The Pocket Arts Guide (October 2010)

OCTOBER 2010 / 1
2 / THE POCKET ART’S GUIDE OCTOBER 2010 / 3

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CONTENTS
36
56
20
50
24 52 61
19 COMING UP 30 SPOTLIGHT 55 REVIEW

Opening of Bruno Gallery in Peter Liew Ganesha Art - A Global Catalyst
Singapore
Gnani Arts Space
Featured Artist
Narratives of the East 20
32 FEATURES 61 SINGAPORE
ETHOS V - Indian Art through
the lens of history Imagining Antholika 32
ART MAP
Artist Xing Qing Xin The Last Supper Revisited 36
Solo exhibition by Gail Pantin An overview of patrons,
collectors and collections
of Indian Art 46 66 DIRECTORIES
India Art Summit 50
Singapore Art Galleries
24 COVER STORY Other Listings
A Pictorial Journey through Tourist Spots
India’s History from 1900s
to 1980s - “Today we paint
52 INTERVIEW Malaysia Art Guide
with absolute freedom..”
An Interview with P.Gnana -
Sculptor & Painter 52
Park Shin Young

EDITOR’S LETTER
Issue #12 (October 2010)
ISSN 1793-9739 / MICA (P) 183/02/2010
www.thepocketartsguide.com
A Composite Masala!
A warm welcome to this exclusive issue on Indian Art.
We live in a world that is deeply influenced by convenient generalisations.

And Indian art has not escaped this superficial influence. There are
countless particularities and sub-topics, each with its own code of aesthetic
interpretation and conceptual motivations, within the vast genre of modern
and contemporary art from India. This issue is in no way an exhaustive guide
Cover
M.F Husain Part of the Kerala Series, 1985, 113 x 150 cm to the overbearing and overwhelming spectrum of practice and analysis in
the genre. Such a paramount task will be impossible to achieve within the
Editor-in-chief // Sabrina Sit / sabrina@thepocketartsguide.com limitations of one issue, and it is not the issue’s intention to do so.
Guest Editor // Vidhya Gnana Gouresan / vidhya@gnaniarts.com
Art Director // Amalina MN / ama@thepocketartsguide.com
Contributors // He Sujin / Bob Feldman / Smriti Rajgarhia-Bhatt However, we have taken the liberty to localise Indian art! The issue certainly
Advertising Sales // Emmeline Koh / emmeline@thepocketartsguide.com promises to give you an intriguing insight into the current practice of the
Juliana Lim / jules@thepocketartsguide.com genre in the local context; in our busy and ambitious Lion City. Highlights
Raihanna Rahmat / rai@thepocketartsguide.com include a conservator’s perspective by Renate Kant (a Singapore-based
conservator) on restoring a historic painting in Kolkata, an overview of
General enquiries and feedback // mktg@thepocketartsguide.com
the significance of the Bengal School of Art in an upcoming Indian art
Submission of press releases // pr@thepocketartsguide.com
exhibition, a feature interview with leading artist P. Gnana, a feature on the
local blockbuster exhibition POWER GANESHA: Show 5, a general survey
THE POCKET ARTS GUIDE PTE LTD (TPAG) of the patronage of Indian Art through the ages and an introduction to
215 Henderson Road, #03-03,
Henderson Industrial Park Singapore 048545 the much-anticipated India Art Summit 2011 that will be staged in New
For advertising enquiries, please email sales@thepocketartsguide.com. Delhi.
All editorial, design requests, advertising bookings and materials for
September issue of TPAG should be received by 18 October.
Printed in Singapore by International Press Softcom Limited. A composite masala awaits you in this issue. Have a jolly good read, baba!
Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE
MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form
or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the
publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited
material. TPAG, ISSN 1793-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE.
Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances,
please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information
provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/
venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may Vidhya Gnana Gouresan
occur as a result of any last minute changes or production technical glitches.
Guest Editor
The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication
should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered Indian Art Issue of The Pocket Arts Guide
in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also
cannot be held accountable or liable for any of the claims made or information presented in the advertisements.

S.Bin Art Plus
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COMING UP
Bruno Art Group, a leading international company committed

to providing outstanding and original artworks by renowned
Israeli and international artists, opens recently its newest gallery
in Singapore.
Headed by Mr. Motti Abramovitz, a third

generation Art Dealer, whose grandfather
started in the art business over 100 years
ago in Europe. Bruno Art Group was
founded through decades of knowledge
and proficiency with each generation
adding their experiences to strengthen their
commitment to the arts. Through acquired
expertise and diligence they have catered
to their clients’ individual needs around the globe via their
establishments in Israel, Italy, the United States, the Caribbean
and now Singapore. Apart from sourcing art work and
representing established artists, Bruno Art Group imperatively
prioritizes customer service, covering all aspects of the art
industry.
Opting to be based in Southeast Asia’s most cosmopolitan city,

Bruno Gallery are now extending our business into the Far East.
Singapore’s ideal geographic location gives us easy access to
not only the local vibrant arts community, but cities such as
Beijing and Shanghai, where we have previously participated in
several art fairs to much successful acclaim. Bruno Art Group
has installed several public sculptures throughout Asia; in fact,
Singapore is no stranger to one of our artists, David Gerstein,
whose sculpture resides in the central business district, the
Opening of Bruno Gallery heart of the city state, providing visual pleasure and a sense of
in Singapore dynamism to people passing by every day.
01.10.10 / Bruno Art Group /
www.brunoartgroup.com
After four hit showcases depicting contemporary paintings

of Ganesha (in 2003, 2005, 2006 and 2009 respectively),
The Gallery of Gnani Arts takes pride in presenting POWER
GANESHA: Show 5, a blockbuster exhibition of contemporary
depictions of the celebrated global, cultural icon. The exhibition
will be showcased at two venues – The Gallery of Gnani Arts
and Gnani Arts Space.
POWER GANESHA: Show 5 is the 5th in an exclusive series

of niche art exhibitions, conceptualised and presented by The
POWER GANESHA: Show 5 Gallery of Gnani Arts, showcasing contemporary depictions of
Ganesha, a popular Hindu god; a narrative catalyst in Indian
14.09.10 – 17.10.10 / Gnani Arts Space /
mythology; an inseparable aspect of contemporary Hindu/Indian
www.gnaniarts.com
life; and indisputably a global cultural icon. Each one of more
than twenty participating masters and emerging artists (who hail
from various national and cultural scenarios - Pakistani, French,
Chinese, Singaporean and Indian) embark on the challenge of
creating aesthetically-convincing representations of Ganesha,
within or without the adherence to stereotypical depictions,
while retaining his/her characteristic individual style.

COMING UP COMING UP
Narratives of the East [东方情趣]

09.10.10 – 31.10.10 / Mulan Gallery /
www.mulangallery.com.sg
Two emerging award-winning Chinese ceramic artists, Zheng Yukui and Song Xiaoling, are
showing their latest creations for the first time in Singapore as part of their solo – Narratives
of the East < 东方情趣 >. Held at Mulan Gallery from 8 Oct – 9 Nov 2010, the exhibition will
showcase a total of 20 original works by the couple. The collection comprises of several
series, each inspired by the sights and sounds of both the living present and the imagined
past. These works are part of a growing body of contemporary works that have gained
increasing attention in the Chinese contemporary art market in recent years.
Narratives of the East is the artists’ first overseas solo exhibition. For this show, the artists
have continued past themes of play and nostalgia. Their characters, which consist of
palace ladies from the Tang Dynasty and performers from the everyday opera stage, all
form part of a larger narrative – a light-hearted attempt to re-tell familiar tales and to
introduce new characters that have become part of the everyday rural and urban landscape
within China. Shanghai Ladies for example illustrate how the women of Shanghai have
themselves become an icon for the modern and the fashionable to a particular generation.
In response to scenes of rapid industrialization and urbanization across China provinces

which had drastically altered the landscape of the place, the artists’ persistent reflections
of a rural ‘past’ untouched by the urban world, is both touching and refreshing. For the
Children series, Zheng and Song have created down-to-earth representations, rendered in
techniques of exaggeration typically adopted by caricaturists. The children run barefooted,
their toes big and ugly; a child in muddy clothes grins widely back, revealing a missing
tooth…and the tale continues.
For this exhibition, the artists continued to develop their works using clay. The use of clay
remains prevalent throughout the artists’ career and plays a significant role in shaping the
artists’ aesthetic practice. The textual materiality and versatility of clay enables the artists
to evoke a sense of rustic charm unique to their characters while capturing the quirky and
the whimsical of each character-sculpture. To keep with the theme, Narratives of the East,
the artists will continue their signature trait of ceramic modeling, unglazed with painted-on
motifs in white only.
Zheng and Song, a successful husband and wife team, graduated from the Shandong
Academy of Light Industry and Fine Arts and are now based in Beijing; their creations were
recently shown at the inaugural Exhibition of Pottery Collections at the National Art Museum
of China entitled China Impetus – Chinese International Sculpture Exhibition 2009. They
have exhibited regularly beginning in 1996 including at prestigious events across in Beijing
and Macao, and have won numerous awards including Gold Prizes at the China Art Fair
and Capital Art Fair in 2000.
Image credit: i. Shanghai Ladies, ii. Ride a Cockhorse III, iii.Beijing Opera Characters.

