ISSUE 17 | MAR 2011

MARCH 2011 / 1
 Zhou Jingxin

Lam Tian Xing

2 / TPAG
MARCH 2011 / 3
4 / TPAG
 CONTENTS

48

20
52
10

14
35

14 42

10 ART WIRE 16 EVENT 48 STORY

MORNING, DAY, EVENING 10 TEFAF — Family Gatherings Bey Logan — Tale Bonding

The Narrator, Protagonist & The

Other 10

Konstantin Bessmertny:
Clandestinum 11
20 IN THE FRAME 52 PERSPECTIVES
Duggie Fields: Look Between ART STAGE: The Search for
Melting Memories 11 the Lines. the Contemporary

MAT/RAMLEE — A solo
exhibition by Khairuddin Hori 12

Thaweesak Srithongdee:
28 FEATURE 62 DIRECTORY &
LOOP 12 The Fontanian —
Industrial Action
Listings
A Solo Exhibition by Angki Singapore Art Galleries
Purbandono: TOP POP 13 Other Listings
Pretty Grotesque 13 35 GLIMPSE Tourist Spots
Sally Harrison — Malaysia Art Galleries
Notes in Idolatry 14 Reconnecting the Dots Hong Kong Art Galleries
Circus: The Greatest Show London Art Galleries
on Earth 14

Beyond Perspective 15
42 ART LANDS
Shaanxi > Hong Kong
Paresh Maity’s Journeys 15

MARCH 2011 / 5
6 / TPAG
Issue #17 (March 2011)
ISSN 2010-4375 / MICA (P) 252/09/2010
www.thepocketartsguide.com

On the Cover
Duggie Fields, Madonna and Heart, digital canvas, 175cm x 130cm
(British Heart Foundation Appeal 2010/11)

Editor-in-Chief
Remo Notarianni / remo@thepocketartsguide.com

Art Director
Amalina MN / ama@thepocketartsguide.com

Contributors
Gladys Teo, Grace Ko

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MARCH 2011 / 7
EDITOR’S LETTER
Dear Readers,

Welcome to the March 2011 issue of The Pocket Arts Guide

(TPAG), a publication that explores the breadth of the art world.
It is exactly that which makes TPAG special to me. This A5 guide
offers coverage that is in-depth, while remaining concise and
easy-to-read.

The intentions are clear from its name, and our writers are faced
with the challenge of summing up an art world that that seems
to be infinitely breaking new ground. It is with this in mind that
The Pocket Arts Guide connects artists, collectors, gallery owners
and lovers of the arts everywhere at every level.

It is difficult to keep track of something that is growing with the

power of creativity, something that is by definition boundless.
And there are countless ways to look at a work of art. Perhaps
this issue of TPAG, which is thematically linked by artists whose
work is defined by a crossover of styles and ideas, epitomises
this.

This issue covers new ground. We have legendary British

artist Duggie Fields, who has defied categorisation by pushing
boundaries, and we have new columns such as Story, which
analyses the link between narrative and image.

We hope that TPAG, which has extended its presence beyond

Singaporean shores, succeeds at opening eyes, changing
perspectives and contemplating new ideas. We hope it delivers
the insights into and information about the arts that you are
looking for.

Remo Notarianni
Editor-in-Chief

8 / TPAG
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Centre at Orchard (junction of Cairnhill Road and Orchard
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MARCH 2011 / 9
ART WIRE
MORNING, DAY, EVENING
23.02.11 – 13.03.11
KARTESTUDIO
www.kartestudio.com
The Narrator, Protagonist &
The Other
25.02.11- 24.03.11
Indigo Blur Art
www.indigoblueart.com
10 / TPAG
Singapore’s Kartestudio presents an exhibition of Betty Su-
siarjo’s work in Morning, Day, Evening. Three video installation
pieces, respectively entitled Morning, Day and Evening are
screened simultaneously while being displayed individually in
the gallery. Each video reflects the literal translation of its title
through footage of contemplative fractions of time, taken by
the artist at specific times of the day.
Presented in stages, these instances are dismissed easily and
the installation piece resembles the passing of life itself. The
space offers feelings of intimacy and familiarity rather than
that of a large space with an institutional-feel which may be
cold and distant.
Susiarjo’s work is in an unconventional exhibition space lo-
cated inside a shopping mall with structural features such as
quaint arcs, high ceilings and elongated layouts reminiscent
of architectural ruins. The exhibition runs until March 13.
Singapore’s Indigo Blue brings together Indian artists Far-
had Hussain, Nayanaa Kanodia, Murali Cheeroth and Vivek
Vilasini in the exhibition The Narrator, Protagonist & the Other.
Hussain is famous for his portrayal of the changing cultural
mores of middle class India. In Cheeroth’s images we see a
surrealist spectacle that moves between the ‘real’ and the
imagined ‘real’.
Kanodia, in her signature tongue-in-cheek style introduces
archetypal figures such as the typical ‘Indian middle class
extended family’. Kanodia incorporates iconic works by both
European and Indian masters in her paintings.
Vilasini uses traditional theatrical forms to articulate various
expressions of cultural identity which are prevalent in society
today. Through satire, irony and pastiche, Vilasini constructs a
mélange of images that depict parallel histories.
 ART WIRE

Hong Kong’s Amelia Johnson Contemporary announces

‘Konstantin Bessmertny: Clandestinum’, a hard-hitting,
crowd-pleasing exhibition of new painting and three-dimen-
sional work. A technical impresario who underwent rigorous
formal training, Russian artist Konstantin Bessmertny ad-
dresses the absurdities of contemporary living and our un-
derstanding of history through lush paintings, with allusions to
high and low culture.

Bessmertny presents two very distinct series of works which

explore man’s tastes, foibles and fantasies conducted, as
Konstantin Bessmertny:
Clandestinum usual, with lashings of parody.

25.02.11-26.03.11 ‘In Rooms’ features humorous anecdotal dramas which un-

Amelia Johnson Contemporary
www.ajc-art.com
fold inside settings based on rooms in European chateaus
and palaces, providing the backdrop against which his char-
acters act out their roles. The sources of inspiration include
Russian icons, cartoons, ex votos, old master portraits, still
lifes, trompe-l’oeil and allegorical painting.

In the 1980s, Indonesian artist Jumaldi Alfi burst upon the

art scene with Jogja surrealism that quickly developed into a
complex style marked by a stirring emotional depth.

Alfi admires the artistic verve and technical virtuosity of post-

war German artists such as Anselm Kiefer, Martin Kippen-
berger and Georg Baselitz whose meditations on German
militarism haunt him as deeply as West Sumatra’s tumultuous
past.

‘Melting Memories’ is an exhibition at the Singapore Tyler Print

Melting Memories Institute exhibiting Alfi’s diverse experimentations. These in-
clude the creation of illusionistic but highly realistic ‘paintings’
26.02.11 - 26.03.11 of blackboards, and frenzied collages of crudely drawn figure.
Singapore Tyler Print Institute (STPI)
He also depicts the mythological Greek king Sisyphus, whose
www.stpi.com.sg
eternal struggle of moving a boulder uphill repeatedly tells a
story he can relate to. ‘Melting Memories’ runs until March
26.

MARCH 2011 / 11
ART WIRE

Singaporean artist Khairuddin Hori’s primary concern is the

position and influence of artists in social development. In the
exhibition MAT/RAMLEE, he takes inspiration from the films of
esteemed Malay film makers such as P Ramlee and Mat Sen-
tol, Khairuddin adds his own contemporary interpretations,
with characteristic idiosyncrasies, to narrate the films.

This is achieved with the deliberate pixilation of re-construct-

MAT/RAMLEE — A solo
exhibition by Khairuddin Hori
28.02.11 - 28.03.11
Chan Hampe Galleries @ Raffles Hotel
www.chanhampegalleries.com
ed scenes from P Ramlee’s films and images from various
Mat Sentol films. Khairuddin addresses issues such as the
censorship that these filmmakers encountered and the ‘blind-
ness’ to crucial social commentaries in films that ensued.
The exhibition features works from both his ‘Semerah Padi
Revisited’ and his ‘Reconstructing Sentol’ series. MAT/RAM-
LEE runs until March 28 at Singapore’s Chan Hampe Galleries
@ Raffles Hotel.

Singapore’s Yavuz Fine Art presents an exhibition of Thai artist

Thaweesak Srithongdee (Lolay). LOOP analyses the evident
routine in our lives - in music, fashion trends and history. It
urges us to question the possibility of recurring patterns and
recurring lives. Often, we come across a person who reminds
us of someone else we know of, someone whose manner-
isms and lifestyle may even mimic that of a person in history.

Lolay presents a parade of influential and historical icons.

These include Che Guevara, James Dean, Marie Antoinette,
Miyamoto Musashi, Andy Warhol, Marylyn, Monroe, Genghis
Thaweesak Srithongdee: Khan, Tarzan, Kurt Cobain, John Lennon, June Miller and
LOOP Anais Nin.
05.03.11 – 17.04.11
Yavuz Fine Art All of these figures are essentially naked, and dressed only
www.yavuzfineart.com in suits of skin that reaffirm their humanity, thus freeing them
from stereotypical associations.

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 ART WIRE

SBin Art Plus presents its first photography exhibition – TOP

POP, a digital image showcase of “Singapore Idealism” as
interpreted by one of Indonesia’s most significant visual artists
– Yogyakarta-based Angki Purbandono.

Using a technique known as scannography, Purbandono ex-

plores a country that is held up as a model of modernisation,
and finds out whether it is as sterile and boring as its critics
claim. TOP POP is based on observations made during a 15-
day residency in Singapore this year.
A Solo Exhibition by Angki
Purbandono: TOP POP Orchard Road which describes the fast-paced movement of
Singaporeans depicted through a metal dishwasher scrub;
11.03.11- 10.04.11 and Phenomenal Mustafa – dolls are enclosed within plastic
S.Bin Art Plus bags to depict the popular culture of shopping malls and the
www.sbinartplus.com plastic age we live in. The exhibition runs until April 10.

Singapore’s Vue Privée (VP) is proud to present Mojoko’s first

solo exhibition entitled ‘Pretty Grotesque’, which will be held
at its centrally located VP space.

VP is a new art concept space and is brand focused on lim-

ited edition works of art, merchandise, events and a lifestyle
inspired by photography. It is a culmination of Olivier Henry’s
(VP founder and renowned photographer) passions, fusing
his love for, and knowledge of photography with art.

In this circus of peculiarities, Mojoko explores the boundaries

Pretty Grotesque of the beautiful and the grotesque. Mojoko’s intense graphic
style is a reaction to the bombardment of images in today’s
10.03.11 – 18.04.11
Vue Privée
global mass media. An upbringing in Hong Kong has influ-
www.vueprivee.com enced his work, as he was surrounded by ‘Eastern’ and
‘Western’ advertising.

