Showing posts with label Malaysian art. Show all posts
Showing posts with label Malaysian art. Show all posts

Friday, September 20

UOB Tweaks Painting of the Year Competition

 The competition has two distinct segments— Emerging Artist and Established Artist — and comes with a total prize pool of US$200,000, making it one of the largest purses among art competitions in the region. While the Emerging Artist segment is open to all, the Established Artist competition is open to professional artists, with a proven track-record.

Sunday, February 24

Chankerk @ Chan Hampe Galleries, Singapore

With his latest solo exhibition, "Horizons of Change 2013," Singapore-based, Malaysian artist Chankerk continues his exploration of the urban landscape of the Lion-city, in particular the historic district of the CDB.

Tuesday, October 23

Rajinder Singh @ Chan Hampe Galleries, Singapore

London-based artist Rajinder Singh has been reflecting on his life as a Malaysian living abroad and how his home-country is perceived internationally in his new exhibition, "M.O.L.C."

Thursday, October 4

Najib Bamadhaj unveils first solo show at TAKSU KL

Young Malaysian artist Najib Bamadhaj is unveiling his first solo exhibition, “Great Migration,” on Oct 4 at TAKSU Kuala Lumpur.

Saturday, September 15

Christie's Pops Up in Singapore

For its first ever Pop-up Preview in Singapore, Christie’s is putting the spotlight on some of the modern and contemporary art works by Singapore and Malaysian artists that will be up for sale in its Hong Kong fall auction on November 25.

Monday, September 3

Ahmad Zakii Anwar @ Valentine Willie, Kuala Lumpur

One of Malaysia's preeminent Realist artists - Ahmad Zakii Anwar - returns to Valentine Willie Fine Art with a new charcoal series, Kota Sepi. His nine black and white drawings offer a cast of characters from Zakii's cinema of the everyday. Whether in coffee shop interiors or street scenes, each figure appears mysterious, a bit of a rebel as the audience can only guess at the the personalities and hidden exchanges taking place. Such silence emphasises, the isolation of each character - the 'loneliness' suggested in the Bahasa title of the exhibition - that hint at various questions unanswered or words left unsaid. The show will run until Sep 12.

Thursday, July 19

Huang Wei @ Valentine Willie, Kuala Lumpur

Very little is known about Huang Wei (b.1914 - unknown), a Singapore painter whose works were uncovered a few years ago by artist-curator Alan Oei. Wei began painting - mostly portraits of children - in the late 1940s, after the war. Most of these paintings are still in the process of restoration by Oei and critics have tended to describe his paintings as “representing the trauma of war.”

Tuesday, May 8

Ahmad Zakii, BenCab and Sebastian @Visual Art at Temenggong

Bencab's Street Subjects
Hands Across The Water, an exhibition at Visual Art at Temenggong opening Jun 2, promises to be a very interesting one, given the "heavyweights" it presents together: Bencab, Zakii and Mexico's premier sculptor Sebastian (you know artists have arrived when one only uses their first names!). 

Thursday, August 18

The Asia Pacific Breweries Foundation Signature Art Prize will be awarded in November

Pham Huy Thong - Brotherhood (Vietnam)

The Asia Pacific Breweries Foundation Signature Art Prize will be awarded in November. About 130 works across 24 countries and territories have been nominating for the Grand Prize of S$ 45,000, which is being organised by the Singapore Art Museum

Wednesday, April 27

Published - Southeast Asian Artists Look to the Present

Vasan Sitthiket
Fourteen old-fashioned children’s school desks are neatly installed in rows. The wooden desktops are carved with barely visible images of contentious events and figures in Thai history that are brought to life when visitors sit down and start rubbing the images with a crayon on paper to reveal them in full. The installation “History Class” by the Thai conceptual artist Sutee Kunavichayanont was first set up in 2000 at the foot of Bangkok’s Democracy Monument to invite people to produce their own history textbooks and reclaim their pasts. The work now takes pride of place in “Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011,” a new exhibition at the Singapore Art Museum that runs through June 26.

Agus Suwage

“It’s what I would call a quintessential Southeast Asian work because it wasn’t designed to be in an exhibition space, but instead to be seen and experienced on the street by ordinary people,” said Iola Lenzi, an art critic and guest curator, of the installation. “He combines form and concept to perfection, using the familiarity of children’s school desks and wood carving to engage the public.”

“Negotiating Home, History and Nation” is an ambitious survey of works by 54 artists from six Southeast Asian countries (Thailand, Indonesia, Vietnam, the Philippines, Singapore and Malaysia). It offers a rare chance to experience the diverse yet often related conceptual style and ideological concerns of artists in the region.

Among common themes found in the exhibition are the challenge to national power structures and their offshoots — cronyism, authoritarianism, abuse of power, racial policies biases — as well as investigation of cultural identities. “Wayang Legenda Indonesia Baru” (2000), an installation by the Indonesian artist Heri Dono, uses Wayang, or shadow puppets, in the shape of various Indonesian islands to represent the diverse nation, which faced a possible breakup after East Timor seceded in 1998. “Executive Toy” (2004), by the Malaysian artist Sharon Chin, uses 27 pendulum balls to represent each of Malaysia’s political parties, the movement of one creating a ripple effect across them all.