COMING UP
A pictorial journey through India’s history showcasing some

of the greatest masters of modern art from 1900s to 1980s.
ETHOS V highlights the signiﬁcant art movements and revered
artists that have had an enduring impact on the trajectory of
Indian Art.
Image credit: Arpita Singh Untitled Oil on canvas 50 x 57 cm
ETHOS V - Indian Art through

the lens of history
05.10.10 - 11.11.10 / Indigo Blue Art /
www.indigoblueart.com
Renowned oil painter Xing Qing Xin will be the focus of a one-
man show here in Singapore from October 10th – 24th. Mr.
Xing will be in attendance during the show, allowing guests
to meet the artist personally. The show will showcase close
to 40 pieces of recent works of Mr. Xing, with various themes
ranging from landscapes to flowers. Mr. Xing works in the oil
on canvas medium.
Hailing from Dali County, Xi’an Province, China, artist Xing Qin
Artist Xing Qing Xin: Xin is known for his loving portrayals of the rural countryside.
10.10.10 – 24.10.10 / ArtCommune Gallery /
Specializing in landscapes and flowers, regionally acclaimed
www.indigoblueart.com
writer Fan Chao describes Mr. Xing’s work as ‘paintings that
make the tired soul happy.’ Mr. Xing was born in 1968 and
graduated from Xi’An academy of fine arts. His father was a
professor at the Xi’An Academy of arts, and his brother is a
famous Chinese ink painter.
Gail Pantin was - until recently - Lecturer, Multi Media Designer,

and Course Coordinator at the Nanyang Polytechnic Digital
Media Design Centre. Pantin has now devoted herself to a
full-time arts practice in Singapore.
Pantin was recently commissioned by President S R Nathan

to produce an artwork that was developed into a limited
edition artist book titled “A Day at the Istana”. She has
participated in solo and group shows in Trinidad, Canada,
Solo exhibition by Bangkok, and Singapore.
Gail Pantin
21.10.10 – 07.10.10 / Chan Hampe Galleries /
www.chanhampegalleries.com This exhibition will include ink on paper works (similar to those
commissioned by the President) of Singapore landscapes
and other Asian countries where Gail has travelled as well as
paintings of a more personal nature.

COVER STORY INDIAN ART
“Today we paint with absolute

freedom for contents and techniques,
almost anarchic; save that we are
governed by one or two sound
elemental and eternal laws, of aesthetic
order, plastic co-ordination and colour
composition. We have no pretensions
of making rapid revivals of any
school or movement in art. We have
studied the various schools of painting
and sculpture to arrive at a vigorous
synthesis.”
- Francis Newton Souza, in an

introductory note to the exhibition of
1949 in Bombay.
I ndian Art has a history to tell. Using time

as a marker for the major turning points
in history, Indigo Blue Art presents ETHOS
A pictorial V, an exhibition highlighting some of the

significant art movements and renowned
journey through
artists who have had an enduring impact
on Indian Art. This exhibition explores the
crucial period between 1900s – 1980s of
India’s history India’s transition from a British colony to an

independent nation, through several notable
from 1900s to 1980s

art movements and groups. It features over
forty paintings by some of India’s finest
artists, whose works are executed in a
Text: He Sujin variety of styles and mediums.
The processes and influences from 1900s

till now have defined and governed the
trajectory contemporary Indian art is
Jamini Roy, Gouache On Board 37 x 12 cm

following today. The endless search for
Raja Ravi Varma Vasantsena, 1928 33 x 22.9 cm Oleograph

COVER STORY INDIAN ART
an aesthetic and an identity through time concerns through their own language of the
has become a pertinent topic of focus for In 1943, the overhanging gloom of avant garde.
some. While some Indian artists of pre- widespread famine and social and political Throughout history, Indian art has tried
independence were concerned with political upheaval prompted a group of young artists to negotiate the space between external
issues, many others were involved with to a new form of expression and artistic influences and internal questions of identity.
formal issues. sensibility. Forming the Calcutta Group, Before independence, the influences of
these artists rejected the lyricism and the eastern cultures from Japan spread through
The Bengal School period (1900-21) saw romanticism depicted in the works of the the Bengal School while after independence;
one of the first stirrings of the roots of Indian earlier Bengali artists and subverted against western concepts such as cubism and
Modernism. This school of painting was the archetypal portrayal of the idyllic rural abstraction were brought to India. Today, in
triggered by an upsurge of nationalist fervour, landscape. For the first time in Modern the quest to create contemporary Indian Art,
as well as a reaction against the academic Indian Art, the style that emerged was one some artists seek to revive the spirituality
art styles previously promoted in India by that evoked anguish and trauma. During and cultural authenticity of India; some
external influences. The Bengal School, led this phase of history, artists expressed question the influx of mass production
by Abanindranath Tagore (1871-1951), was socio-political and cultural issues through a and Westernisation. Some look towards
motivated by the philosophy of swadeshi subversive manner that reflected the urban the sublime spirituality of subjects drawn
(self sufficiency) and emphasised the situation they were experiencing. primarily from Indian religious literature,
importance of bhava (emotive expression) while others take inspiration from Indian
in a pictorial language that reflected a By 1947, a group of artists decided that Diaspora subjects. However, as technology
modern yet “Indian style” which deliberately art in India had to be liberalised and was progresses, the permutations are endless;
Kalighat Nawab, c. 1900 Pigment and dye on paper
40.6 x 30.5 cm deviated from western elements. To achieve determined to break free from India’s past to the blurring of design and art, the
this “Indian-ness”, Abanindranath used form an Indian avant-garde movement. India installations and digital works created by a
indigenous materials such as tempera and was now free from the yolk of colonialism, younger generation of artists have all added
looked to ancient murals and medieval and these artists wished to escape the a new dimension to Indian contemporary
Indian miniatures for inspiration. stultifying constraints that shackled them art, a seemingly nebulous concept that is
both culturally and artistically. This group, constantly changing and growing.
The Bengal School movement gave rise The Progressive Artists Group looked
to an experimentation of artistic ideas to towards the contemporary international While it is an ambitious task to present a
counter colonial structures, and the 1920s art scene for exposure to develop their historical survey of the expansive repertoire
saw the emergence of an important artist individual styles. The advent of this new of Indian Art, the exhibition tries to explore
Jamini Roy, who drew inspiration from the group revealed new avenues for emerging aspects of Indian art through the lens of
Abanindranath Tagore Birds, Watercolour wash on paper
16.5 x 25.4cm folk and tribal traditions. Roy adopted the artists from all over India to create new history, trying to understand the legacy
use of simplified forms, bold lines and a forms of expression, describing the Indian and the phenomenon of ‘Indian-ness’ and
specific palette of seven colours and opted reality in the rich diversity of post-colonial the consequences of the quests of the
for the inexpensive canvases of home-spun India. Apart from other cities in India, this masters, which play an important role in
cloth. Roy’s deliberate use of indigenous phenomenon was seen both in Calcutta the contemporary aesthetics of the global
forms and medium marked a new phase in and Bombay, and both these centres held Indian art.
the history of Modern Indian Art. joint exhibitions sharing ethos, styles and

SPOTLIGHT ARITST IN FOCUS
Peter Liew
Heritage
at Art Expo Malaysia 2010
B esides the 40 participating galleries in Taiwan, Malaysia, Singapore, China &

from 16 countries, Art Expo Malaysia Thailand (2002 – 2008).
also goes HERITAGE with the Archi-
Penang and Malacca. Also in the heritage Peter Liew once said, “If painting is for
orbit are the “floating buildings” of Venice painting sake, it is only a painting. A
and the colonial houses in upstate New painting should be a mean to express
Heritage exhibition of Malaysia’s leading Nature has always been an inspiration York in America. artist’s thought from the inner heart.”
artist of the landscapes and old buildings, to Peter Liew, and now, Peter Liew Undoubtedly, the reason Peter Liew’s
Peter Liew. reacquaints himself with the aging For his works, Peter Liew emphasizes on paintings are so lively, is that he is painting
architectural facades, with bold, innovative, the following 5 characteristics: with his heart and soul.
Peter Liew was born in 1955, in Perak, spontaneous and heavy strokes, and 1. Big. Only big painting can express
Malaysia. He graduated from Malaysian excels just like his landscape series. After himself.
Art Expo Malaysia 2010 is co-organised by National
Institute of Art (MIA) in year 1979 with a decades of mastery and use of the palette 2. Thick. Thickness can express the Art Gallery Malaysia, supported by Ministry of
Diploma in Fine Art, and was a lecturer knife, he has expanded the parameters of texture. From the shadow, it creates Tourism Malaysia, and under the esteemed
patronage of the Crown Princess of Perlis DYTM
in MIA from 1981 to 1994. Among his the genre with his extraordinary talents and a rich texture of a relief sculpture. Tuanku Hajjah Lailatul Shahreen Akashah Khalil.
most important solo exhibitions would be superbly developed skills. His architectural 3. Elegant. It shows artistic
the one in Museum of the City of Skopje For enquiries, please contact 03-7728 3677 / 012-
works.are moving inexorably towards a connotation.
206 1345 / info@artexpomalaysia.com OR log on to
(Republic of Macedonia), in 2002. He had unique kind of abstraction. 4. Raw. Painting should be simple and www.artexpomalaysia.com
participated in group exhibitions locally sincere.
and abroad, such as in Japan, Korea, In Archi-Heritage exhibition, Peter 5. Heavy. Paint it with heavy strokes
Hong Kong, Christie’s Auction Show in Liew’s thick oil impasto works cover with artist’s artistic thoughts and
Singapore (1997–1999), China / Malaysian three continents – Asia, Europe and the feelings.
Artist Cultural Exchange Exhibition in United States. His Asian works focus on
Beijing (1999), 16th International Art colonial buildings and places of worship A Peter Liew painting is soothing and
Colony Debrca – Belchista in Macedonia in Singapore and Malaysia. The Malaysian therapeutic. While it transports us into
(2000), Impression of America (2001), palette is on Kuala Lumpur and the twin another place, back to the past, it’s also a
New Expression of Asian Art Exhibition Unesco World Heritage designated sites of traipse into the inner self.