MARCH 2011 / 13
ART WIRE

As part of Chan Hampe Galleries’ commitment to the de-

velopment of creative talent in Singapore, ‘Notes in Idolatry’
presents four emerging artists – Khairullah Rahim, Izziyana
Suhaimi, Abdul Kader, and Leo Liu – who recontextualise
popular culture to explore personal identity.

The exhibition pays homage to personal idols whether it be

childhood action heroes, toys, food, or ex-lovers. “It is an
exploration of singular obsession which is reminiscent of the
relationship between artist and muse,” said Amanda Poh, cu-
rator and gallery manager at Chan Hampe Galleries @ Tan-
Notes in Idolatry
jong Pagar.
14.03.11- 01.04.11
Chan Hampe Galleries @ ‘Notes in Idolatry’ includes paintings by Rahim and Liu, a wall
Tanjong Pagar relief sculpture by Kader, and hand-embroidered works on
www.chanhampegalleries.com paper by Suhaimi. ‘Notes in Idolatry’ runs until March 14.

As the third in its ‘Beyond Canvas’ series, Singapore’s Galerie

Sogan & Art is pleased to present its first woodcut printmak-
ing exhibition – ‘Circus: The Greatest Show on Earth’ from
March 15 to April 12.

Two Indonesian Graphic Art Triennale award-winning print-

makers, Irwanto Lentho and A. C. Andre Tanama will feature
12 monoprints and the exhibition will also include ‘Cukilan’
and three-dimensional woodcut objects.

Ever since Andy Warhol perfected the stencil-printing method

Circus: The Greatest Show
on Earth that gave birth to his celebrity portraits, photographic and tra-
ditional processes have found a place in modern art. Howev-
15.03.11- 12.04.11 er, the ubiquity of digital printing is pushing printmaking tech-
Galerie Sogan & Art niques to the fringes. The artists have used ‘the circus’ as an
www.soganart.com analogy because, like printmaking, the form of entertainment
has been marginalised by technology.

14 / TPAG
 ART WIRE

Award-winning artist Adam Magyar shows his fascination with

urban life in this first solo exhibition in Hong Kong at the Karin
Weber Gallery. His photographs are best illustrated by his
‘Urban Flow’ and ‘Squares’ series, in which he intentionally
distorts perspective to freeze time and motion in an abstract
transformation of reality.

‘Stainless’ contains photos taken by the artist in New York’s

subway depicting passengers on a moving train. These works
are made possible through a highly sophisticated camera and
computer program invented by the artist himself.
Beyond Perspective

22.03.11-11.04.11 “It is an ever-present human desire to go further and leave

Karin Weber Gallery some trace behind in the fraction of the time we are given,”
www.karinwebergallery.com says Magyar. “My drive is not different. I aim to grasp the
devices at hand, push towards new frontiers by converting
already existing technologies for photography in the hope of
coming up with something new, a new device, a new lan-
guage, a new frontier.”

Singapore’s Galerie Belvedere is staging an exhibition of In-

dian artist Paresh Maity. Maity has participated in over 45 solo
and group exhibitions in cities such as London, Germany and
Paris.

His mega installation art was featured at Art Stage Singapore,

January 2011.Paresh Maity belongs to the Bengal School of
Indian art and comes from a family of prominent painters, in-
cluding Sakti Burman. His art is in many collections including
the British Museum and the National Gallery of Modern Art in
New Delhi.
Paresh Maity’s Journeys

till 31.03.11 The exhibition ‘Paresh Maity’s Journeys’ reveal the diversity of
Galerie Belvedere his talent. The longest painting in India was painted by Maity
www.galerie-belvedere.com in 2010 stretches over 800 feet and is prominently featured in
the New Delhi International Airport. The exhibition runs until
March 31.

MARCH 2011 / 15
EVENT

Family gatherings
Text: TEFAF

Timeless masterpieces will be on show at TEFAF Maastricht when the world’s most influential art and
antiques fair opens its doors at the MECC (Maastricht Exhibition and Congress Centre) in Maastricht in the
southern Netherlands from 18 to 27 March, 2011.

A mong the highlights of the 24th edition of The

European Fine Art Fair will be the imposing
and important Henry Moore sculpture ‘Mother and
Child Block Seat’, Pierre-Auguste Renoir’s superb
depiction of his son Claude, and an extremely rare
Greek idol made about 7,000 years ago. They will
be among more than 30,000 works of art at TEFAF
Maastricht, all rigorously vetted by teams of inter-
national experts to maintain the Fair’s reputation for
exhibiting only the best pieces.
‘Mother and Child Block Seat’ by Henry Moore will
be brought to TEFAF by Landau Fine Art of Mon-
treal, one of the world’s leading specialists in mod-
ern art. The 244cm high bronze sculpture will be
exhibited in one of the Fair’s squares. Cast in an
edition of nine in 1983, three years before Moore’s
death, it portrays the child as an elemental, virtu-
ally abstract, form as if to represent it in an early
stage of development. The effect of “the big form
protecting the small form”, as Moore described it,
is compelling.
Pierre-Auguste Renoir’s fine painting of his son
Claude will go on public show for the first time at
TEFAF Maastricht. Hammer Galleries of New York

16 / TPAG
 TEFAF

Image credit: Mother and child block seat by Henry Moore (1898-1986)

MARCH 2011 / 17
EVENT

18 / TPAG

will exhibit ‘La Leçon (Bielle, l’institutrice et Claude
Renoir lisant)’, which portrays Renoir’s third son
reading with his school teacher.
La leçon (Bielle, l’institutrice et Claude Renoir lisant) (c1906)
by Pierre-Auguste Renoir, oil on canvas, 65.3 x 58.1cm
The picture, painted c1906, which has been in pri-
vate collections for decades, will be part of a Renoir
exhibition mounted by Hammer Galleries. In TEFAF
Paper, a section introduced in 2010 for works on
paper, new exhibitor Stephen Ongpin Fine Art from
London will show a Renoir watercolour. ‘Study of
a Bather’ is a preparatory work for his painting
‘Bathers in the Forest’, which hangs in the Barnes
Foundation in the United States. The price will be
£125,000.
Rupert Wace Ancient Art of London will be bring-
ing a rare and important Greek idol dating from the
Late Neolithic period c5300 – 4500BC to TEFAF
Maastricht. The small yet monumental 11.7cm
high white marble figure of a woman is one of less
than a dozen known pieces dating from this early
era, most of which are in museums. It is 2,000
years older than the majority of surviving Cycladic
works of art. Although it is recorded as having been
in private collections since the 1950s, it has only
recently been rediscovered. The female idol, rep-
resenting fertility, would almost certainly have been
placed in a tomb to accompany the deceased per-
son on their journey to the afterlife. Some 7,000
years after it was carved, it is in extremely good
condition and will be offered for sale at TEFAF for a
price in excess of €1 million.
TEFAF
Two amber altarpieces with ivory carvings made for
private worship in late 17th century Germany will
be exhibited at TEFAF Maastricht by Kunstkammer
Georg Laue from Munich. These pieces are impor-
tant because of the extraordinary quality of their
workmanship and because of their rarity. It is par-
ticularly unusual to find a pair such as this. These
beautiful works of art were a speciality of craftsmen
in Danzig and were often given as diplomatic pres-
ents to foreign rulers by the Prussian court. The
combined price of this pair will be €500,000.
The Spanish dealer Deborah Elvira will exhibit
‘Ecce Homo’, one of only a handful of sculptures
by El Greco and the only such work by him known
to be signed. It is made of polychrome wood and
dates from the last quarter of the 16th century. Vé-
ronique Bamps of Monaco will offer a unique neck-
lace in yellow gold made by René Boivin of Paris
in 1945 for Princess Irène of Greece. This superb
piece is decorated with pompons set with brilliant
cut diamonds.
TEFAF Design is a separate section of the Fair
for specialists in modern design and applied arts.
Among its highlights in 2011 will be a unique set
that was made for the president of the Danish
Shipowners Association and will be exhibited by
Galerie Eric Philippe of Paris. It consists of a din-
ing table, 12 chairs and a sideboard designed by
Christen Emanuel Kjaer Monberg and Axel Salto in
Denmark in 1923.
TEFAF 2011 will have some 260 exhibitors from 16
countries in nine sections. In addition to exhibitors
from established centres of the art and antiques
market in Europe and North America, the 2011
Fair will include dealers from Korea, Uruguay and
Argentina.
Art, more than an Asset
TEFAF shares its view of art as more than an asset with
its principal sponsor, AXA Art. Their partnership provides
art collectors with unique expertise covering the full range
of risk prevention, conservation, recovery and restoration,
to enable them to maintain their collections in the best
possible condition. www.axa-art.com
MARCH 2011 / 19
IN THE FRAME

Thinker digital image, 2010, free-size

20 / TPAG
 DUGGIE FIELDS

Duggie Fields
Text: Remo Notarianni

T he iconic figures of British artist Duggie Fields seem at home in seas of

colour and abstract settings. From here, they help articulate an underly-
ing message.

“In terms of the subject matter of the imagery,” said Fields, “I still think the
abstract, constructivist nature is as important for me as the more obvious
figurative centres. The only message ever intended is that experience is es-
sentially visual, not verbal. There are, however, always verbal associations
that can be made and icons inhabit our imagination.”

Since the 1960s, Fields’ work has been so diverse it seems that the central
figures, often gleefully awash in reds, blues, greens and greys mixed with
brown and orange, provide the focus.

MARCH 2011 / 21
IN THE FRAME

JUST A CHANCE ENCOUNTER (AND GOODNESS KNOWS WHAT COMPLICATIONS MAY FOLLOW)
acrylic on canvas 1980, 88” x 80”

22 / TPAG
 DUGGIE FIELDS

This colourful language has made the work

flamboyantly eloquent and it has entered the
sphere of Pop Art with subjects such as Mi-
chael Jackson, and Lady Diana Spencer. In
the 1970s, Fields was asked by American film
director Stanley Kubrick to paint a poster for A
Clockwork Orange. But while the subjects seem
most obvious to the eye, his canvases are lay-
ered with countless influences.

“Somewhere in the conceptual, hard-edged im-

ages that followed I started, reluctantly, seeing
figurative allusions,” said Fields. “Realising they
were there regardless, I began following them
more deliberately, with a crossover canvas that
started as a minimalist constructivist abstract,
into which I eventually placed a small figure of
Donald Duck, transforming it completely, while
being shouted at in the process by my head
of the studio. From that, I realised I was onto
something.”

Fields’ persistence in making crossovers led

him to explore techniques beyond the palette. In
the 1990s, he started experimenting with com-
puters and, in a medium that has developed
its own aesthetics, he found an unexpected
resemblance to the fine art techniques he had
used for decades.