Sharon Chin
A glance around “Home, History and Nation” reveals a preponderance of three-dimensional art, photography and video. Mr. Kunavichayanont created his 1999 inflatable latex The White Elephant, which lies deflated on the floor, in reaction to the Asian financial crisis of 1997-1998. Viewers are invited to inflate the elephant, but the strength required to achieve a full elephant again hints at the economic difficulties ahead. The controversial Thai artist Vasan Sitthiket’s “Committing Suicide Culture: The Only Way Thai Farmers Escape Debt” (1995) is an installation of plywood figures hanging by their necks in the midst of rice husks, a visually arresting political statement on Thailand’s agricultural policy. The Indonesian artist Agus Suwage presents a cabinet filled with books in “Give Me More Questions” (1997) with a superimposed cutout of a boy crouched in fear. The cabinet is surrounded by curtains with prints of the same boy in different positions, including crouching under the burden of books that are supposed to give him knowledge.

Spirituality and the role of religion in a society faced with consumerism, shifting sexual mores and corruption is another theme among many of the works. The Thai artist Kamin Lertchaiprasert’s “Lord Buddha Said ‘if you see Dhamma, you see me”’ (2003-4) is a papier-mâché effigy of a walking Buddha made of shredded notes on Thai money sliced horizontally into three parts — each presented separately, lining up one behind another.  Read the whole story in the IHT .

Elephants Parade announces Asian artists for its Singapore foray

Following on my previous post, the herd of the Elephant Parade will roll down Orchard Road and around Marina Bay on Nov 11.

Organizers have just announced the list of the 120 or so artists, designers and celebrities that will be designing their own elephants, which will eventually then be auctioned at Sotheby's. It's a very mix bag, but top of my list amongst the Asian artists will be elephants designed by Filipino artist Ronald Ventura (can't wait!) and Korean sculptor Osang Gwon, along with works by Indian Farhad Hussain, Indonesian artist Ay Tjoe Chritine and Putu Sutawijaya, Filipino artist Bencab and Malaysian painter Ahmad Zakii Anwar.

Saturday, April 23

Opening - Chong Siew Ying @ Valentine Willie Fine Art, Singapore

Malaysian painter Chong Siew Ying is opening a new exhibition at Valentine Willie gallery in Singapore on May 6. Informed by both traditional Chinese ink painting and European sensibilities Chong creates imagined charcoal mindscapes that play with texture and formal composition to communicate the infinite qualities of landscape. In this recent body of work the artist first drew with charcoal on large scale paper-mounted canvases. Once laden with grainy textures, she placed her work on the floor to layer them with a clear emulsion, then lifted lifted the canvas merging charcoal and emulsion. The result of this labor-intensive process is an animated and atmospheric surface that has similarities to the fluid and meticulous strokes of ink painting. After studying art in Paris, Cheong returned to her native Malaysia in 1998, and has since built a name as an elegant and gifted painter, which produces profoundly emotive works. She’s at ease painting human figure and landscape. In late 2006 she made a series of charcoal drawings of largely Malaysian flora and fauna, of an almost forgotten life in nature. In 2008, she moved on to a series of portraits of imagined Oriental beauties adorning her compositions with classical Chinese motifs - flowers, blossoms, goldfish, distant mountainscapes. Her latest works focus on the imaged landscapes with highly dramatic effect, that have yet a strangely familiar feel.

Monday, February 21

Auction : A Private Collection of ‘Song’ Ceramics At Sotheby’s NY

Sotheby’s NY will be selling a remarkable single owner collection of ‘Song’ ceramics on March 23. The ‘Song’ Dynasty (960-1279) produced some of the finest ceramics ever made. Stonewares (ceramics that are fired at high temperatures to ensure strength and durability) had been made in China nearly 3000 years before they first appeared in the West. By the ‘Song’ period, body and glaze recipes were expanding, and new techniques such as decorating pieces with the help of basic carving tools or carefully administered coloring agents were becoming more popular. It was also during this time that ceramics of this type began to be appreciated as works of art.

The exact outcome of each piece varies in the firing, but these ceramics belong to one of four different categories: white, green, black/brown and bright blue-glazed stonewares.

Monday, September 20

Opening Zulkifli Yusoff @ Utterly Art

Malaysian artist Zulkifli Yusoff has a new exhibition at Utterly Art. The Venice Biennale alumni continues with the third instalments of its historical trilogy, which started with Malay Sketches in 2008 and Malaysia in 2009. Harmony is drawing on icons of the post-Independence era, like the bunga raya or hibiscus, Malaysia's national flower, the barbershop pole with images of old-fashioned hairstyles, and hippie-style peace symbols to populate his canvases. Zulkifli remembers government dissemination of agricultural knowledge through radio and broadcast vans to motivate the populace to take part in the agricultural sector for the sake of their families' and the Nation's economies. This potent brew erupts in a dense juxta-positioning of images using screenprint, painting and new canvas collage techniques to realize the artist's vision of unity and peace.