FEATURE Imagining Antholika
Imagining
Antholika
Text: Vidhya Gnana Gouresan
The viewer’s imagination

in relation to the narrative possibilities
of one artwork in the modern context,
within the framework of Indian aesthetics
T he power of Imagination or the ability to imagine is

often taken for granted. A toddler or a preschooler is
expected to display his/her ability to imagine via what is
termed as ‘pretend play’, as a basic necessity for life-long
creativity. If it was not for imagination, a precious gift to
mankind, the mundane demands and rigid commonsense
of life would bring one down to fatal boredom. The
creators of Indian aesthetic notions, thousands of years
ago, must have had this in mind.
There are many monumental and intriguing aspects and

Vidyasankar Sthapathy Antholika 2006 43 x 66 x 43 cm
angles to the historical, social and political progress of
modern and contemporary Indian art, within India and

around the globe. However, let us drift our furious), vira (the heroic), bhayanaka (the of contemplation for a maiden, relishing a the impulsive connotation will be that
focus away from the facts and figures, and terrible), bibhatsa (the odious), adbhuta lovely, quiet moment on the swing in her the maiden is hopelessly yearning for
enter a magical realm – the realm of the (the marvelous that denotes wonderment), garden. The neutral expression on her her lover, who is never punctual for their
highly-potent human imagination. This, we and shanta (the quiescent). In the singular face is very much on parlance with the discreet, passion-filled, romantic meetings
shall do with the help of the Rasa Theory, sense, rasa is indeed the ‘taste’ that one very essence of the expression of shanta. in the garden; meetings during which
a significant notion in Indian aesthetics receives from an artwork. To experience The swing on which she is seated defeats the utterance of sweet nothings and the
that was enunciated by Bharatamuni in his rasa, is to feel a deep enjoyment that its purpose of inducing movement, as caressing of lips are inevitable. Shringara
Natya shastra (an authoritative treatise on is due to, and because of an artwork. indicated by the suggestion of an almost never seizes to lead one to the pinnacle of
dance and drama) in around 2000 BC. We Utsaha or emotive energy is inherent in static element in the position of her legs. imagination.
are about to examine the significance and the artwork, as much as it is in the viewer. As an addition to the mood of shanta, it
subjectivity of the viewer’s imagination of It is an exchange of this energy between is significant to note that the title of the The Power of Imagination
the narrative, within the framework of the the artwork and the viewer that brings sculpture, Antholika, is the name of a At this juncture, it is significant to address
Rasa Theory in relation to the dichotomy about the rasa experience. This emotive, raga (a specific scale of musical notes in the paramount role that imagination plays
of the secular and the knowledge-specific aesthetic experience, which is different the genre of classical Indian music). This in the making of meaning(s) via the narrative
appreciation of visual art in the modern for every viewer, enables the viewer to particular raga is commonly utilised to possibilities that the sculpture provides.
context. This, we are pursuing through communicate with and appreciate an compose music that creates the effect of a The sculpture allows the viewer to derive
the analysis of one artwork – Antholika, artwork. In other words, the Rasa Theory soothing lullaby. What more can we ask for at a number of narrative dimensions
a bronze sculpture by Vidyasankar is indeed reception-centred; viewer- to relish the quiescent? and meanings that include as well as
Sthapathy. Born in Srirangam (Tamil Nadu) centred. In his book entitled Essence of go beyond the symbolic implications
in 1938, Vidyasankar Sthapathy is a prolific Indian Art, B.N. Goswamy explains in a Now, let us delve into the narrative that only the structural elements of the
sculptor who won the Indian National concise manner: possibility under the adbhuta point-of- sculpture can offer the viewer on a visually
Award in 1993. He is respected as the view for the sculpture. A close study of immediate basis. The structural elements
father of modern sheet metal sculpture in That rasa is what art is all about may not the details on the tree that holds the swing trigger; act as a catalyst; pave way for the
South India. Vidyasankar was trained in symbolises a world of fellow species. The indispensable occurrence of imagination,
be specifically stated in so many words by
the arts at the Government College of Arts portrayal of various creatures on the tree, on the viewer’s part, within the narrative
& Crafts in Chennai, which is indeed the everyone, but in a very real sense it is what a such as the snake and the squirrel, creates respect. This imagination forms the basis of
oldest art institution in India, having had viewer is looking for in a work of art. a lively ambience for an otherwise passive the making of meaning and in determining
been established in 1850. scenario. A sense of awe in relation to the the predominant sentiment of an artwork,
The Analysis wonders of nature and the co-existence within each narrative scenario that it
The Rasa Theory Antholika, the bronze sculpture by of all species on Mother Earth is reason readily offers the viewer. In her recent book
There are indeed two angles to the notion Sthapathy, embodies a scenario that enough for a sense of wonderment; a entitled Indian Art: The New International
of rasa – one with reference to nine specific allows the possibility of three different sense of adbhuta! Sensation, Alka Pande explains the role of
sentiments or emotional conditions and narrative angles that can be associated such imagination:
the other in the singular, with reference with three different sentiments - shanta When we view the sculpture from
to the aesthetic experience of art. The (the quiescent), adbhuta (the marvelous) the shringara element, the power of A true aesthetic subject does not simply
nine sentiments or emotional conditions and shringara (the erotic). Looking at imagination does play a key role, together stimulate the aesthetic sense; it works to
are shringara (the erotic), hasya (the the sculpture from the shanta point-of- with a culture-specific knowledge of a
view, the scenario addresses a moment stimulate the imagination through the senses.
comic), karuna (the pathetic), raudra (the stereotypical scene of romance in the
Indian epic genre. In such a narrative, As the aesthete rises from the level of sense to
34 / THE POCKET ART’S GUIDE SEPTEMBER 2010 / 34 OCTOBER 2010 / 35

that of imagination, he reaches the second level in an artist-specific manner. Sthapathy within the traditional framework of religo- different narratives (each with a different
of the aesthetic experience. This new world is belongs to the generation of progressive mythological iconography and a strong predominant sentiment), does not need to
sense of freedom in the re-contexualisation bear any implication towards Sthapathy’s
his own creation. artists in the late 1950s and the early
1960s in Madras (now Chennai), the artistic of traditional modes into modern notions of creative background or credentials,
centre of South India. It was indeed a rendition, usually facilitated by the severe insofar as the pure aesthetic experience
However, where is the secularity of the
significant period in time in the modern art and selective distortion of certain sections of the viewer is concerned. Antholika
narrative in the imagination of the viewer
history of specifically South India, whereby of the body of the human subjects (mostly remains a dynamic entity that speaks for
of the sculpture? As a counter for this
artists were on an undaunted search or female) in his art. itself; that has an energy of its own; that
question, are not shanta, adbhuta and
pursuit to express the modernity within possesses a capacity to communicate
shringara secular enough as sentiments?
their thoughts and inspirations via the Imagining Antholika with its viewer, without prejudice or
Apart from the definition of the title of
embracement of the rich artistic tradition Having had dealt with the artist’s creative without a demanding prerequisite of
the sculpture and the understanding of
that they already had. In the book entitled background, now the key question is, is culture-specific, artist-specific knowledge
romance in the Indian epic genre, the
Towards A New Art History: Studies in it truly necessary to acquire knowledge of from its viewer. Due to the existence of
essence of being quiescent or experiencing
Indian Art, Ashrafi Bhagat explains the Sthapathy’s background to appreciate the a fluid, open-ended narrative element
wonderment or the erotic, although
nature of modern art in South India during sculpture under discussion; to acquire an in the sculpture, the sentiments of the
within separate narrative scenarios, is
this time period: aesthetic experience from the sculpture? Rasa Theory flow in mellifluously without
indisputably based on raw human emotion
Does this knowledge truly make a the adherence to one ruling sentiment,
and tendencies. If at all the viewer needs
significant difference or contribution to proving the timeless relevance of the
to possess any specific knowledge to The energies were directed specifically towards
the aesthetic experience and narrative subjectivity of the rasa experience as an
appreciate the sculpture, then, as far as reducing the European affinities in art and in
imagination of the viewer of the sculpture? emotive, almost metaphysical aesthetic
this sculpture is concerned, the required rethinking strategies for deploying traditional A quote by Michael A. O’Ferrall, from the experience, regardless of the degree in
knowledge will be based on the artist’s
regional art forms, which could assume modern book entitled The Spirit of India: A Survey which the viewer is acquainted with formal
intent, the symbolic representation and the
sensibility and relevant contemporaneous of Indian Art, is necessary at this point: knowledge of art or of the specific artist.
stylistic genre that he adheres to. The rest,
expressions. Antholika is indeed the grand metaphor of
is left to the imagination of the individual
viewer. In the same book as stated earlier The more deeply we penetrate the technique a democratic, aesthetic experience for the
in the article, Goswamy provides an It is in this very spirit that Sthapathy, to of any Indian art, the more clearly we see esteemed viewer of art.
explanation in this respect: this date, continues to create his artworks.
that what may seem spontaneous, individual,
Having had hailed from a generation
impulsive and natural to the lay spectator is
of sthapathys (who are Hindu temple
The durable emotional state that is subtly in reality well-considered, long-inherited,
architects, sculptors and designers who are
brought into being by or through a work of art well-versed in the ancient texts on aesthetic minutely studied and imbued with a highly
is one thing: its transmutation into a rasa is specifications, mythological iconography, symbolic significance.
dependent upon the energy, the inner ability, temple architecture and rituals, astrology,
the singleness of heart of the rasika [viewer of the sacred scriptures, and even classical The above quote signifies the exact
a work of art]. The faculty of imagination and music and dance), the existence of a grand nature of the aesthetic appreciation of
tradition of temple art in his family has Antholika. With due respect to Sthapathy’s
wonder is greatly emphasised.
enabled Sthapathy to evolve into a creator technical and creative brilliance, the fact
who, in his sculptures, brings about a that the sculpture can be viewed upon
With our purpose in mind, let us put the
symbiosis between the technical skills and appreciated within the scope of three
sculpture into the context of modern art