“When I first discovered a direction on computer,

I realised that it was almost the same technique I
was already using... just with another tool,” said
Fields. “It was my eye, my hand, and a mouse
that replaced either a pencil or a paintbrush. For
decades my work had evolved in such a way
that I constructed it starting on a canvas. I pro-
duced exact studies, first on tracing paper over
graph paper, using a ruler and a set square. I
traced and re-traced until I reached a final study
before starting a coloured version that eventually
transferred it to canvas. On screen, I discovered
exactly the same process of layers over a grid
and tools enabling me to draw straight lines.”

Fields has crossed mediums with the same

technique. By drawing over a grid, initially on
graph paper with tracing paper on top and us-

MARCH 2011 / 23
IN THE FRAME

PARTY PIECE, acrylic on canvas 1986, 60” x 75”

24 / TPAG
DUGGIE FIELDS

MARCH 2011 / 25
IN THE FRAME

ing architects’ tools, he arrives at some of the Fields recalls how a friend spotted artwork in a
core elements of his style. restaurant in Japan that was evidently a copy
of his work; some of the pieces emulated his
“My work has this built-in recognition of its own style on subjects he had not done. Fields hu-
essential flatness,” said Fields. “The flatness of morously turned this around by doing a copy
the image gets constantly related in the draw- of one based on an image of Marilyn Monroe
ing stage to the flatness of the canvas picture- in The Seven Year Itch, thus doing “the original
plane. Now in layers on a computer screen, I after the copy”. In the 1980s, he was invited by
use straight edges on the figures, and make lots the Shiseido Corporation in Japan to exhibit his
of small parallel lines and lines at right angles. I paintings and work on advertising campaigns.
echo the framework of the picture whilst delin-
eating the form of ‘whatever’. I frequently make “The universal appeal of Pop seems to lie in the
small distortions to keep the parallels so that simplicity of the reproduction of the imagery,”
although there is an illusion of form, it is always said Fields. “Childhood cartoons likewise seem
underneath the structure and subtly echoes the also universal in appeal. Asian art in particular
picture-plane it is sitting on.” has a history of flatness, itself an essence of Pop.
Possibly my work seems to resonate particularly
This ‘flatness’ may have come from the comic- in Japan through the conceptual and construc-
inspired imagery that initially influenced Fields. tivist nature of the line I use. It has echoes in
At the heart of it is an aesthetic that culturally eastern calligraphy and techniques of a drawing
resonates, with the hard-edged elegance of form that relate also to cartoons rather than to
Pop Art, and one that lends itself to reproduc- the more western tradition of painterliness.”
tion through industrial processes.
While there have been attempts to categorise
This reproduction has taken on a life of its own. Fields’ work throughout his decades-long ca-

26 / TPAG
 DUGGIE FIELDS

reer, he stresses labels that include ‘Pop Art’

and ‘Post-Pop Art’ have rarely stuck, as defini-
tions seem to disappear into an explosive mix
that blurs the line between the familiar and the
groundbreaking.

In one tongue-in-cheek manifesto, Fields de-

scribed his work as “Maximalist”, but his mi-
rage-like figures are most at home in their un-
defined settings.

“My work has most remained an evolution

outside the mainstream art scene, partly just
through the nature of cultural timing,” said
Fields. “As a result of not being perceived as
part of a group, form one perspective, I’ve had
a certain freedom; from another, no choice but
to go my own way regardless. But something in
the work seems to root it in the present. I try not
to analyse this too much, so as not to become
limited by my own applied concepts, which are
always there regardless.”

MARCH 2011 / 27
FEATURE

28 / TPAG
 THE FOTANIAN

Industrial
action
Text: Remo Notarianni

W hen the lure of mainland Chinese labour sealed

the fate of Hong Kong’s manufacturing sector,
empty factory buildings lingered like industrial ghosts in
a city where high rents can kill businesses.

In the past ten years, a group of artist’s studios have re-

vitalised factory buildings in Fo Tan, a former industrial
hub of Hong Kong’s New Territories.

The Fotanian, which has grown into a creative commu-

nity, houses more than 260 artists in 80 studios, con-
nected by a labyrinth of stairwells and service lifts that
once delivered heavy goods.

The prospect of affordable studios has made complex-

es, stained with grime and soot, into creative incuba-
tors. Since 2001, the Fotanian has had annual open
days that shine a spotlight on its artistic development.

With its tenth anniversary in January 2011, the Fota-

nian found sponsorship for its open day. But while be-
coming the local equivalent of an artist’s village, some
see it as a beacon of hope in an art world in the midst
of a debate about survival.

MARCH 2011 / 29
FEATURE

Eddy Chan Kwan Lap

1. New Appearance of Glacier No. 4 冰川新顏(四) 50x 100 cm (2010)
2. Winter in Mind Snow in Thought No. 4 思冬想雪(四) 69 x 69 cm (2010)

30 / TPAG
 THE FOTANIAN

Simone Boon
1. Behind my red brolly, print on archival canvas 100 cm sq (variable)
2. Thin line, ultrachrome pigment print on archival photopaper 65 x 90 cm (2010)

MARCH 2011 / 31
FEATURE

“Year after year, with growing support from par- Wah Luen Industrial Building. They queued up
ticipating artists, visitors, artists and arts organi- outside semi-derelict godowns, and peered cu-
sations, the scale of the Fotanian reaches its riously into the private studios of artists with an
peak,” said the organiser. “However, it is more archaeological wonder.
important to create opportunities for artistic in-
dividuals and groups to voice their thoughts andThe diversity was oasis-like in the desolate set-
needs without reserve.” ting. The spectrum of artists on offer included
experimental image makers Alternatif Fashion
At this year’s open day, crowds of culture vul- Workshop and abstract artist Christopher Ku as
tures made surreal organised tours into the well as installation artists such as x1artclub.
heart of the Fotanian, most of which is in the

32 / TPAG
THE FOTANIAN

MARCH 2011 / 33
FEATURE

Some visitors perhaps followed the adverts friends who have been developing their work
and were curious about the phenomenon; oth- in the community for a certain period of time.
ers were mistakenly armed with cheque books. I found that there is a condensing power of art
That ambiguity sums up the creative conundrum atmosphere in Fotan. It is in this circumstance
that the Fotanian has become, and attracting of mutual influence that new creative ideas may
attention to vital artistic signs also highlights the be aroused.”
issues that many creators in the city face.
This year’s open day received sponsorship from
“The Fotanian is an initiative of artists,” explained the Hong Kong Arts Development Council, as
Dutch photographer and ceramicist Simone well as property developer Sino Group. The Fo-
Boon, who shares a studio in the Fotanian with tanian is not an organisation but a community of
fellow artist Marsha Roddy. “I really admire the people whose very survival could depend on the
very first people who made the steps ten years spirit of independence that it was founded on.
ago to enter a space in this kind of industrial
environment, without knowing it would grow “I think sponsors who think they can piggy-back
into a vibrant art scene. As pioneers, they found on the artists at the Fotanian will find that they
affordable room for art. This is a luxury in Hong are actually busy people who will not be lead
Kong and a dream.” in a direction that they do not wish to be,” said
John Batten, organiser of Hong Kong’s ArtWalk,
Boon, who describes the nature of the artistic an annual charity event that involves local galler-
neighbourhood as “organic”, also finds an aes- ies. “And artists will continue to be independent
thetic value in its cavernous setting. “The Fo- and creative despite what the market dictates.”
tanian open days give an insight into the con-
centration of art, which I think is great for the
visitors, artists and art lovers,” said Boon. “Art
is a window and it is something more than en-
tertainment. The ‘event like’ aspect of so many
people gathering at the same place, standing in
queues for the lifts on a same day, is very attrac-
tive, it has a spark of excitement like “this is the
place to be, and here is where it happens”.

This fairground quality of the Fotanian Open Day

highlights its underlying situation. It has the feel
a hinterland, and thus a refuge from the astro-
nomical rents that make galleries flounder; but
this is a reminder that its very success may en-
courage developers to put rents up. Its isola-
tion has made it into a creativity lab, even if this
might be accidental.

“The purpose of the establishment of my stu-

dio is to develop new methods of expression
in modern Chinese ink painting,” said Chinese
ink painter Eddy Chan Kwan Lap, who finds the
environment conducive to creative discovery,
as he applies methods of rendering such as
sprinking, dotting, printing, spraying, rubbing,
contracting and splashing.“I had some artist

34 / TPAG
 SALLY HARRISON

Reconnecting
the dots
Text: Grace Ko

MARCH 2011 / 35
GLIMPSE

T he vivid brushwork of Australian Aboriginal Harrison describes a world that was regimented
artist Sally Harrison seems like a celebration and where people had to “earn their keep” in
of the natural world, but there hasn’t always line with the government policy of the time.
been such colour in her life.
“This meant that all of the children from toddlers
Behind her oil and acrylic paintings is the story to the eldest were put to work helping with the
of Aborigine children, who from 1910 to 1971 washing, cleaning, collecting firewood, and for
were forcibly removed from their families and the girls, helping to take care of the babies.
communities to be culturally assimilated into
Australia’s ‘white society’. Harrison was part of “I was taught to change a baby’s nappy and
what became known as “the Stolen Genera- feed it when I was three and a half years old.
tion”. She was one of many children with an I must admit that fear of punishment played an
Aborigine background who were told that their important part in our lives, but if we did the right
parents had died. thing and behaved as we were expected, then
life was relatively happy considering the draco-
”My early days at the United Aborigines Mission nian standards of the day.”
Home at Bomaderry (South of Sydney) were
relatively happy because I had other children to Harrison’s relatively rosy account may have
care for me and play with,” said Harrison, who come from ignorance, coupled with childhood
was taken away from her family to a Mission innocence, of the reality of her situation at the
Home that revealed the dark reality of this “assi- time but her memories have taken on an un-
miliation” as Aborigine children became trained usual form of nostalgia.
to serve white Australians. “Most of the mission-
aries were kind, but they would mete out harsh “As a small child with no concept of normal fam-
punishments if any of the strict rules of behavior ily life, I did not know any different,” she said.
were broken.” “We were a family and were lucky to have Sister

36 / TPAG
 SALLY HARRISON

Kennedy as our Matron, and other fine young The loss that Sally Harrison felt when she was
missionaries who instilled the best of our family forcibly removed from her family has been ad-
values in us. My problems really started after I dressed in artwork that reconnects her with
was adopted, but the less said about that, the ‘the land’. To the Australian Aborgines, artwork
better.” is about more than just paintings. According
to Aborigine tradition, artists are engaged in
But like many of the Stolen Generation, the pain a sacred dialogue with ‘the Land’. This cre-
became immeasurable when reality did sink in. ates a bond between man, nature and the
Harrison states that painting, which started as a Aborigine‘Dreamtime’- a spiritual dimension
way to reconnect with her Aborigine roots, has where they believe ancient spirits created the
been an integral part of the healing process. She Earth.
has held two successful exhibitions at The Bo-
maderry Mission Home, where she was brought As one of the Stolen Generation, Australian art-
up. She has opened people’s eyes to a side of ist Sally Harrison wasn’t nurtured with the same
mission life that many are not aware of. In doing skills that Aborigine tribes used to educate their
so she has reflected on the only real family she children. But it was through a quirk of fate that
ever had. she became reconnected.

