Tung Street, Sheung Wan
(852) 2540 5353
info@identityartgallery.com
I/O (Input/Output)
G/F, 28 Tai Ping Shan Street,
Sheung Wan
Tel: (852) 3105 1127
info@inputoutput.tv
Karin Weber Gallery
G/F, 20 Aberdeen Street, Central
Tel: (852) 2544 5004
art@karinwebergallery.com
Kings Gallery
Shop 215, 2/F, The Galleria
9 Queens Road, Central
Tel: (852) 2117 0731
info@kingsgalleryhk.com
Koru Contemporary Art
1604, Hing Wai Centre
7 Tin Wan Praya Road, Aberdeen
Tel: (852) 2580 5922
info@koru-hk.com
Kwai Fung Hin Art Gallery
G/F, 20 Ice House Street, Central
Tel: (852) 2580 0058
art@kwaifunghin.com
Fabrik Contemporary Art
Gallery 12, Art One,
M/F Convention Plaza
1 Harbour Road, Wan Chai
Tel: (852) 2525 4911
info@fabrik-gallery.com
Floren Gallery
G/F, 52 Po Hing Fong,
Sheung Wan
Tel: (852) 2559 8121
rene@foren.com.hk
Gaffer
G/F, 13 Western Street,
Sai Ying Pun
Tel: (852) 2521 1770
info@gaffer.com.hk
Galerie Ora-Ora
G/F, 7 Shin Hing Street, Central
Tel: (852) 2851 1171
info@ora-ora.com
Gallery EXIT
G/F, 1 Shin Hing Street, Central
Tel: (852) 2541 1299
info@galleryexit.com
info@goca-arts.com
Grotto Fine ArtHYPERLINK
www.grottofneart.com
1/F & 2/F, 31C-D Wyndham
Street, Central
Tel: (852) 2121 2270
info@grottofneart.com
The following galleries attended Hong Kong Art Walk, a charity art event that
showcases artwork in Hong Kongs art galleries in the SOHO, Wan Chai, Sheung
Wan, Central, Aberdeen and Happy Valley areas of Hong Kong Island.
59
Moon Gallery
G/F, Hua Fu Commercial Building
111 Queens Road West,
Sheung Wan
Tel: (852) 2858 1771
info@moongallery.org
New Gallery on Old Bailey
G/F & Basement, 17 Old Bailey
Street, Central
Tel: (852) 2234 9889
info@ngoob.com
Opera Gallery Hong Kong
G2, 2-8 Wellington Street, Central
Tel: (852) 2810 1208
hkg@operagallery.com
Para/Site Art Space
G/F, 4 Po Yan Street, Sheung Wan
Tel: (852) 2517 4620
info@para-site.org.hk
Picture This
Suite 1308, 13/F,
9 Queens Road Central
Tel: 2525 2820
info@picturethiscollection.com
Plum Blossoms Gallery
Shop G6, 1 Hollywood Road,
Central
Tel: (852) 2521 2189
info@plumblossoms.com
Puerta Roja
G/F, 15-17 New Street,
Sheung Wan
(852) 2803 0332
info@puerta-roja.com
The Pottery Workshop
G/F, 24 Upper Station Street,
Sheung Wan
Tel: (852) 9842 5889
infohk@potteryworkshop.com.cn
VA Gallery
Gallery 16, Art One, M/F,
Convention Plaza
1 Harbour Road, Wan Chai
Tel: (852) 2368 1068
info@va-gallery.com
Voxfre Gallery
1/F, 52 Gage Street, Central
Tel: (852) 2581 3358
info@voxfregallery.com
Wellington Gallery
G/F, 36 Wyndham Street, Central
Tel: (852) 2804 6688
info@wellingtongallery.com.hk
red elation gallery
G/F, 5-6 Lung On Street,
Wan Chai
Tel: (852) 2893 7837
info@redelation.com
Schoeni Art Gallery
G/F, 21-31 Old Bailey Street,
Central
Tel: (852) 2869 8802
gallery@schoeni.com.hk
Shin Hwa Gallery
G/F, 32 Aberdeen Street, Central
Tel: (852) 2803 7960
info@shinhwagallery.com
Sin Sin Fine Art
53-54 Sai Street, Sheung Wan
Tel: (852) 2858 5072
info@sinsin.com.hk
State-of-the-Arts Gallery
G/F, 36 Pottinger Street, Central
Tel: (852) 2526 1132
info@sotagallery.com.hk
Sundaram Tagore Gallery
G/F, 57-59 Hollywood Road,
Central
Tel: (852) 2581 9678
hongkong@sundaramtagore.com
The Cat Street Gallery
G/F, 222 Hollywood Road,
Sheung Wan
Tel: (852) 2291 0006
info@thecatstreetgallery.com
Please join us and email remo@thepocketartsguide.com to sign up the Hong Kong Art Tours.
ArtWalk 2012 seemed another successful event with all walks of Hong Kong life back on the holy trail for
that one self-defning piece. Although, like an art fair, there was a tendency to bunch artwork in for the
hordes, there were pockets of brilliance. The night went to Angela Li in my opinion, and while mainstays
such as Shi Jindian returned with an intricate cello installation, Craig Wylie stole the event with his gritty UK
photo-realism. Other highlights included Ora Ora gallerys young classically trained ink painter Lai Jing, and
Virat Rs bold and culturally defning tattoos at Wellington Gallery. Blindspot deserves a nod for their excel-
lently curated Flower Show by Paul Yeung. James Churchill, RE Emerging Art
60 TPAG | Apr 2012
TPAG classifieds
Ar t wo r k E x h i b i t i o n s p a c e Ar t l e s s o n s Ar t ma t e r i a l s
C
M
Y
CM
MY
CY
CMY
K
LotusAdv?0IIB.pdf 8/9/II I8.I9.I?
Our ad space offers an affordable way for artists to showcase their work. It is also a marketplace for any-
thing that can facilitate the art world. For more information, email: sales@thepocketartsguide.com.
This space is
for sale
This space is
for sale
PICASSO & THE SCHOOL OF PARIS
Drawings, Lithographs, Etchings & Photographs of Artists
51, Waterloo Street, #02-01/02/03, Singapore 187969
Operation hours: Wed - Sun: 11am to 6:30pm. All other
times by appointment. Call for private viewing,
tel: +65 6336 0915 or fax: +65 6336 9975
email: enquiry@art-trove.com | website: ww.art-trove.com

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