THE LAST SUPPER
THE LAST SUPPER

REVISITED
KOLKATA, INDIA 2010
Text: Bob Feldman

FEATURE THE LAST SUPPER
T he international value and appreciation

of art in India has been growing
dramatically, so it was with great pleasure
directed in northern Germany for twenty-
five years before moving to the tropics, as
a natural extension of her outreach effort.
that Renate could oversee, advise and
encourage.
that Renate Kant, a German museum- Before starting the work, the painting had
trained conservator living and working The artist, Johann Zoffany (1733-1810), been in an extremely decayed condition.
had lived in India for six years in the In addition to the hot and humid climate of
in Singapore, received an invitation to
late eighteenth century under the British South Asia as well as former impacts from
Kolkata (West Bengal, India) to supervise
governors. He had left a legacy hanging vandalism and mishandling (cuts and tears
the restoration of the painting entitled Last
in the National Museum in Kolkata, in that measure up to 43 cm), unprofessional
Supper (1787) by Johann Zoffany, hanging addition to paintings in St. John’s Church, efforts to cover up the destruction and
in the oldest church in Kolkata, St. John’s the National Gallery and the Tate Gallery in decay of the painting had caused severe Renate and the group of Indian conservators
Church. The request from Dr Reimar London, as well as the Uffizi in Florence. disfiguring of the image. Huge sections
Volker, Director of the Goethe-Institut Zoffany was a German Neoclassical painter had been overpainted. Cracks and cuts
(German Cultural Institute), was part of who was born in Frankfurt am Main. He had been haphazardly filled in with uneven,
the Institute’s Culture and Development became renowned as a portrait painter of oversized, embrittled and hardened putty.
Initiative in which knowledge transfer, the British Royal Family before moving to
intercultural learning and transcultural Kolkata in 1783. He was commissioned After the painting had been dismantled,
dialogue is initiated between experts and by the colonial rulers to paint a depiction the specific damages had to be assessed
of the Last Supper to adorn the newly and documented in text and video. A
academicians of the host country (India)
founded St. John’s Church in 1787. damage cartography was drawn and
and of Germany.
extensive assessment was conducted
Between January and July 2010, five
The conservation of the artwork provided before the discoloured, non-original
conservators from INTACH (Indian Remounting painting on stretcher
major challenges for the young Indian coatings could be removed layer-by-layer.
National Trust for Art and Cultural
group, who had never before worked on Deep consolidation had to follow; only
Heritage) conducted the conservation of
a painting of this dimension (244 x 160 then could the overpainted layers and infill
the important historical painting under
cm), with specific damages that deal with material be leveled.
Renate’s guidance and supervision.
previous treatment interventions that were
Although the artist was German and
undocumented and barbaric. Yes, at first the fragile substance needed
not Indian, the transfer of skills was the
a lot of structural support by securing
major thrust and most valuable part of the
A make-shift studio was created in the paint layers, reattaching delaminating
project. She was able to share her thirty-
corner of the church for the duration of canvasses, and relining new tacking
eight years of experience with young Indian
the project, and German material and edges. The process of opening windows
conservators in order to assure the quality
tools were shipped to provide international into the past through varnish removals had
of future conservation work in Kolkata as
standards. Renate Kant travelled to Kolkata to be reversed, and integrating retouching Documentation
well as to enhance their awareness of the
five times for work stints. Meantime, the was the first hurdle for the group due to
rich cultural heritage of the city with ways
Indian conservators continued the work the amount of missing original substance
to protect its multifaceted history. Renate
and would send photo-documentation and the introduction of new techniques
had already trained numerous apprentices
of the process through the internet so and European materials. All this created
at her conservation studio which she had

FEATURE THE LAST SUPPER
a challenge for the INTACH team, and The reasons why paintings became victims
they took on the task with dedication, of deterioration were theft, fire, negligence,
concentration and persistence. climate conditions and vandalism. In
the case of Zoffany’s painting, the main
All gashes and holes needed new inlays damages might have been caused by the
and putty. At the very end of this complex hands of vandalism. Due to his social-
process the affected areas were retouched critical interpretation of the biblical
in a minimalistic, detailed manner in theme Last Supper via the depiction of
resinous media that was newly introduced controversial public personalities such as
to the Indian team. the disciples, the local reception resulted
in outrage. The people were provoked, and
Renate’s earlier professional career protestors slashed, cut and dramatically Detail during removal of coatings Detail after final treatment
was filled with work stints in churches, ripped through the canvas.
medieval monasteries and synagogues
throughout Germany, doing research on At least two major attempts at restoration
paint layers dating back to medieval times had been performed, one immediately
and then deciding on the best conservation after the vandalism, and the other 100
approach in conjunction with the German years later, documented in 1888. The
National Heritage Board. So to work again Indian conservators imagined how the
on sacred grounds created a meaningful people doing the early repair attempts
familiarity for her. must have struggled with the magnitude of
the damages as well as with the size of
Looking back into history, we know that the work while attaching a second relining
since the time when paintings were first canvas with starch and water.
created, the wish and pressure to keep
their value for artistic or historic reasons The previous interventions were not modest
arose. As early as 1629, Peter Paul and were often not easily reversible with
Rubens, the famous Flemish painter known oversized putty and were extremely hard
for his Counter-Reformation subjects and in structure, as the ethics of conservation
his numerous altarpieces, restored a huge had not yet matured. Layers and layers
amount of artworks which were brought to of tinted coatings were used to hide the
him due to severe decay while he was an disaster of not being able to responsibly
envoy to Spain. This was one of the first fill in the missing parts of the work with
instances of the transfer of skills, as he non-invasive, reversible techniques; a task
gave advice and taught how to increase that trained conservators would know how
Remounting completed conserved painting to its original location
the lifespan of paintings, which was being to perform at present.
continued through this project in Kolkata
sponsored by the Goethe-Institut.

FEATURE
When Renate and the team first saw government participated at the event,
– in daylight – the heritage of trials and and the generous support for the project
errors and the best attempts to save this from the Goethe-Institut Max Mueller
important work lying now demounted and Bhavan and INTACH was acknowledged
placed on the work table, the task seemed wholeheartedly.
insurmountable.
Admirers of the painting need to
Imagine: 60% of the project’s time went understand that even with the most
into de-restoration and stabilization, which skilled, responsible conservation, a work
involved the removal of all the previous of art can never be restored to the original
additions of material which changed the and complete state in which it was when
composition, in order to uncover the it was first created. Conservators can only
authenticity of the image. This shocked integrate the present state of deterioration.
C
the visitors when they came to observe The artwork’s traces of the impact of
the process at the make-shift studio and time can never be completely eliminated, M
when they saw the team with scalpels as conservation is not beautification. Y
and piercing tools doing archeological Interventive conservation can only support CM
hands-on digging under the epidermis the lifespan to an indefinite future.

MY
of all the non-original coating layers on Conservators abide by the ethical principle
opaque over-paint and infill which had to that all materials must be documented and CY
be carefully removed. are reversible. CMY
The five-month process was successfully The painting can be seen now by all
choreographed with Renate’s supervision visitors to St. John’s Church in all its glory,
and the restored painting was protected against the city’s pollution with
ceremoniously unveiled on the 4th of July an acrylic glazing. This oldest church of
by Kolkata artist Ramanda Bandopadhyay, Kolkata, with its impressive, renovated
a veteran of the Bengal School of Art, who mausoleum, is always open to the public
has painted works based on indigenous in appreciation of its historic significance
heritage, popular artistry and natural and as a place of worship.
designs and patterns since the past
fifty years. It was a festive celebration
with speeches, orchestral music and the
opening of the photo and video exhibition
in the church, documenting the entire
process. It is a great gift for the city of
Kolkata as a marker for high standards
in the preservation of artworks of
heritage value. Dignitaries from the local

FEATURE COLLECTING INDIA ART
An overview
Royal Patronage but art itself was often used as an agenda
All through India’s history, threads of to develop the identity of the nation.
patronage of the arts by the royalty can
of patrons,
be seen from architectural styles to British Patronage
sculptures and paintings. Most emperors By the late 18th century, the British had
of yesteryears had been involved in emerged as the dominant power in India.
collectors providing royal patronage to the artist and

the artisan.
The newcomers were fascinated by the
sublime landscape of the country, its
and collections
magnificent monuments and the diversity
In the north, kings like Ashoka (ruled 269 of its people. They wanted to acquire
BC to 232 BC) and Akbar (ruled 1542 - pictures of their new environment, but not
of Indian Art
Text: Smriti Rajgarhia-Bhatt
1605) have been the greatest patrons of
art and culture. King Akbar commissioned
artists to paint miniatures at his cultural
all of them could afford to buy the works of
noted British artists engaged in portraying
the scenic splendour of India and its exotic
capital at Agra. Artists were provided people. As a result, British residents and
art materials and studios to work in; all travellers started commissioning native
artists were promoted in the emperor’s artists to create paintings of their chosen
Indian Art has a long history of patronage
chronicles. While this was the model of subjects.
and its development throughout the years is the state initiative then, this model has
essential in understanding the current practices changed over the years. The profile of the Local artists started creating works for
in collecting Indian art. ‘patron’ has altered with various influxes ofthe new audience and the changing
communities and economic developments urban society of Bengal. One very famous
in the country. example is the Kalighat Painters, where the
subjects depicted gods and goddesses.
Patronage in Indian art has been a These were carried back to England and
necessary condition for the development Europe by missionaries, being the first
of the artists. It has taken many forms kind of Indian rural art to have travelled to
through the years, from the church, the west.
temples, monasteries; Kings and nobles;
State art Galleries, commercial spectators, Indian artists on their part welcomed the
art collectors, museums and political opportunity to work for their new British
parties and today, economic bodies and patrons, especially because the traditional
policies. All these parties have played and patronage of Indian rulers and their courts
still play an important role towards the was rapidly declining. To suit the tastes of
direction that the art of a nation takes. British clients, native artists modified their
Even during the times of the reign of Akbar, techniques and style and adopted some
the love of the arts created the patronage features of Western art. This phenomenon