“Life has taught me that it is very unhealthy
to dwell on the enormous negative impact of
abuse, trauma and loss,” she said. “You have
to find a way to stop the past from dominating
your life and move on, so that you have some
hope for the future. Painting is the tool I use to
help myself move on.”
“In 1992, I took 12 months leave without pay
from the Public Services in Brisbane and trav-
elled to Carnarvon. In Western Australia with
the intention of working as a deck hand on the
scallop trawlers,” Harrison said. “Unfortunately,
I suffered from extreme sea sickness and was
forced to re-evaluate what I was going to do for
the next 12 months.

MARCH 2011 / 37
GLIMPSE
“At that time, I had not come to terms with
myself as an Aborigine, and knew nothing at
all about Aboriginal culture, simply because I
was forced to deny it in my childhood and early
adulthood. I decided it was time I addressed
this issue, so I enrolled in an Aborginal skills
course, where I was introduced to dot painting
for the first time.”
It was not easy for Harrison to learn at first, but
dot painting was somehow able to fill some
gaps. “It was a long and frustrating process
learning to adjust to this new art form and to
stop my ‘white’ mind from making judgements
and interfering with the painting and spoiling it.
“After a long apprenticeship of 18 years, I finally
feel comfortable with myself and my art and
truly do feel that the land speaks to me on an
unconscious level and that I can convey that
feeling through my paintings.”
Within a few years of painting, her dot paintings
became discovered by the Creative Native Art
Gallery in the Western Australian city of Perth,
and they were sold within a few weeks. Her
popularity may be the result of a nation reflect-
ing on its past. But Harrison’s work is a unique
mix of Aborigine tribal art with a wide ouvre of
styles.
38 / TPAG
Harrison feels as though she belongs to neither
Y
culture, perhaps because she was deprived
of the opportunity to mix with either group as CM
a child. She has had several mental disorders
MY
diagnosed including post-traumatic stress dis-
order and chronic depression. This indicates the CY
pain that her reconnection has unearthed.
CMY
But her story also is also proof of the sublime K
nature of painting as an art form. “Painting is
like magic – it happily disconnects you from the
past, the present and your consciousness with
all its thoughts, beliefs, ideas and attitudes. You
are reduced to being a non-judgemental, silent
observer with no ego; nothing more than an eye
that sees and is aware of everything you need to
do to create a successful painting.
“It’s a wonderful state of mind because there is
nothing there to bother you or give you grief.
There is nothing ‘wrong’ with you. In any case,
I cease to have any disabilities-they simply do
not exist in this state of being. Painting not only
gives me pleasure and satisfaction, but gives
pleasure and happiness to others.”
PARTICIPATING GALLERIES
10 Chancery Lane Gallery, Hong Kong / 100 Tonson Gallery, Bangkok / 1301PE, Los Angeles / acb Gallery, Budapest /
Acquavella Galleries, New York / Arario Gallery, Seoul / Beijing / Cheonan / New York / ARATANIURANO, Tokyo / Ark
Galerie, Jakarta / ARNDT, Berlin / Art Beatus Gallery, Hong Kong / Vancouver / aye gallery, Beijing / aye • eastation
gallery, Beijing / Beijing Art Now Gallery, Beijing / Beijing Commune, Beijing / Bernier/Eliades Gallery, Athens / Galerie
Bruno Bischofberger, St Moritz / Zurich / BISCHOFF/WEISS, London / bitforms gallery, New York / Blum & Poe, Los
Angeles / Boers-Li Gallery, Beijing / Marianne Boesky Gallery, New York / Tanya Bonakdar Gallery, New York / Ben
Brown Fine Arts, Hong Kong / London / Gavin Brown's enterprise, New York / Buchmann Galerie, Berlin / Lugano / CAIS
Gallery, Hong Kong / Seoul / Galleria Massimo De Carlo, London / Milan / Leo Castelli Gallery, New York / The Cat Street
Gallery, Hong Kong / Charest-Weinberg Gallery, Miami / Cheim & Read, New York / Chi-Wen Gallery, Taipei / James
Cohan Gallery, New York / Shanghai / Sadie Coles HQ, London / Contemporary by Angela Li, Hong Kong /
CONTEMPORARY FINE ARTS, Berlin / Galleria Continua, Beijing / Paris / San Gimignano / Contrasts Gallery, Shanghai
/ Corkin Gallery, Toronto / Pilar Corrias, London / Alan Cristea Gallery, London / Galerie Chantal Crousel, Paris / DNA,
Berlin / The Drawing Room, Manila / Galerie EIGEN + ART, Berlin / Leipzig / Eslite Gallery, Taipei / Gallery EXIT, Hong
Kong / F2 Gallery, Beijing / Los Angeles / Galerie Forsblom, Helsinki / Stephen Friedman Gallery, London / Gagosian
Gallery, Athens / Hong Kong / London / Los Angeles / New York / Paris / Rome / Galerist, Istanbul / Gana Art, Busan /
New York / Seoul / Gandhara-art, Hong Kong / Karachi / Klemens Gasser & Tanja Grunert Inc, New York / gdm, Paris /
Gering & López Gallery, New York / Gladstone Gallery, Brussels / New York / Galerie Gmurzynska, St Moritz / Zurich /
Galerie Laurent Godin, Paris / Goodman Gallery, Cape Town / Johannesburg / Marian Goodman Gallery, New York / Paris
/ Galerie Grand Siècle, Taipei / GRANTPIRRIE, Sydney / Green Cardamom, London / Greenberg van Doren Gallery, New
York / greengrassi, London / Grotto Fine Art, Hong Kong / Hakgojae, Seoul / Hanart TZ Gallery, Hong Kong / Hauser &
Wirth, London / New York / Zurich / Hopkins Custot Gallery, London / Paris / Michael Hoppen Gallery, London /
HORRACH MOYA, Palma de Mallorca / Gallery HYUNDAI, Seoul / I/O (Input/Output), Hong Kong / IBID PROJECTS,
London / Ingleby Gallery, Edinburgh / Galerie Michael Janssen, Berlin / Amelia Johnson Contemporary, Hong Kong /
Paul Kasmin Gallery, New York / gbk | Gallery Barry Keldoulis, Sydney / Sean Kelly Gallery, New York / Kerlin Gallery,
Dublin / Tomio Koyama Gallery, Tokyo / Galerie Krinzinger, Vienna / Kukje Gallery, Seoul / Kwai Fung Hin Art Gallery,
Hong Kong / L & M Arts, Los Angeles / New York / Yvon Lambert, New York / Paris / Langgeng Gallery, Magelang /
Simon Lee Gallery, London / LEHMANN MAUPIN, New York / Galerie Lelong, New York / Paris / Lisson Gallery, London
/ Lombard-Freid Projects, New York / Long March Space, Beijing / Lumen Travo, Amsterdam / Kate MacGarry, London /
McCaffrey Fine Art, New York / Galerie Urs Meile, Beijing / Lucerne / Kamel Mennour, Paris / Galerie Mezzanin, Vienna /
Yossi Milo Gallery, New York / Victoria Miro Gallery, London / Mizuma Art Gallery, Tokyo / The Modern Institute, Glasgow
/ Mummery + Schnelle, London / Nadi Gallery, Jakarta / NANZUKA UNDERGROUND, Tokyo / Nature Morte, Berlin /
New Delhi / neugerriemschneider, Berlin / Anna Ning Fine Art, Hong Kong / Noire Contemporary Art, Turin / ONE AND
J. Gallery, Seoul / Osage Gallery, Hong Kong / Beijing / Singapore / Shanghai / Ota Fine Arts, Tokyo / Other Criteria,
London / Roslyn Oxley9 Gallery, Sydney / Pace Beijing, Beijing / Pace Prints, New York / The Paragon Press, London /
Pékin Fine Arts, Beijing / Galerie Emmanuel Perrotin, Miami / Paris / PKM Gallery, Beijing / Seoul / Plum Blossoms
Gallery, Hong Kong / Polígrafa Obra Gráfica, Barcelona / Project 88, Mumbai / Galerie Quynh, Ho Chi Minh City /
ALMINE RECH GALLERY, Brussels / Paris / ROKEBY, London / Röntgenwerke AG, Tokyo / Galerie Thaddaeus Ropac,
Paris / Salzburg / Galerie Stefan Röpke, Cologne / Rossi & Rossi, London / SCAI THE BATHHOUSE, Tokyo / Schoeni Art
Gallery, Hong Kong / Schuebbe Projects, Dusseldorf / Anna Schwartz Gallery, Melbourne / Sydney / ShanghART Gallery,
Shanghai / ShugoArts, Tokyo / Gallery Side 2, Tokyo / Sikkema Jenkins & Co, New York / silverlens gallery, Manila /
Singapore Tyler Print Institute, Singapore / Skarstedt Gallery, New York / Slewe Gallery, Amsterdam / Fredric Snitzer
Gallery, Miami / Soka Art Centre, Beijing / Tainan / Taipei / Sperone Westwater, New York / Sprüth Magers Berlin
London, Berlin / London / Starkwhite, Auckland / Tang Contemporary Art, Bangkok / Beijing / Hong Kong / Timothy
Taylor Gallery, London / Tolarno Galleries, Melbourne / Van de Weghe Fine Art, New York / Vilma Gold Gallery, London /
Vitamin Creative Space, Beijing / Guangzhou / White Cube, London / Max Wigram Gallery, London / Wilkinson Gallery,
London / x-ist, Istanbul / YAMAMOTO GENDAI, Tokyo / ZieherSmith, New York / David Zwirner, New York

PARTICIPATING GALLERIES
18Gallery, Shanghai / Aando Fine Art, Berlin / Art+ Shanghai, Shanghai / Beijing 9 Art Space, Beijing / Blindspot
Gallery, Hong Kong / Brennan & Griffin, New York / GALERÍA MARTA CERVERA, Madrid / Charim Ungar Berlin | CUC,
Berlin / Vienna / Cole Contemporary, London / | EDS | GALERIA, Mexico City / Gallery em, Seoul / Exhibit 320, New
Delhi / FQ Projects, Shanghai / Patrick Heide Contemporary Art, London / island JAPAN, Tokyo / Tristian Koenig,
Melbourne / Kudlek van der Grinten Galerie, Cologne / GALERIE CHRISTIAN LETHERT, Cologne / Ignacio Liprandi Arte
Contemporáneo, Buenos Aires / Josh Lilley Gallery, London / Magician Space, Beijing / Man&Eve, London / Mendes
Wood, San Paulo / Meulensteen, New York / Francesca Minini, Milan / Mother’s Tankstation, Dublin / NON, Istanbul /
Ooi Botos Gallery, Hong Kong / Martha Otero Gallery, Los Angeles / PLATFORM3, Bandung / RICA The Gallery, San
Juan / Rotwand, Zurich / Scaramouche, New York / Seven Art Limited, New Delhi / Sultana, Paris / Take Ninagawa,
Tokyo / Gallery Terra Tokyo, Tokyo / TORRI, Paris / Traffic, Dubai / Galleri Maria Veie, Oslo / Skogn / WEINGRÜLL,
Karlsruhe / WHITE SPACE BEIJING, Beijing / WILDE GALLERY, Berlin / Zidoun Gallery, Luxembourg / Paris

PARTICIPATING GALLERIES
GALLERY 55, Shanghai / Annandale Galleries, Sydney / Apparao Galleries, Bangalore / Chennai / New Delhi /
ARTCOURT Gallery, Osaka / ARTMIA, Beijing / CDA Projects, Istanbul / Gallery Cellar, Tokyo / Chambers Fine
Art, Beijing / New York / Chan Hampe Galleries, Singapore / Yumiko Chiba Associates, Tokyo / China Art
Projects, Beijing / C-Space, Beijing / Conny Dietzschold Gallery, Sydney / Cologne / Edwin's Gallery, Jakarta /
Gallery Espace, New Delhi / The Guild, Mumbai / New York / Yoshiaki Inoue Gallery, Osaka / Kodama Gallery,
Kyoto / Tokyo / Lin & Lin Gallery, Beijing / Taipei / MEM, Tokyo / Dominik Mersch Gallery, Sydney / ALEXANDER
OCHS GALLERIES BERLIN | BEIJING, Beijing / Berlin / Tim Olsen Gallery, Sydney / Other Gallery, Beijing /
Shanghai / Wenzhou / Galerie Paris-Beijing, Beijing / Paris / Platform China, Beijing / Primo Marella Gallery,
Beijing / Milan / Rampa, Istanbul / Red Gate Gallery, Beijing / Alon Segev Gallery, Tel Aviv / Shanghai Gallery of
Art, Shanghai / Galerie Sho Projects, Tokyo / Sin Sin Fine Art, Hong Kong / Sullivan+Strumpf Fine Art, Sydney /
Sutton Gallery, Melbourne / TKG+, Beijing / Taipei / Tokyo Gallery + BTAP, Tokyo / Umahseni, Jakarta /
Vanguard Gallery, Shanghai / vivi yip art room, Jakarta / Y++ Wada Fine Arts, Beijing / Tokyo

Correct at time of going to press Education Partner

MARCH 2011 / 39
40 / TPAG
MARCH 2011 / 41
ART LANDS

42 / TPAG
 Shaanxi > Hong Kong

Cutting
the way
forward
Text: Remo Notarianni
In a few words, mainland Chinese paper
cutter Li Yun Xia measures the distance be-
tween Hong Kong and her native Shaanxi
province. They also cross centuries as she
remembers the home of an ancient art
form.

“I feel a connection with Shaanxi through

the scissors,” said the Hong Kong-based Li.
“For centuries, paper cutting was the main
pastime for both married and single women
in the province and it is linked to embroidery.
Paper cutting skills came first, followed by
embroidery and then looks. I was discov-
ered while working at Henan University in
1990 and shortlisted out of 400 students
because I was able to improvise the cutting.
The others had to draw the images first.”

MARCH 2011 / 43
ART LANDS

44 / TPAG
Shaanxi > Hong Kong

MARCH 2011 / 45
ART LANDS

46 / TPAG
 Shaanxi > Hong Kong

Li, who was taught paper cutting by her mother “These were touchstones of my homeland,”
when she was six years old, was recruited by said Li.”I began to cut images of pomegranates
the China Folk Cultural Village of Shenzhen in and rural people working the land. But with that
the 1990s. Her works became political gifts for came symbols of rebirth and feminine forms.”
figures such as former US president Richard Universality came out of this imagery that was
Nixon and Cuban leader Fidel Castro. an essential response to personal experience.
The cut has become a mode of individual ex-
Shaanxi’s rural setting has shaped Li’s work. pression rather than one of an artistic tradition.
Encoded in the imagery are the beliefs and Yet, rather than betraying tradition, she made
the aesthetic values of the people of the Loess full use of the creative scope that the art form
plateau. While being a traditional art form that has long provided.
dates back to the sixth century AD, paper cut-
ting transcends the artistic methods of painting Her composition ‘The Lady of the Sea’ depicts
and drawing. And not being confined by such a female form rising out of an ocean. The long
principles has given the artists an essential free- hair of the lady could easily represent turbulent
dom. waves. As it transforms into the image of the
lady’s exaggerated breast, a symbol of female
According to Chen Jing, Vice President and power arises that is as coherent as any cultural
President of Folk Arts Committee in New York: motif.
”The form is no longer shaped from observation
from without but rather from introspection and This transformation is also evident in the use of
perception from within.” black paper. According to Chinese artistic tra-
dition, black is not a lucky colour. But tradition
The cutting process lends itself to a represen- may not be an issue, especially with the folk art’s
tational art form as the scissors manipulate essential versatility and Li’s work is an example
shapes that make the images symbolic. Unlike of how the art can still evolve while respecting
pencil and brush, that can manipulate shade, its origins.
colour and depth, scissors have the emotive
power to shape the paper itself. “I expressed longing for my homeland in my
work,” said Li.” This transformed it in a way that
“Whether happy or sad, the women of Shaanxi makes me artistically independent. But even if
express themselves through paper cutting,” this best reflects my present situation, it is a de-
said Li.”I have found this art form has a directly parture more than a complete cut from tradition.
attuned to my emotions and the imagery is a I can never lose contact for as long as I continue
reflection of my moods and ideas. “ to express myself through the scissors.”

The emotional intensity of the line and the shape

of the figure have a wave-like quality that reflects
the artist’s inner world. This has told the story Li Yun Xia will conduct a paper cutting workshop in
Singapore in 2011.
of Li’s personal journey. In 2000, she moved to
Hong Kong, where she had to find a new direc- For more information, email info@yinogo.com.
tion artistically.

She reconnected with Shaanxi through cutting

her familiar folk art, and it took on a different
form as she reflected on it from a different place.
But her reinterpretation was a melancholy long-
ing for home rather than a cultural affirmation.

MARCH 2011 / 47
STORY

Tale bonding
Text: Remo Notarianni

A tale about a kung fu-savvy disciple and a

drunken US veteran battling foes in Thailand
is made for cinematic high kicks. But The Blood
films such as The Terminator, reshaped the tale.
Core elements of the story, about a religious
leader called the Karmapata – who needs a life-
Bond, the debut novel of Hong Kong-based saving blood transfusion within 12 hours after
screenwriter and producer Bey Logan, is not being wounded by an assassin in Bangkok –
the film tie-in of its screen version, Shadow- have been preserved.
guard, which opened in Hong Kong cinemas on
January 27. The story arc intensifies when possible blood
donors are killed off by ruthless assassins who
“Well, firstly, the novel is set in Thailand, where belong to an organisation called the Red Dawn.
we originally intended to shoot the film,” said Deva, devout guardian of the Karmapata, sets
Logan. “This was right after I worked there on off to northern Thailand to find the last man
another movie called Shanghai. At that time, the whose blood can save her master, a drunken
story had a lot more metaphysical and religious former US Special Forces operative called John
elements in it, reflecting my interests; and the Tremayne. The bond that forms between the
later script became more realistic and overtly two strengthens as they battle assailants on
political, reflecting those of its director.” their way to the hospital in which lies the Kar-
mapata.
Logan, who released the film through his film
company B&E Productions, said the book was “I had, for a long time, played with the idea
written from the first draft of the script, left behind of pairing a mystical, martial Asian babe with
when director Michael Biehn, who appeared in a gun-toting, John Waynian male lead,” said

48 / TPAG
BEY LOGAN

MARCH 2011 / 49
STORY

50 / TPAG
 BEY LOGAN

Logan. When I was working with actress Mag- so you couldn’t just remake them in English,
gie Quigley, we were always looking at similar shot-for-shot, or you’d be back where they
structures, or possible contrasting teams. The started!”
finished ‘Blood Bond Saga: Shadowguard’ film
is more Michael’s vision, shot in China but set The screen-inspired origins of the book and the
in a fictitious Asian country called Purna. I think way it uses the written word to describe martial
the book gives you an insight into how the film arts makes an interesting crossover. Logan’s
might have looked had I directed it in Thailand.” lens follows a sequence of cinematic vignettes
with stories and scenes that seem straight out
That contrast could symbolise Logan’s unique of action cinema, giving it the unique quality in
relationship with the Hong Kong film industry, parts of reading like a film script. It also con-
which he describes as one of “East and West”. veys the choreographic language of martial
Hailing from the English town of Stamford, Lo- arts, helping us understand actions that seem
gan’s cross-cultural odyssey began when he to trademark the characterisation and move the
lived out a childhood dream to make Hong story forward.
Kong action movies. After learning martial arts,
founding movie action magazines and learning “Deva uses a basically defensive art, which is
Chinese, Logan arrived in Hong Kong, eventu- based on Chen Tai Chi,” said Logan, “but we see
ally landing a place in the film industry. her get more aggressive as the film progresses
and the danger increases. Tremayne has some
He wrote screenplays for films such as Ballistic basic military training, but, when we meet him,
Kiss (1998) and provided audio commentaries he is basically a bar room brawler. (And we do
for international releases of Hong Kong movies. have two brawls in two bars in the book and the
He also co-wrote the screenplay for the 2003 film). The idea was that the action came out of
Jackie Chan film The Medallion. In 2005, Logan circumstance. There’s more stylised combat in
was appointed by Hollywood mogul Harvey the book than there was in the original cut of the
Weinstein to become Vice President of Asian film. We had to do some reshoots to redress
Acquisitions and Co-Productions at his com- the balance.”
pany.
With an internship programme at B& E Produc-
Leaving the Weinstein Company in 2009 to form tions, Logan is attempting to lead the way for
B&E Productions, Logan, who has also penned talent that wants to cross the same boundaries,
numerous books on action movies, has an en- but he is also hoping to be part of a paradigm
cyclopaedic knowledge of Asian cinema upon shift that broadens cultural and creative possi-
which he can draw to shape stories. With an in- bilities within the field.
ternational production team, Shadowguard has
the same cross-cultural ethos and it is a nod “I offer whatever help and advice I can,” said
to the world of cinema that he has become a Logan, “as I think a more cosmopolitan genera-
part of. tion of film-makers will be to our advantage as
an industry. I think that Asian action cinema is
“The original script for The Blood Bond, which open to endless reinterpretation, and that there
I wrote about 20 years ago, was very much in- are combinations of elements that still haven’t
spired by the kind of martial arts action thrillers been explored. For example, we have yet to
Hong Kong directors were making at the time,” have a really great Chinese science fiction film,
said Logan. “Ironically, many of them borrowed or a kung fu film noir. There are always new sto-
their plotlines wholesale from Hollywood films, ries to tell within the genre.”