FEATURE COLLECTING INDIA ART
also led to the birth of young self-taught F Husain’s mural in the Delhi Income Tax of stainless steel Tiffin utensils (2007) A lack of initiative from the government
professionals like Raja Ravi Varma, who building. However, such investments never fetched £601,250 at Christie’s in London, has inspired many art aficionados to start
used the oil painting technique of the carried the momentum of mass public and his Still Steal Steel #9 painting (2008) non-profit organisations to promote Indian
west with Indian mythological subjects, address, and correspondingly, did not went to a European collector for €450,000 art. Many collectors are now looking at
adapting the art form to the patronage of evoke the scale of historic response of a at Frieze in October. opening private museums not only in the
the kings of the princely states. `national’ art. cosmopolitans but also in two-tier cities to
New contemporary Art promote Indian art.
Sometime between the 1940s and the One could see that a lack of defined policy Contemporary Indian art has travelled a
1950s, a new class of collectors arose led to a scattered activity amongst artists long way with the new economic growth, Art as investment
with the political scenario of the country, and no channelised direction for the artistic disappearing borders and a globalised The investment value of art in India has
supporting the ‘new Indian art’ which community. Internal contradictions created economy. In keeping with the times, changed the bar of the new collector.
had started in sync with the wave for confusion and the state patronage failed to photography, hyperrealism, installation art, The average age has reduced and young
nationalism. Modern trends of Europe address a broader perspective. new media creations and representations professionals buy art for the aesthetic
were influencing Indian art and new have taken place of the old methods of value, and they believe that it is a safe
revolutionary art was being produced in The new contemporary Patron art. New collaborative practices and a investment. Art as a resource has always
the late 1940s. This class of collectors The scattered policies of the state and the more global language with strong regional been present; the shift can be seen from
included Englishmen and Europeans who silent industrialist patrons led way to a new undertones in new media have appeared as antiquities to modern and in contemporary
reacted favourably to the new experiments phenomenon. As with every effect, this alternative art. Many artists now examine art. It is undeniable that the spurt of
by Indian artists. Many such foreigners phenomenon came with its pros and cons. and question the reality of the society and economic activity has propelled this
supported the Bengal Renaissance and A large number of foreigners developed age in which they live in, taking subject excitement. However, Neville Tuli says,
the emergence of Shantiniketan. interest in contemporary Indian art and matters from everyday surroundings and “Today’s trigger is economics and look
started acquiring large collections. This transforming them through art into a at the impact, tomorrow’s could be art
After Independence has grown substantially due to the increase theatre of life. education and who knows how far the
After 1947, the concept of the collector in the number of embassies, legations, impact will go”.
and the patron changed yet again. With foreign firms and also, the increase in the Such art in India, like performance-based
India gaining its independence, obtaining number of visitors from abroad. art, installation art and moving image, is
state patronage for artists was a more struggling for space in both the social and
difficult task. After 1947, the government In the past couple of years, the foreign the economic areas. Private organisations
came forward to help the artist financially buyers were quick to spot the potential of like Khoj, Sahmat and Open Circle are a
by providing a larger audience and by Subodh Gupta and his contemporaries. few non-profit organisations which are
making the public art-conscious. It instated These include Gupta’s wife Bharti Kher, trying to provide a platform for the new
institutions like the Lalit Kala Academi and TV Santosh, Sudarshan Shetty and Jitish language of the global Indian-ism. This
the National Gallery of Modern art. It also Kallat. alternative art has not yet entered the art
invested in artists by purchasing works market scenario in a big way. Its issues with
for embassies, commissioning works for British buyers include Frank Cohen and reproducibility and collectability are yet
murals and other decorative works on Charles Saatchi. The clamour for work to be argued and answered because this
government buildings. The government by Gupta came to a head in June 2008 new wave becomes the actual repository
spent on public art projects such as M. when his untitled circular installation of contemporary Indian culture.

FEATURE INDIA ART SUMMIT
N ow in its third year, India’s Modern and Contemporary art fair continues
to widen its reach within the subcontinent, attracting leading galleries
and collectors from the region and around the world. Last year, India Art
Summit attracted 40,000 visitors over 4 days, with 3000 guests attending
the VIP preview itself. The third edition in January 2011 will include 85
galleries from 20 countries, exhibiting more than 1000 art works in an
8000 sq mtr exhibition space in Pragati Maidan, New Delhi.
With 36 international galleries (double the number exhibiting last year),

the third edition will showcase the works of international art world stars
like Anish Kapoor, Subodh Gupta, Bharti Kher and more; countries
represented by international galleries include Austria, Australia, Canada,
China, France, Germany, Japan, Korea, Latvia, the Netherlands, the
Philippines, Portugal, Singapore, Spain, Switzerland, the UAE, UK and
USA.
India Art Summit in January, 2011 is an unparalleled opportunity to

experience the breadth of the growing Indian art scene – with the presence
of leading Indian galleries along with a contingent of smaller regional
galleries showcasing a diverse range of artists. A new Solo Projects
section of the art fair will include in-depth displays of an individual artist’s
work, while an outdoor sculpture park, video enclosures and performance
spaces around the art fair provide ample opportunity for galleries to
showcase an array of mediums and art practices.
Besides the commercial art fair (last year saw sales of over half the art
India Art
works on display), the India Art Summit programme attracts some of the
leading artists, critics and curators, as the three-day Speakers’ Forum
addresses key issues on the art market, collecting, and the future of
Summit
Indian art and more.
Next year, there will also be thought-provoking public art projects

installed in and around the venue. While performances and guided walks
New Delhi, 21-23 January 2011 will be available for visitors during the art fair, the after-hours will offer
an extensive list of collateral events hosted by galleries, institutions,
restaurants and bars around the city of Delhi.
India Art Summit takes place from 21-23 January 2011 (VIP Preview by invitation on 20
January) at Hall#18 Pragati Maidan, New Delhi.

INTERVIEW P. GNANA
P. Gnana paints, sculpts TPAG: Your art is synonymous with the

and creates conceptual metaphorical representation of the cow,
which indeed emerged as a phenomenon in
installations, as one of
its own right. Tell us more about your affair
Singapore’s leading artists. with the cow.
It is a fact that exemplary Gnana: I grew up amidst a rural ambience in
paintings by Gnana are also in the township of Neyveli in the south of India.
the collections of the President This was about forty years ago. I must say,
of the Republic of Singapore I was lucky to experience a very fascinating
childhood in my hometown. My father was a
and the Singapore Art Museum
Foreman with the Neyveli Lignite Corporation.
of the National Heritage Board. And my mother used to be so busy breeding
The Pocket Arts Guide had the her two cows and a calf, amidst all her other
pleasure of having an insightful household chores. Now that you have asked
dialogue with the man-of-few- me this question, I do recall moments whereby
words, about his obsessive I thoroughly enjoyed playing the role of an
assistant to my mother, in the upkeep of the
fascination with the cow, his
cows. I was born to my parents as their third
current inspirations and his child, but my mother had to go through the
much-anticipated significant immense grief of a miscarriage and the deaths
solo exhibition, that will of two of her infants before I was born to her.
travel from Kuala Lumpur to Therefore, I was quite a pampered boy. And
Singapore and to New Delhi. my mother was always happy to bring me
along wherever she went. For the sake of the
cows, I assisted my mother in collecting grass
for their sustenance. I used to be incredibly
thrilled when we went searching for a missing
cow during the monsoon season. There were
An Interview With times when my mother assisted her cows

in the process of birthing. Even when I now
P. Gnana
think of those moments with my mother and
the cow, I go through a very forceful sense
of nostalgia that brings about a paradoxical
Sculptor & Painter feeling of sadness and joy. We are talking
about moments that have been lived already,
gone in time. But then, when I am able to
re-live and rejuvenate those emotionally-
significant experiences through my art, with