MARCH 2011 / 51
PERSPECTIVES

ArT STAGE: The Search

for the contemporary
13.01.11 - 16.01.11 / Marina Bay Sands Expo &
Convention Centre Text: Gladys Teo

52 / TPAG
 PERSPECTIVES

“M ummy, where’s Picasso?” The question, from a boy in the middle

of what has been called the world’s most expensive hotel, was
echoed by a crowd of Singlish-speaking families in flip flops, curious about
offerings in booths with powerpoint sockets that cost 100 bucks a day to
rent.

It was heartening to see a mixed bag of guests at an event in which you

would only expect to find A-list art collectors with bulging wallets bearing
Louboutins and Pradas.

As one of around 30,000 visitors to Singapore’s Art Stage 2011, I was

stoked by the expectation of heavy-hitters such as Takashi Murakami,
Andy Warhol and Pablo Picasso. What I found was a flagship effort to
promote Singapore as an arts hub, while showcasing an architectural
masterpiece across four halls in the iconic Marina Bay Sands hotel.

With more than 120 galleries participating from 19 different countries, the
exhibition space had been transformed and threw down a gauntlet perhaps
too big for the maps handed out at the orange front desk to help run.

Art Stage was disorientating in its scale, but its ability to reach out to the
average Singaporean was breathtaking. It also raised questions about the
state of contemporary art, that has brought so-called ‘lo brow’ and pop
art once called kitsch by critics into the fold. As
dumbstruck as the child searching for Picasso, I
found myself following my own trail of questions
about the meaning of contemporary art.

Once shunned by curators, graffiti artists now

bear expensive price tags, making sprayed
public walls as respectable as the Sistine Chapel.
They are being commissioned for installations
and station ceilings. And with the likes of Banksy
adding mystique to the craft, they are yet to be
fully understood.

But great art often feels limited by categories.

Homegrown Phunk Studio’s giant ‘Control
Chaos’ was a centre piece at Art Stage; it was a hit with browsers, shutter-
happy at a psychedelic backdrop of heaven, earth and hell, intertwined

MARCH 2011 / 53
PERSPECTIVES

with oriental mythology and layers of urban living. And this labyrinth
interweaved unpredictably. I spotted a Duchamp-esque toilet bowl in one
of the booths, complete with half a boot-print. True to the spirit of Marcel
Duchamp, I neglected to note the name of the
artist who created the piece. Yayoi Kusama’s
polka dotted prints seemed eclipsed by Ran
Hwang’s ‘Two Love Trees’. She gathered a
bunch of ordinary buttons, and using pins and
thread, stitched them onto a large canvas, re-
contextualising them into simple and seductive
cherry blossom trees.

The contemporary in its boldness may have

brought the art world closer to the everyday.

In an indiscriminate act of inter-cultural

borrowing, the art work in Vivek Vilasini’s series
‘Between One Shore and Several Others’ uses
digital manipulation to reinterpret ‘Western’
iconographies. The Indian artist meshed Indian
sensibilities with the works of Italian Renaissance
artists Michelangelo and Da Vinci, amongst
others.

Similarly, Bae Joon Sung, a Korean artist, cleverly

used lenticular imagery to insert images of ladies
from ancient Chinese dynasties into Victorian
English homes. His harmonious juxtaposition
of the orient and the occident found bold
similarities.

But my favourite work at Art Stage had to be

Ronald Manullang’s ‘Final Judgement’ series,
in which the Indonesian artist painted German
wartime dictator Adolf Hitler in a female guise
in six different portraits, each of them equally
powerful and fascinating in concept and form.

Manullang’s series at once evokes and provokes

on issues such as politics, religion and history. In
the images, he combined Catholic iconography
with the politics of the holocaust with an eerie
historical irony. In the final painting of the series,
Manullang brushes up the image of a happy family that includes Hitler,
holocaust victim Anne Frank and a baby (probably Jewish and tattooed,

54 / TPAG
 PERSPECTIVES

like the babies in the previous five paintings). What jumps out of you is that
Anne Frank is holding an iPad. As I giggled, the image humorously drew
attention to the fact that the vast majority of the gallery assistants were
armed with iPads instead of traditional print catalogues. Snazzy touch-
screen technology and high definition pictures co-existed with art, that
while being called cutting edge, did not use technology.

The contrast drew attention to something. Even Indian artist Raghava

K.K. had his art works installed on a gadget in which the background
colour of the digital compositions would change according to weather and
location. The art world has definitely evolved with the advent of cutting-
edge technology but will this redefine contemporary? At least a third of
the installations involved some kind of technology, way more modern than
photography and mixed-media prints.

This was epitomised by intriguing

installations such as ‘Crystal City’
by Taiwanese artist Wu Chi-Tsung
who used a projector, LED lighting, a
conveyor belt and plastic structures
to create an urban environment of
geometric transparency.

Another Taiwanese artist Hung Tung Lu

exhibited ‘There’ and ‘Here’. I am no
technology whizz,, but it was apparent
to me that Hung created the two pieces
of his work using lightboxes, parallax
barriers and stereograms. I had never
experienced the 3-D spectacle, in
which a female protagonist of the piece
appears to be looking at you from every angle, wherever you walked. It
was an image of the Mona Lisa, albeit much swankier. The female’s eyes
would change shape, as if she was winking at you; her body would contort
at a different angle if you moved slightly to your left; and her open genitalia
was sprouting flower buds that would at times seem to quiver and shrink
as you stood trying to absorb the art work. Perhaps a real definition of
contemporary art is out of reach, but I certainly felt I was close.

Art Stage Singapore ran from January 13 to 16, 2011.

MARCH 2011 / 55
 A

CM

MY

CY

CMY

Montage III - Zu Garbriele Mistral”, mixed-technique on paper & cardboard, 107 x 83 cm, 1960s

56 / TPAG
Art Trove Call f
 Art Trove

960s

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, Fax: +65 6336 9975, enquiry@art-trove.com
ww.art-trove.com MARCH 2011 / 57
 SINGAPORE’S ART & BU
KIT
HERITAGE DISTRICT RD
TIM
AH
TS RD
OT
SC

RD
CLE

N
OO
MEN

NG
CEA

RA
U AV

SE
CA

E
IR
NH
- Art Forum
- The Tolman Collection

ILL

R
RD

RD
Larasati

SA
Art GoGo

BE
TS

YOUR Mother Gallery

OT

N
- Pop and BU

LA
AY
KI
SC

Contemporary
T

JA
AL EXPRESSW
Fine Art TI
D M ST
- Gallery Reis Artspace @ The DR AH IA
Royal on Scotts
F OR RD R
DE C TO
OR I VI
CH
AR B
DR
Third Floor Hermes D - Heng Artland

NTR
- Jasmine Fine Art
- Sin Hua Gallery

CE
Night & Day
- Drawing Gallery
Opera Gallery

SELEGIE RD
Vue Privée

M.A.D
(Museum of Art & Design)

ST
ORC

N
HAR AY

LE

RD
DR W

O
D
GH

GE
HI

C
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LE

BE

BR
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Foundation Oil

RT
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Painting

NO
IN
ORC
HAR PR
The Picturehouse
D RD
Young Musicians’ Society
ORC
HAR
D RD Forest Rain Gallery
Singapore
Calligraphy Centre
Art Trove, The Private RO
BR Museum, M Gallery, C
AS H
Yavuz FA
8Q SAM O
OVAS Art Gallery BA R
Action Theatre SA RD
H Singapore
RD Art Museum
RIVER VALLEY RD
National Museum Eagle’s Eye
of Singapore Art Gallery
Impress Galleries Fort Canning
Park

FOST Gallery
The Substation
KIM

Peranakan Museum
SE
NG

Singapore Philatelic Chan Hampe

RO

DBS Arts Centre Museum Galleries

AD

Singapore Repertory Theatre RI

VE
R
72-13 VA
L LE
Y
RD

GANGES
AVE

The National
M

Art Gallery, The Esplanade

ER

Singapore
CH

ST
AN

LL
T

HI

RD
RD

AY
SW IVE
GE

HA
S VE
DR
RE
ID

LO

EASTCOAST PARK EXPRESSWAY

P
BR

EX CK
DE

AL RD
H

NA
UT

R
NT
PLA
SO

CE
ES
NG

HA
SE

VE
LO
NG

CK
RD
TO
EU

58 / TPAG
 HO
DEMPSEY, HOLLAND, TANGLIN & WESSEX
AN
DR
LL
LEGEND
OA
D

MAIN ROAD
SMALL ROAD
EXPRESSWAY

WAY
Source
Contemporary
African Fine Art ART GALLERY

ENS
Singapore NAS
Botanical Garden SIM
ROA
PUBLIC PLACES

QUE
D

NAPIER ROAD SCHOOLS

A D MRT
RO
IN
N GL The Gallery of Gnani
TA Arts, GJ Asian Art
Boon’s Pottery,
Bruno Gallery
CO
M
M
O
NW The Peach
Echo Art Gallerie
Ha Karen Art Gallery GALLERY SPOTTED
EA Tree Hogarth Art London
LT

AD
H Kwan Hua Art Gallery
AV Li Fine Art

RO
E Mulan Gallery

IN
Peter’s Frame

GL
Sun Craft

N
Yang Gallery

TA
Barrosa Studio, D’Art, Geeleinan Art
Gallery & Studio, Kelly Reedy Studio
Arts, Marisa Keller, Sealey Brandt
Photography Studio,

Art Trove Gallery

51 Waterloo Street
RI #02-01/2/3
VE
TANJONG PAGAR, CHINATOWN & RAFFLES R
VA
L Singapore 187969
LE
ALEXANDRA RD Y
RD

E DR
T: +65 6336 0915

ESPLANAD
F: +65 6336 9975
RD

E: enquiry@art-trove.com
AY
SON

SW HA Momentous Ats W: www.art-trove.com

EASTCOAST PARK EXPRESSWAY

ES VE
DER

LO
OUTRAM RD

R
E XP CK
RO Opening Hours
HEN

L
RA AD
NT
CE
Wed- Sun:
Artcommune Gallery,
11am to 6.30pm

AY
Ken Crystals Call for private viewing

QU
DreamSpace Art Studio
MERLION

ER
Sotheby’s Institute of Art
iPRECIATION

LLY
Collectors Contemporary, The Fullerton Heritage
RD

CO
Mercedes-Benz Center,
Volvo Art Loft
GE

Utterly Art
ST

ID
BR
NG
SE

JL
UT
NG

N
BU
SO
TO

KI
T
U

M
/E

ER Outram
AH
RD

Station
RD
RD
E

Chan Hampe / Fill-your-walls

G

ON

Jeremy Ramsey
ID

Living Portrait
GAR

AY
BR

Fine Art
NS

D Galerie
W

IL R
BI
M

Belvedere
NG PA
NE

NE
RO
AX

TO
W

CENTRAL BLVD
EN
EL

Indigo Blue Fine Art

TANJO

SH
L

Red Dot Traffic

RD
CAN

AY
E R
TON

RA
JA Tanjong Pagar Marina Bay
H Station
RD
MEN

Station
EX
N

PR
SO
TR

ES
AN

SW
D

AY Give Art

AYER RAJAH EXPRESSWAY

RD Fortune Cookie Projects, Galerie Waterton,
L Light Editions Gallery, L2 SPACE,
P PE ReDot Gallery, Valentine Willie Fine Art
KE
MARCH
MARCH 2011
2011 // 63
61
DIRECTORIES
GALLERIES
A 21 Tanjong Pagar Road
AndrewShire Gallery 5 Swiss Cottage Estate
Aratong Galleries 26 Mount Pleasant Drive
Art Forum 82 Cairnhill Road
Art Glass Solutions 30 Kuo Chuan Avenue
Art Seasons 7 Kaki Bukit Road 1 #02-12
Art Tree Gallery 333A Orchard Road #04-11
Art Trove
51 Waterloo Street
#02-01 to 03
Singapore 187969
T: +65 6336 0915
www.art-trove.com
Art-2 Gallery 140 Hill Street #01-03
artcommune 133 New Bridge Road #02-77
Artesan 793 Bukit Timah Road #02-01
Artfolio 328 North Bridge Road #02-25
ArtGoGo 402 Orchard Road #02-08
ARTINNO 391B Orchard Road #23-01
Arty Art Gallery 686A Woodlands Drive 73 #15-52
Aryaseni 10A Bukit Pasoh
B T: +65 6222 1667
Bartha & Senarclens 75 Emerald Hill Road
Boon’s Pottery
91 Tanglin Road
#01-02A Tanglin Place
Singapore 247918
T: +65 6836 3978
www.boonspottery.com
Bruno Gallery
91 Tanglin Road
#01-03 Tanglin Place
Singapore 247918
T: +65 6733 0283
www.brunoartgroup.com
C
Cape of Good Hope 140 Hill Street #01-06
CdeM ART & DESIGN Blk 5 Westbourne Road #01-02
Collectors Contemporary 5 Jalan Kilang Barat #01-03
COMBINART 27 Woodlands Industrial Park E1 #01-08
Chan Hampe Galleries
@ Raffles Hotel
328 North Bridge Road
#01-04 Raffles Hotel Arcade
Singapore 188719
T: +65 6338 1962
www.chanhampegalleries.com
62 / TPAG
Chan Hampe Galleries
@ Tanjong Pagar
#04-02
Singapore 088444
T: +65 6222 1667
www.chanhampegalleries.com
D
d’Art 5 Westbourne Road #02-03
D’Peak Art Space Kaki Bukit Road 1 #01-07
DaTang Fine Arts Singapore 177 River Valley Road #02-09A
DLR Gallery 22 Marshall Road
Dynasties Antique & Art Gallery 18 Boon Lay Way #01-136
E
Eagle’s Eye 39 Stamford Road #01-01
Echo Art Galerie 19 Tanglin Road #02-59
Evil Empire 48 Niven Road
F
fill your walls
21 Tanjong Pagar Road
#04-02
Singapore 088444
www.fill-your-walls.com
Forest Rain Gallery
261 Waterloo Street
#02-43/44
Singapore 180261
T: +65 6336 0926
www.forestraingallery.com
FOST 65 Kim Yam Road
G
Galerie Belvedere 168 Robinson Road #36-01
Galerie Waterton 39 Keppel Road #02-01
GJ Asian Art 1 Cuscaden Road #01-03
The Gallery of Gnani Arts 1 Cuscaden Road #01-05
Gallery Reis 390 Orchard Road #03-01/02
H
HaKaren 19 Tanglin Road #02-43
Heng Artland 290 Orchard Road #04-08
I
Impress Galleries 1 Kim Seng Promenade #02-07/08
Indigo Blue Art 33 Neil Road
INSTINC 12 Eu Tong Sen Street
iPRECIATION 1 Fullerton Square #01-08

K P
Ken Crystals
133 New Bridge Road
#01-45 Chinatown Point
Singapore 059413
T: +65 6339 0008
E: kencrystals@yahoo.com.sg
KARTESTUDIO 181 Orchard Road #B2-23/29
Kwan Hua 19 Tanglin Road #02-09
L Red Sea 9 Dempsey Road #01-10
Larasati www.larasati.com
Linda Gallery 15 Dempsey Road #01-08
Li Fine Art
19 Tanglin Road
#03-32 Tanglin Shopping Centre
Singapore 247909
T: +65 6235 3306
www.lifineart.com
Light Editions Gallery 39 Keppel Road #02-02B
Living Portraits 31 Tanjong Pagar
Lukisan Art Gallery 110 Faber Drive
M 43 Jalan Merah Saga
M Gallery 51 Waterloo Street #03-03B/04
Metakaos 1 Kaki Bukit Road 1 #03-22
Mulan Gallery
19 Tanglin Road
#02-33 Tanglin Shopping Centre
Singapore 247909
T: +65 6738 0810
www.mulangallery.com.sg
Muse The Art Gallery
268 Upper Bukit Timah Rd
#03-09 @ The Old Fire Station
Singapore 588210
T: +65-8388 0044
www.musetheartgallery.com
O
Ode to Art 252 North Bridge Road #01-36E/F
Opera Gallery 2 Orchard Turn #03-05
OVAS Art Gallery
9 Penang Road
#02-21 Park Mall
Singapore 238459
T: +65 6337 3932
www.ovas-home.com
DIRECTORIES
Pop and Contemporary Fine Art
390 Orchard Road
#03-12 Palais Renaissance
Singapore 238871
T: +65 6735 0959
www.popandcontemporaryart.com
R
ReDot 39 Keppel Road #02-06
S
S.Bin Art Plus 140 Hill Street #01-10/11/12
Soobin Art International 10 Ubi Crescent #04-90/92/93/95
Galerie Sogan & Art
33B Mosque Street
Singapore 059511
T: +65 6225 7686
www.soganart.com
Sunjin Galleries
#03-62 Work Loft @ Chip Bee
Singapore 278115
T: +65 6738 2317
www.sunjingalleries.com.sg
Sun Craft 19 Tanglin Road #02-08
T
Tasa Gallery 89 Short Street
Tembusu 140 Hill Street #01-05
The Gallery of Gnani Arts One Cuscaden Road #01-05
The Peach Tree 129 Tanglin Road
The Tolman Collect 82 Cairnhill Road
U
Utterly Art LLP
229A South Bridge Road
Singapore 058778
T: +65 9487 2006
+65 6226 2605
www.utterlyart.com.sg
V
Valentine Willie Fine Art 39 Keppel Road #02-04
VITRIA 17 Chee Hoon Avenue
MARCH 2011 / 63
DIRECTORIES
VUE PRIVÉE 20 Cairnhill Road
W
Wetterling Teo Gallery 3 Kim Yam Road
White Canvas Gallery 78 Guan Chuan Street
X ARTSingapore www.artsingapore.net
Xuanhua Art Gallery 70 Bussorah Street
Y Give Art 65 Spottiswoode Park Road
Yang Gallery 19 Tanglin Road #02-41
YAVUZ Fine Art 51 Waterloo Stree #03-01
Your MOTHER gallery 91A Hindoo Road
Yisulang Art Gallery
6 Handy Road
#01-01 The Luxe
Singapore 229234
T: +65 63376810
www.yisulang.com
#
2902 Gallery 11 Mount Sophia Block B #B2-09
ART AUCTIONEERS / DEALERS
Black Earth Auction 367 Joo Chiat Road
Borobudur www.borobudurauction.com
Masterpiece www.masterpiece-auction.com
Y2ARTS 140 Hill Street #01-02
33 Auction www.33auction.com
MUSEUMS
Asian Civilisations Museum www.acm.org.sg
Changi Museum 1000 Upper Changi Road North
The Luxe Art Museum
6 Handy Road
#02-01 The Luxe
Singapore 229234
T: +65 6338 2234
www.thelam.sg
MAD Museum of Art & Design 333A Orchard Road #03-01
MINT Museum of Toys 26 Seah Street
National Museum of Singapore 93 Stamford Road
Peranakan Museum 39 Armenian Street
Post Museum 107/109 Rowell Road
The Private Museum 51 Waterloo Street #02-06
Red Dot Design Museum 28 Maxwell Road
RSAF Museum 400 Airport Road
Singapore Art Museum 71 Bras Basah Road
SAM at 8Q 8 Queen Street
Singapore Coins and Notes Museum
2 Trengganu Street Level 3
64 / TPAG
Singapore Navy Museum 32 Admiralty Road West
Singapore Philatelic Museum 23B Coleman Stree
VENUES / ASSOCIATIONS / GROUPS
Alliance Française de Singapour 1 Sarkies Road
Art Retreat (Wu Guanzhong Gallery)
10 Ubi Crescent #01-45/47
ArtSpace at Royal Plaza Hotel 25 Scotts Road
COMBINART 27 Woodlands Industrial Park E1 #01-08
Esplanade 1 Esplanade Drive
Emily Hill 11 Upper Wilkie Road
Gnani Arts Space 190 Middle Road #02-03/31
Jalan Bahar Clay Studios 97L Lorong Tawas
JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2
La Libreria 50 Kent Ridge Crescent Level 3
Little Red Shop www.littleredshop.org
Mercedes-Benz Center
301 Alexandra Road
Singapore 159968
T: +65 6866 1888
www.mercedes-benz.com.sg
Ngee Ann Cultural Centre 97 Tank Road
Night & Day 139 A/C Selegie Road
Osage 11B Mount Sophia #01-12
Post-Museum 107+109 Rowell Road
Public Art Space (Pan Pacific) 7 Raffles Boulevard
Sculpture Square 155 Middle Road
Sinema 11B Mount Sophia #B1-12
Singapore Art Society 10 Kampong Eunos
Singapore Contemporary Young Artists
www.contemporaryart.sg
The Art Gallery 1 Nanyang Walk
The Arts House 1 Old Parliament Lane
The Gallery (SMU) 90 Stamford Road
The Picturehouse 2 Handy Road
The Substation 45 Armenian Street
Third Floor – Hermès 541 Orchard Road
Victoria Theatre & Concert Hall 11 Empress Place
Volvo Art Loft 249 Alexandra Road
72-13/TheatreWorks 72-13 Mohamed Sultan Road
ART SERVICES
Ray’s Transport & Services
Artwork Installation &
Delivery Services
All other Art related services
+65 91522511
artswithray@gmail.com
 DIRECTORIES