INTERVIEW REVIEWS
endless creative possibilities, the excitement on what I would call ‘mental sketches’. I go Ganesha Art - A Global Catalyst
I feel is overwhelming. To me, the cow is a through long moments of quiet contemplation, 14.09.10 – 17.10.10 / Gnani Arts Space
symbol of unconditional love; something that visualising and determining how I want my Text: Vidhya Gnana Gouresan
I have felt very deeply. It is a metaphor that next painting to turn out; where I want my
occurs very naturally in my art. focal point to be; what kind of a colour tone
that will bring harmony to it and so on. All this
Do you think your fascination with the cow is done and processed on a mental basis. To Ganesha is a popular Hindu god, who is POWER GANESHA: Show 5 is the 5th
will reach a saturation point soon? me, painting is a raw, spontaneous transfer a narrative apparatus in Indian mythology; in an exclusive series of art exhibitions,
It is good that you asked me this question. of energy, from my mind to the canvas. And an inseparable aspect of contemporary conceptualised and presented by The
It is true that I am constantly counter- creating a sketch before painting interferes Hindu/Indian life; and indisputably a Gallery of Gnani Arts, that offers a stable,
challenging or taming the forces that urge me with the direct transfer of that energy in the global cultural icon. Amongst many of his contextual platform for what one can
to dispel my fascination towards the cow, a real painting. However, for my sculptures metaphysical designations, Ganesha is term as contemporary Ganesha Art with
symbol that my art has been associated with and installations, I do extensive sketching believed to be the Remover of Obstacles, a secular perspective; a perspective that
since the past four years. I have not even beforehand, even though improvisations are the Lord of Beginnings, the Lord of strives beyond the cultural-geographical
completed the basic level of exploration and made on-site. Success and the Lord of Literature. He origins of the belief in Ganesha: India.
experimentation in my cow concept. There is easily identified by his elephant-head, After four hit exhibitions in the series (in
are so many more possibilities within the Your monumental, travelling solo exhibition his human body of circular proportions, 2003, 2005, 2006 and 2009 respectively),
concept. It still excites me. I am constantly is coming up soon. Do tell us more. his broken tusk and many other attributes the Gallery presents this much-awaited
visualising many dimensions to the concept, It will be my ninth solo exhibition - of paintings that encapsulate an amalgamated blockbuster exhibition of numerous
exploring endless choices of media for my and sculptural installations - that will first scheme of fables, rituals, philosophy and creative dimensions of the celebrated
sculptural installations, and executing themes travel to Kuala Lumpur (Malaysia), and then anthropological symbolism. He is also icon who possesses an appeal that is
within the concept, that create a parody or a to Singapore. This will be in November worshipped as the son of the Hindu god astoundingly universal, and an ability to
statement that is usually universally human. I and December 2010. In January 2011, the Shiva and the Mother Goddess, Ambika. embrace a contextual dichotomy of the
am unable to express to you in words now. exhibition will travel to New Delhi, the capital Although there is not a definite conclusion sacred and the profane. The participating
Let me show you through my art. Even for the of India. The collection will reveal yet another in relation to the provenance of Ganesha, artists of POWER GANESHA: Show 5
current ‘POWER GANESHA: Show 5’ group dimension to my thought-process in the cow scholarly research suggests the existence include Agatha Hutton, Alpana Ahuja,
exhibition, I have portrayed a small cow in the concept. The sculptural installations will be of the deity before that of the Vedas (the Alphonso Doss, B.R. Annapillai, Aparna
lower half of the Ganesha painting that I had life-sized; certainly larger than my current oldest surviving scriptures in Hinduism, Sundaresh, C. Dakshinamoorthy, S.
specifically created for the exhibition. Apart three-dimensional works. Experimentation will believed to have been written between Elayaraja, P. Gnana, S. Govindarajan,
from my cow concept, I do simultaneously be predominant, in terms of the manipulation 2500 to 500 BC). Having mentioned J. Kalidass, Karuna N. Rajendran, N.
work on other themes that I am comfortable of medium and material. As for my paintings the issue of provenance, however, the Manoharan, K. Muralidharan, Naina Mehta,
with. for the exhibition, the thematic motivation will intention of this exhibition of contemporary Odile Moulin, Pon Ragunathan, S.K.
take a twist, as I will be incorporating what I art, does not lie within the scholarly Rajavelu, Richard Chen, V. Santhanam,
How do you create your paintings? Do you would call ‘visiting symbols’ - other symbols perspective of the concept of Ganesha, Sarbani Bhattacharya, S. Sivabalan and
prepare preliminary sketches before you and metaphors, together with the cow. but the aesthetic element of the manner Tasneem Moochhala.
embark on your oil on canvas? in which the concept is manipulated and
I hardly create preliminary sketches before I rejuvenated in the creative as well as the Each one of more than twenty participating
paint. Having said this, I rely almost entirely narrative tendencies of current times. masters and emerging artists, who

REVIEWS REVIEWS
4 6
1. Wind, Alpana Ahuja, oil on canvas,

91 x 91 cm , 2010.
2. Divinity, Aparna Sundaresh, oil on canvas,
50 x 42 cm, 2010.
3. Ganesha - 01, B.R. Annapillai, oil on canvas,
48 x 63 cm, 2010.
4. Ganesha - 40, C. Dakshinamoorthy,
mixed media on paper, 45 x 64 cm, 2010.
5. Ganesha - 52, Karuna N. Rajendran,
oil on canvas, 60 x 44 cm, 2010.
6. Power Ganesha, P. Gnana, oil on canvas,
150 x 180 cm, 2010.
7. Ganesha - 54, S. Sivabalan, acrylic on canvas,
51 x 130 cm, 2010.
8. Ganesha in MRT, Umapathy Arumugam,
mixed media on canvas, 60 x 44 cm, 2010
3 5 7 8

REVIEWS
hail from various national and cultural that one receives from a consecrated icon
scenarios (Pakistani, French, Chinese, of Ganesha in a temple sanctum? There
Singaporean and Indian) embark on is devotion in art, and there is aesthetics
creating aesthetically-convincing visual in a consecrated temple icon. The two
representations of Ganesha, while making experiences are similar as much as they
an informed choice in the adherence or are different. In the same spirit, the fact
non-adherence to stereotypical depictions; that the religious sanctity of the Ganesha
while retaining his/her characteristic concept has the ability to transform into
individual style and the inevitable a secular entity through Fine Art and
specificity of the artist’s personal-cultural the larger picture of popular culture is
background. This, is indeed a challenge indeed a phenomenon that comes with
for the participating artist; a challenge that its own complex issues of interpretation
cannot be underestimated and that may or misinterpretation. In his book entitled
not be instantly recognised by the viewer Ganesha - Unravelling An Enigma, Yuvraj
of art through the artwork alone. Control Krishnan aptly refers to Ganesha as a
and rules, although they are typically ‘cultural ambassador at large’, whose
meant to be broken, are not exactly influence in the religious context has
desirable in any case. However, contrary travelled throughout South, East, and
to popular thought, an occasional, Central Asia. In spite of any form of
subjective amount of conceptual control complexity in symbolic interpretation, little
compels the artist/creator to give birth needs to be done to be convinced that
to an end-product that is almost always Ganesha Art is indeed a genre that has
unexpected and monumental to some instilled an obsession in a substantially
extent. This is exactly the motivation under large global community of art collectors
which each participating artist of POWER and connoisseurs, regardless of ethnic
GANESHA: Show 5 has attempted his/her implications. Ganesha Art gleams as a
very own imagination of Ganesha, in spite global catalyst that demands and achieves
of the massive spectrum of connotations a multicultural reception.
within which the icon is symbolised and
represented in the religo-mythological
POWER GANESHA: Show 5 is being showcased at
context. Gnani Arts Space (#02-30/31, Fortune Centre, 190
Middle Road). Exhibition ends on 17 October 2010.
Context. This is the key factor that
presents the exhibition with a twist. How
different is the aesthetic experience
imbibed from a work of contemporary
art depicting Ganesha as opposed to the
culture-specific devotional experience

HO
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SINGAPORE’S ART MAP ND
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Singapore
Botanical Garden NAS
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D
CO
M
M
O
NW AD
EA NAPIER RO
LT
H
AV AD
E RO
L IN
NG
TA
Galerie Joaquin,
The Gallery of Gnani Arts
Antiquaro,
AD
Boon’s Pottery,
RO
Bruno Gallery,
HaKaren,
IN
Kwan Hua,
GL
Li Fine Art,
N
Mulan Gallery,
TA
Peter’s Frame,
Sun Craft,
Yang Gallery
AY
SW
EEN
QU
Sealey Brandt Photography Studio,
AD
Geeleinan Art Gallery & Studio
TANGLIN RO
QU
EE
RE
NS
SS
WA
W
AY ALEXANDRA
Y
E ROAD
AV
N
W
DO
R TS Mercedes-Benz
PO Center
AD
RO
A
DR
AY
AN
E R
EX
RA
AL
JA
H
AD
EX
PR
LOWER DELTA RO
ES
SW
AY
JAL
AN
BUK
IT M
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H
61 / THE POCKET ART’S GUIDE

BU SINGAPORE’S ART MAP
KIT
AD TIM
AH
RO RO
TS AD
OT
SC
ROAD
ANG
AD
KALL
LEGEND
RO
N
AY
OO
W
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PR
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A SMALL ROAD
TR
NH
N
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ILL
EXPRESSWAY
RO
R
SA
AD
AD
BE
ART GALLERY
RO
Pop and Contemporary BU Kelly Reedy -
N
AY
KI Studio Arts
LA
TTS
Fine Art T
AL EXPRESSW
T
JA
TI E PUBLIC PLACES
M RE
SCO
AH
RO ST
I A SCHOOLS
OR
AD OR
CH CT
VI
D
AR MRT
OA
DR
NTR
OA
DR
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Third Floor Hermes
OR
CE
EF
SELEGIE ROAD
BID
GALLERY
SPOTTED
ET
RE
ORC Art Trove Gallery
ST
AD
HAR AY
DR 51 Waterloo Street
RO
OAD W
LE
GH
#02-01/2/3
O
HI
GE
O
LESingapore 187969
C
ET
ID
N
CO
BE
BR
NI
RE
Foundation Oil T: +65 6336 0915
H
ST
RT
Painting F: +65 6336 9975
EP
NO
E: enquiry@art-trove.com
C
N
RI
The
Picture-
P W: www.art-trove.com
house
Opening Hours
RO Wed- Sun: 11am to 6.30pm
BR Art Trove,
C
AS The Private Museum H Call for private viewing.
BA O
R
SA RO
H AD
RO
AD
RIVER VALLEY ROAD
Eagle’s Eye
Art Gallery Foundation Oil
Painting
AY
R ESSW
K EXP
OAS T PAR
E ASTC
KIM
SE
NG
Chan Hampe
Galleries
RO
RI
VE
AD
R
VA
L LE
Y
RO
AD
Art Trove
GANGES
AVE
M
ER
CH
ET
AN
RE
T
AD
RO
ST
AY
RO
AD
IVE
HA
LL
SW VE
HI
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EASTCOAST PARK EXPRESSWAY

ID
XP CK
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PLA
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HA
VE
SE
LO
CK
NG
RO
TO
AD
EU
OCTOBER 2010 / 64
Sotheby’s Institute of Art,
DreamSpace Art Studio
DIRECTORIES DIRECTORIES
GALLERIES Collectors Contemporary 5 Jalan Kilang Barat #01-03 Galerie Waterton 39 Keppel Road #02-01 P
A D H Pop and Contemporary Fine Art