FRAMERS
Chieu Sheuy Fook Studio
Ace Framing Gallery 226 River Valley Road Studio 102
Frame Hub Gallery 46A Lorong Mambong 91 Lorong J
Telok Kurau Road
Peter’s Frames Singapore 425985
19 Tanglin Road #02-02 +65 96690589
Tanglin Shopping Centre e: chieusf@gmail.com
Singapore 247909
T: +65 6737 9110 DreamSpace Art Studio
petersframes@hotmail.com 艺术创作，专业绘画教育。
19 China Street
#03-04/05 Far East Square
Singapore 049561
+65 9168 7785
CONSERVATION / RESTORATION www.hill-ad.com.sg

Benaka Art Conservation Foundation Oil Painting

Private Ltd (conducted by Mr Wee Shoo Leong)
64 Taman Warna 155 Waterloo Street
Singapore 276386 #01-04 Stam ford Arts Centre
T: +65 9105 4377 / +65 6100 2707 Singapore 187962
www.benakaartconservation.com +65 9726 2028
www.foundationoilpaintingclass.com

Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03

Jeremy Ramsey Fine Art 16 Bukit Pasoh Road
Kelly Reedy - Studio Arts 27 Woking Road #01-01
Marisa Keller 28 Woking Road #03-05
Ketna Patel
35 Jalan Puteh Jerneh
Chip Bee Gardens, Holland Village
Singapore 278057
+65 6479 3736
www.ketnapatel.com

Koeh Sia Yong 许锡勇

PIA Preserve In Aesthetics
art preservation . conservation . restoration
63 Hillview Avenue #02-06B
Lam Soon Industrial Building
Singapore 669569
T: +65 6760 2602 / +65 9118 7478
josephine@thepiastudio.com
www.thepiastudio.com
10 Kampong Eunos
Singapore 417774
+65 9671 2940
e: koehsy@singnet.com.sg
www.yessy.com/koehsiayong
www.koehsiayong.artfederations.com
Sealey Brandt Photography Studio
1 Westbourne Road #01-02
Telok Kurau Studios 91 Telok Kurau Lorong J

ART SCHOOLS TOURISTS SPOTS

Bhaskar’s Art Academy 19/21 Kerbau Road
LASALLE 1 McNally Street
Nanyang Academy of Fine Arts 38/80/151 Bencoolen St
NTU (School of Art, Design & Media) 81 Nanyang Drive
NUS Museum 50 Kent Ridge Crescent
School of the Arts (SOTA) 1 Zubir Said Drive
Sotheby’s Institute of Art 82 Telok Ayer Street
The Republic Cultural Centre 9 Woodlands Avenue 9
The Singapore Tyler Print Institute 41 Robertson Quay
ARTIST STUDIOS
Barrosa Studio 4 Woking Road #01-02
Armenian Church 60 Hill Street
Battle Box 51 Canning Rise
Botanic Gardens 1 Cluny Road +65 6471 7361
Buddha Tooth Relic Temple 288 South Bridge Road
Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782
CHIJMES 30 Victoria Street +6336 1818
Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556
Chinese Garden 1 Chinese Garden +65 6261 3632
Crocodilarium 730 East Coast Parkway +65 447 3722
Escape Theme Park 1 Pasir Ris Close +65 6581 9112
Fort Canning Park 51 Canning Rise +65 6332 1302
Goethe-Institut Singapur 163 Penang Road #05-01
Johore Battery Cosford Road +65 6546 9897

MARCH 2011 / 65
DIRECTORIES
Jurong Bird Park 2 Jurong Hill +65 6265 0022
Kranji War Memorial 9 Woodlands Road
Lim Bo Seng Memorial Esplanade Park
Malay Heritage Centre 85 Sultan Gate +65 6391 0450
Malay Village 39 Geylang Serai +65 6748 4700
Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036
Marina Barrage 8 Marina Gardens Drive +65 6514 5959
Marina Bay Sands 10 Bayfront Avenue +65 6688 8868
Masjid Sultan Kampong Glam
Merlion Park Fullerton
Mount Faber +65 6270 8855
National Archives of Singapore 1 Canning Rise +65 6332 7909
National Library Singapore 100 Victoria Street +65 6332 3255
National Parks Board 1800 471 7300
Night Safari 80 Mandai Lake Road +65 6269 3411
Parliament House 1 Parliament Place +65 6336 8811
Raffles’ Landing Site North bank of the Singapore River
Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510
Resorts World Sentosa 39 Artillery Avenue +65 6577 8888
St. Andrew’s Cathedral 11 Saint Andrew’s Road
Science Centre Singapore / Omni Theatre 15 Science Centre
Road +65 6425 2500
Sentosa 1800 736 8672
SIA Hop-on +65 9457 2896
Singapore Botanic Gardens 1 Cluny Road +65 6471 7361
Singapore Cable Car +65 6270 8855
Singapore City Gallery 45 Maxwell Road +65 6321 8321
Singapore Discovery Centre
510 Upper Jurong Road +65 6792 6188
Singapore Expo 1 Expo Drive +65 6403 2160
Singapore Flyer 30 Raffles Avenue +65 6734 8829
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
Sri Mariamman Temple 244 South Bridge Road
Sun Yat Sen Nanyang Memorial Hall
12 Tai Gin Road +65 6256 7377
Supreme Court 1 Supreme Court Lane +65 6336 0644
Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65
6794 1401
Taxis
- Comfort/YellowTop +65 6552 1111
- CityCab +65 6552 2222
- Premier +65 732 2516
- Smart +65 6485 7777
- Tibs +65 6555 8888
- Transcab +65 6555 3333
Thian Hock Keng Temple 158 Telok Ayer Street
Touristline 1800 736 2000
Underwater World 80 Siloso Road +65 6275 0030
Universal Studios 8 Sentosa Gateway +65 6577 8888
War Memorial Park Bras Basah Road & Beach Road intersection
66 / TPAG
MALAYSIA ART GUIDE
+Wondermilk Art Gallery www.theclickproject.com
12 (Art Space Gallery) www.12as12.com
A2 Gallery www.a2artgallery.com
Annexe Gallery www.annexegallery.com
Art Case Galleries www.artcase.com.my
Art Expo Malaysia www.artexpomalaysia.com
Art House Gallery www.arthousegallery.biz
Art Loft www.artloftgallery.net
Art Salon @ Seni www.theartgallerypg.com
Artseni Gallery www.artseni.com
CHAI (Instant Cafe House of Arts and Idea) www.
instantcafetheatre.com
City Art Gallery
Edi.A Art Gallery www.ediarts.blogspot.com
Galeri Chandan www.galerichandan.com
GALERI PETRONAS www.galeripetronas.com.my
Galeri Shah Alam www.galerisa.com
galleriiizu @ Shangri-La Hotel www.galleriiizu.com
House of Matahati (HOM) www.matahati.com.my
Islamic Arts Museum www.iamm.org.my
Lookiss www.lookissgallery.com
Lost Generation Space www.lostgenerationspace.blogspot.com
Malaysia National Art Gallery www.artgallery.gov.my
MERAH: Mansion for Experimentation, Research, Arts and
Horticulture www.facebook.com/pages/MERAH/148050170487
Metro Fine Art www.metro3gallery.com
NN Gallery www.nngallery.com.my
Pace Gallery www.pacegallery.net
Pelita Hati www.pelitahati.com.my
Pinkguy Gallery www.pinkguymalaysia.com
Richard Koh Fine Art www.rkfineart.com
Rimbun Dahan www.rimbundahan.org
RougeArt www.rogueart.asia
Shalini Ganendra Fine Art www.shaliniganendra.com
The Gallery @ Star Hill www.starhillgallery.com
Valentine Willie Fine Art www.vwfa.net
Wei-Ling Gallery www.weiling-gallery.com
Y 2 S Art Space www.y2sart.com.my
ZINC www.zinc.com.my
HONGKONG ART GUIDE
Amelia Johnson Gallery www.ajc-art.com
I/O Input Output www.inputoutput.tv
Karin Webber Gallery www.karinwebbergallery.com
MADHOUSE Contemporary www.madhouse.com.hk
EUROPE ART GUIDE
FLO PETERS GALLERY
Chilehaus C
Pumpen 8
20095 Hamburg, Germany
+49 40 3037 4686
www.flopetersgallery.com
© Elliott Erwitt/MAGNUM Photos
 DIRECTORIES

LONDON ART GUIDE

Jealous Gallery 27 Park Road N8 8TE Crouch End London
AICON GALLERY London 8 Heddon Street, London W1B 4BU
The Air Gallery 32 Dover Street, London W1S 4NE
Kings Place Gallery 90 York Way, London N1 9AG
Serpentine Gallery Kensington Gardens, London W2 3XA
Walton Fine Arts
154 Walton Street, Knightsbridge, London SW3 2JJ
Chinese Contemporary
The Studio House, 7/9 Edith Grove ,London, SW 10 0JZ
Richard Green147 New Bond Street, London, W1S 2TS
Lisson Gallery 52-54 Bell Street, London, NW1 5DA
South London Gallery 65 Peckham Road, London SE5 8UH
The Brick Lane Gallery 196 BRICK LANE, E1 6SA London
The Hart Gallery 113 Upper Street, Islington London N1 1QN
Danielle Arnaud contemporary art
123 Kennington Road, London SE11 6SF
Hai Gallery 46a Harrowby Street, Marble Arch, London W1H 5HT
Halcyon Gallery 24 Bruton Street, London W1J 6QQ

MARCH 2011 / 67
 Featured on

is a registered charity with

IPC Status that may provide up to
250% tax-deductibles for
donations received.

We do Community Art.
Art to the Heart: Heartlanders into Artlanders.
Art for everyone and anyone.
To learn
68 / TPAGmore about our Public Murals or to donate please email: info@socialcreatives.com
To learn more visit: www.socialcreatives.com

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MARCH 2011 / 69
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