AndrewShire Gallery 5 Swiss Cottage Estate HaKaren 19 Tanglin Road #02-43 390 Orchard Road
Aratong Galleries 26 Mount Pleasant Drive Heng Artland 290 Orchard Road #04-08
DaTang Fine Arts Singapore #03-12 Palais Renaissance
Art Forum 82 Cairnhill Road 177 River Valley Road, Singapore 238871
Art Glass Solutions 30 Kuo Chuan Avenue Liang Court , #02-09A I +65 6735 0959
Art Seasons 7 Kaki Bukit Road 1 #02-12 Singapore 179030 www.popandcontemporaryart.com
Art Tree Gallery 333A Orchard Road #04-11 +65 9846 2098 / +65 9721 3718
Art-2 Gallery 140 Hill Street #01-03 www.9911art.com Impress Galleries
artcommune 133 New Bridge Road #02-77 1 Kim Seng Promenade
Artesan 793 Bukit Timah Road #02-01
#02-07/08 Great World City R
Singapore 237994
Artfolio 328 North Bridge Road #02-25 Dynasties Antique & Art Gallery ReDot 39 Keppel Road #02-06
+65 67362966
ArtGoGo 402 Orchard Road #02-08 18 Boon Lay Way www.impressgalleries.com Red Sea 9 Dempsey Road #01-10
#01-136 TradeHub 21
Singapore 609966 S
Art Trove +65 67383268
51 Waterloo Street Indigo Blue Art 33 Neil Road
www.9911art.com
#02-01 to 03 INSTINC 12 Eu Tong Sen Street
Singapore 187969 iPRECIATION 1 Fullerton Square #01-08
S.Bin Art Plus
+65 6336 0915 140 Hill Street MICA Building
www.art-trove.com d’Art 5 Westbourne Road #02-03 #01-10/11/12
D’Peak Art Space Kaki Bukit Road 1 #01-07 K Singapore 179369
DLR Gallery 22 Marshall Road Kwan Hua 19 Tanglin Road #02-09 +65 6883 2001
Arty Art Gallery 686A Woodlands Drive 73 #15-52 www.sbinartplus.com
Aryaseni 10A Bukit Pasoh L
E Soobin Art International 10 Ubi Crescent #04-90/92/93/95
B Eagle’s Eye 39 Stamford Road #01-01 Li Fine Art Sun Craft 19 Tanglin Road #02-08
Echo Art Galerie 19 Tanglin Road #02-59 19 Tanglin Road
#03-32 Tanglin Shopping Centre Sunjin Galleries
Boon’s Pottery Singapore 247909
91 Tanglin Road F +65 6235 3306
43 Jalan Merah Saga
#01-02A Tanglin Place #03-62 Work Loft @ Chip Bee
www.lifineart.com Singapore 278115
Singapore 247918 fill your walls
+65 6836 3978 +65 6738 2317
21 Tanjong Pagar Road www.sunjingalleries.com.sg
www.boonspottery.com #04-02
Singapore 088444 Lukisan Art Gallery
+65 6222 1667 110 Faber Drive
Bruno Gallery www.fill-your-walls.com Singapore 129421 T
+65 6774 1609
91 Tanglin Road TAKSU 43 Jalan Merah Saga #01-72
#01-03 Tanglin Place www.lukisan-art.com
Tembusu 140 Hill Street #01-05
Singapore 247918 FOST 65 Kim Yam Road The Gallery of Gnani Arts One Cuscaden Road #01-05
+65 6733 0283 Forest Rain Gallery 261 Waterloo Street The Peach Tree 129 Tanglin Road
www.brunoartgroup.com Larasati www.larasati.com
Linda Gallery 15 Dempsey Road #01-08 U
G
M Utterly Art 229A South Bridge Road 2nd Level
C Galerie Joaquin M Gallery 1 Kaki Bukit Road 1 #03-19
1 Cuscaden Road Metakaos 1 Kaki Bukit Road 1 #03-22 V
#01-03 The Regent Hotel
Cape of Good Hope Singapore 249715 Valentine Willie Fine Art 39 Keppel Road #02-04
140 Hill Street +65 6725 3113 Mulan Gallery VITRIA 17 Chee Hoon Avenue
#01-06 MICA Building www.galeriejoaquin.com 19 Tanglin Road
Singapore 179369 #02-33 Tanglin Shopping Centre X
+65 6733 3822 Singapore 247909
www.capeofgoodhopeartgallery.com +65 6738 0810
The Gallery of Gnani Arts
1 Cuscaden Road
www.mulangallery.com.sg Xuanhua Art Gallery
#01-05 The Regent 70 Bussorah Street
Chan Hampe Galleries Singapore 249715 Singapore 199483
328 North Bridge Road +65 6725 3112 +65 6392 2556
#01-04 Raffles Hotel Arcade www.gnaniarts.com O www.xuanhuaart.com
Singapore 188719 Ode to Art 252 North Bridge Road #01-36E/F
+65 6338 1962 Opera Gallery 2 Orchard Turn #03-05
www.chanhampegalleries.com
Gajah Gallery 140 Hill Street #01-08
Galerie Belvedere 168 Robinson Road #36-01

DIRECTORIES DIRECTORIES
Y ART SERVICES ANTIQUITIES / FURNITURE

Yang Gallery 19 Tanglin Road #02-41 The Private Museum
51 Waterloo Street
Your MOTHER gallery 91A Hindoo Road Ray’s Transport & Services Antiquaro
#02-06
Artwork Installation & 19 Tanglin Road
Singapore 187969
Delivery Services #02-42 Tanglin Shopping Centre
Yisulang Art Gallery +65 67382872
All other Art related services Singapore 247909
6 Handy Road www.theprivatemuseum.org
+65 91522511 +65 6737 4822
#01-01 The Luxe artswithray@gmail.com www.antiquaro.com
Singapore 229234
+65 63376810
www.yisulang.com VENUES / ASSOCIATIONS / GROUPS
Alliance Française de Singapour 1 Sarkies Road ART SCHOOLS
FRAMERS
Art Retreat (Wu Guanzhong Gallery) Bhaskar’s Art Academy 19/21 Kerbau Road
# 10 Ubi Crescent #01-45/47 LASALLE 1 McNally Street
ARTSingapore www.artsingapore.net Impress Galleries Nanyang Academy of Fine Arts 38/80/151 Bencoolen St
2902 Gallery 11 Mount Sophia Block B #B2-09 429 East Coast Road
ArtSpace at Royal Plaza Hotel 25 Scotts Road NTU (School of Art, Design & Media) 81 Nanyang Drive
COMBINART 27 Woodlands Industrial Park E1 #01-08 Singapore 429016 NUS Museum 50 Kent Ridge Crescent
ART AUCTIONEERS / DEALERS Esplanade 1 Esplanade Drive +65 64404533 School of the Arts 90 Goodman Road
Emily Hill 11 Upper Wilkie Road
www.impressgalleries.com Sotheby’s Institute of Art 82 Telok Ayer Street
Give Art 65 Spottiswoode Park Road The Republic Cultural Centre 9 Woodlands Avenue 9
Black Earth Auction
367 Joo Chiat Road
Singapore 427559 Gnani Arts Space Peter’s Frames ARTIST STUDIOS
+65 6346 3767 190 Middle Road 19 Tanglin Road #02-02 Barrosa Studio 4 Woking Road #01-02
www.blackearth.com.sg #02-30/31, Fortune Centre Tanglin Shopping Centre
Singapore 188979. Singapore 247909 Chieu Sheuy Fook Studio
+65 6339 1230 +65 6737 9110 Studio 102
www.gnaniarts.com petersframes@hotmail.com 91 Lorong J
Borobudur www.borobudurauction.com
Masterpiece www.masterpiece-auction.com Telok Kurau Road
33 Auction www.33auction.com
Singapore 425985
Jalan Bahar Clay Studios 97L Lorong Tawas
+65 96690589
JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2 CONSERVATION / RESTORATION chieusf@gmail.com
Y2ARTS La Libreria 50 Kent Ridge Crescent Level 3
140 Hill Street Little Red Shop www.littleredshop.org Benaka Art Conservation DreamSpace Art Studio
#01-02 MICA Building Private Ltd 艺术创作，专业绘画教育。
Singapore 179369 64 Taman Warna 19 China Street
+65 6336 8683 Mercedes-Benz Center Singapore 276386
301 Alexandra Road #03-04/05 Far East Square
www.y2arts.com +65 9105 4377 / +65 6100 2707 Singapore 049561
Singapore 159968 www.benakaartconservation.com
+65 6866 1888 +65 9168 7785
www.mercedes-benz.com.sg www.hill-ad.com.sg
MUSEUMS
Asian Civilisations Museum www.acm.org.sg Foundation Oil Painting
Changi Museum 1000 Upper Changi Road North Ngee Ann Cultural Centre 97 Tank Road (conducted by Mr Wee Shoo Leong)
MAD Museum of Art & Design 333A Orchard Road #03-01 Night & Day 139 A/C Selegie Road 155 Waterloo Street
Osage 11B Mount Sophia #01-12 #01-04 Stam ford Arts Centre
MINT Museum of Toys 26 Seah Street
Public Art Space (Pan Pacific) 7 Raffles Boulevard Singapore 187962
National Museum of Singapore 93 Stamford Road
+65 9726 2028
Peranakan Museum 39 Armenian Street Sculpture Square 155 Middle Road
www.foundationoilpaintingclass.com
Post Museum 107/109 Rowell Road Sinema 11B Mount Sophia #B1-12
Red Dot Design Museum 28 Maxwell Road Singapore Art Society 10 Kampong Eunos
RSAF Museum 400 Airport Road Singapore Contemporary Young Artists Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03
Singapore Art Museum 71 Bras Basah Road www.contemporaryart.sg Jeremy Ramsey Fine Art 16 Bukit Pasoh Road
SAM at 8Q 8 Queen Street The Art Gallery 1 Nanyang Walk Kelly Reedy - Studio Arts 27 Woking Road #01-01
Singapore Coins and Notes Museum The Arts House 1 Old Parliament Lane
2 Trengganu Street Level 3 The Gallery (SMU) 90 Stamford Road Ketna Patel
Singapore Navy Museum 32 Admiralty Road West The Picturehouse 2 Handy Road 35 Jalan Puteh Jerneh
Singapore Philatelic Museum 23B Coleman Stree The Substation 45 Armenian Street Chip Bee Gardens, Holland Village
Third Floor – Hermès 541 Orchard Road Singapore 278057
Victoria Theatre & Concert Hall 11 Empress Place +65 6479 3736
The Luxe Art Museum 72-13/TheatreWorks 72-13 Mohamed Sultan Road
6 Handy Road www.ketnapatel.com
#02-01 The Luxe
Singapore 229234
+65 6338 2234
www.thelam.sg

DIRECTORIES
Sri Mariamman Temple 244 South Bridge Road

Koeh Sia Yong 许锡勇 Sun Yat Sen Nanyang Memorial Hall
10 Kampong Eunos 12 Tai Gin Road +65 6256 7377
Singapore 417774 Supreme Court 1 Supreme Court Lane +65 6336 0644
+65 9671 2940 Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65
www.yessy.com/koehsiayong 6794 1401
www.koehsiayong.artfederations.com
Taxis
- Comfort/YellowTop +65 6552 1111
- CityCab +65 6552 2222
Marisa Keller 28 Woking Road #03-05
- Premier +65 732 2516
Sealey Brandt Photography Studio
- Smart +65 6485 7777
1 Westbourne Road #01-02
- Tibs +65 6555 8888
Telok Kurau Studios 91 Telok Kurau Lorong J
- Transcab +65 6555 3333
Thian Hock Keng Temple 158 Telok Ayer Street
TOURISTS SPOTS Touristline 1800 736 2000
Armenian Church 60 Hill Street Underwater World 80 Siloso Road +65 6275 0030
Battle Box 51 Canning Rise Universal Studios 8 Sentosa Gateway +65 6577 8888
Botanic Gardens 1 Cluny Road +65 6471 7361 War Memorial Park Bras Basah Road & Beach Road intersection
Buddha Tooth Relic Temple 288 South Bridge Road
Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782 MALAYSIA ART GUIDE
CHIJMES 30 Victoria Street +6336 1818
+Wondermilk Art Gallery www.theclickproject.com
Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556
12 (Art Space Gallery) www.12as12.com
Chinese Garden 1 Chinese Garden +65 6261 3632
A2 Gallery www.a2artgallery.com
Crocodilarium 730 East Coast Parkway +65 447 3722
Annexe Gallery www.annexegallery.com
Escape Theme Park 1 Pasir Ris Close +65 6581 9112
Art Case Galleries www.artcase.com.my
Fort Canning Park 51 Canning Rise +65 6332 1302
Art Expo Malaysia www.artexpomalaysia.com
Goethe-Institut Singapur 163 Penang Road #05-01
Art House Gallery www.arthousegallery.biz
Johore Battery Cosford Road +65 6546 9897
Art Loft www.artloftgallery.net
Jurong Bird Park 2 Jurong Hill +65 6265 0022
Art Salon @ Seni www.theartgallerypg.com
Kranji War Memorial 9 Woodlands Road
Artseni Gallery www.artseni.com
Lim Bo Seng Memorial Esplanade Park
CHAI (Instant Cafe House of Arts and Idea) www.
Malay Heritage Centre 85 Sultan Gate +65 6391 0450
instantcafetheatre.com
Malay Village 39 Geylang Serai +65 6748 4700
City Art Gallery
Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036
Edi.A Art Gallery www.ediarts.blogspot.com
Marina Barrage 8 Marina Gardens Drive +65 6514 5959
Galeri Chandan www.galerichandan.com
Marina Bay Sands 10 Bayfront Avenue +65 6688 8868
GALERI PETRONAS www.galeripetronas.com.my
Masjid Sultan Kampong Glam
Galeri Shah Alam www.galerisa.com
Merlion Park Fullerton
galleriiizu @ Shangri-La Hotel www.galleriiizu.com
Mount Faber +65 6270 8855
House of Matahati (HOM) www.matahati.com.my
National Archives of Singapore 1 Canning Rise +65 6332 7909
Islamic Arts Museum www.iamm.org.my
National Library Singapore 100 Victoria Street +65 6332 3255
Lookiss www.lookissgallery.com
National Parks Board 1800 471 7300
Lost Generation Space www.lostgenerationspace.blogspot.com
Night Safari 80 Mandai Lake Road +65 6269 3411
Malaysia National Art Gallery www.artgallery.gov.my
Parliament House 1 Parliament Place +65 6336 8811
MERAH: Mansion for Experimentation, Research, Arts and
Raffles’ Landing Site North bank of the Singapore River
Horticulture www.facebook.com/pages/MERAH/148050170487
Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510
Metro Fine Art www.metro3gallery.com
Resorts World Sentosa 39 Artillery Avenue +65 6577 8888
NN Gallery www.nngallery.com.my
St. Andrew’s Cathedral 11 Saint Andrew’s Road
Pace Gallery www.pacegallery.net
Science Centre Singapore / Omni Theatre 15 Science Centre
Pelita Hati www.pelitahati.com.my
Road +65 6425 2500
Pinkguy Gallery www.pinkguymalaysia.com
Sentosa 1800 736 8672
Richard Koh Fine Art www.rkfineart.com
SIA Hop-on +65 9457 2896
Rimbun Dahan www.rimbundahan.org
Singapore Botanic Gardens 1 Cluny Road +65 6471 7361
RougeArt www.rogueart.asia
Singapore Cable Car +65 6270 8855
Shalini Ganendra Fine Art www.shaliniganendra.com
Singapore City Gallery 45 Maxwell Road +65 6321 8321
The Gallery @ Star Hill www.starhillgallery.com
Singapore Discovery Centre
Valentine Willie Fine Art www.vwfa.net
510 Upper Jurong Road +65 6792 6188
Wei-Ling Gallery www.weiling-gallery.com
Singapore Expo 1 Expo Drive +65 6403 2160
Y 2 S Art Space www.y2sart.com.my
Singapore Flyer 30 Raffles Avenue +65 6734 8829
ZINC www.zinc.com.my
Singapore Turf Club 1 Turf Club Avenue +65 6879 1000
Singapore Zoo 80 Mandai Lake Road +65 6269 3411
SKI360° 1206A East Coast Parkway +65 6442 7318
Snow City 21 Jurong Town Hall Road +65 6560 2306

72 / THE POCKET ART’S GUIDE

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OCTOBER 2010 / 1

2 / THE POCKET ART’S GUIDE OCTOBER 2010 / 3

8 / THE POCKET ART’S GUIDE OCTOBER 2010 / 9

19 COMING UP 30 SPOTLIGHT 55 REVIEW

10 / THE POCKET ART’S GUIDE OCTOBER 2010 / 11

We live in a world that is deeply influenced by convenient generalisations.

12 / THE POCKET ART’S GUIDE OCTOBER 2010 / 13

Published monthly, complimentary copies of TPAG are

To accompany your daily dose of caffeine, browsing copies are

For the environmentally-conscious, the PDF format of TPAG

Subscription price is SGD98 within Singapore and USD98

14 / THE POCKET ART’S GUIDE OCTOBER 2010 / 15

16 / THE POCKET ART’S GUIDE OCTOBER 2010 / 17

Bruno Art Group, a leading international company committed

Headed by Mr. Motti Abramovitz, a third

Opting to be based in Southeast Asia’s most cosmopolitan city,

After four hit showcases depicting contemporary paintings

POWER GANESHA: Show 5 is the 5th in an exclusive series

18 / THE POCKET ART’S GUIDE OCTOBER 2010 / 19

Narratives of the East [东方情趣]

In response to scenes of rapid industrialization and urbanization across China provinces

20 / THE POCKET ART’S GUIDE OCTOBER 2010 / 21

A pictorial journey through India’s history showcasing some

Image credit: Arpita Singh Untitled Oil on canvas 50 x 57 cm

ETHOS V - Indian Art through

Gail Pantin was - until recently - Lecturer, Multi Media Designer,

Pantin was recently commissioned by President S R Nathan

22 / THE POCKET ART’S GUIDE OCTOBER 2010 / 23

“Today we paint with absolute

- Francis Newton Souza, in an

I ndian Art has a history to tell. Using time

A pictorial V, an exhibition highlighting some of the

India’s history India’s transition from a British colony to an

from 1900s to 1980s

The processes and influences from 1900s

Jamini Roy, Gouache On Board 37 x 12 cm

24 / THE POCKET ART’S GUIDE OCTOBER 2010 / 25

26 / THE POCKET ART’S GUIDE OCTOBER 2010 / 27

B esides the 40 participating galleries in Taiwan, Malaysia, Singapore, China &

30 / THE POCKET ART’S GUIDE OCTOBER 2010 / 31

The viewer’s imagination

T he power of Imagination or the ability to imagine is

There are many monumental and intriguing aspects and

32 / THE POCKET ART’S GUIDE OCTOBER 2010 / 33

34 / THE POCKET ART’S GUIDE SEPTEMBER 2010 / 34 OCTOBER 2010 / 35

36 / THE POCKET ART’S GUIDE OCTOBER 2010 / 37

THE LAST SUPPER

38 / THE POCKET ART’S GUIDE OCTOBER 2010 / 39

T he international value and appreciation

40 / THE POCKET ART’S GUIDE OCTOBER 2010 / 41

42 / THE POCKET ART’S GUIDE OCTOBER 2010 / 43

hands-on digging under the epidermis the lifespan to an indefinite future.

be carefully removed. are reversible. CMY

44 / THE POCKET ART’S GUIDE OCTOBER 2010 / 45

collectors providing royal patronage to the artist and

46 / THE POCKET ART’S GUIDE OCTOBER 2010 / 47

48 / THE POCKET ART’S GUIDE OCTOBER 2010 / 49

With 36 international galleries (double the number exhibiting last year),

India Art Summit in January, 2011 is an unparalleled opportunity to

Next year, there will also be thought-provoking public art projects

50 / THE POCKET ART’S GUIDE OCTOBER 2010 / 51

P. Gnana paints, sculpts TPAG: Your art is synonymous with the

An Interview With times when my mother assisted her cows

52 / THE POCKET ART’S GUIDE OCTOBER 2010 / 53