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By Sonia Kolesnikov-Jessop

Showing posts from April, 2014

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REVIEW: Kagemi: Beyond the Metaphors of Mirrors

Asian Performing Arts Singapore

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REVIEW: Grease Doesn’t Quite Electrify

Asian Performing Arts Singapore

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Charles Lim to Represent Singapore at Venice Biennale 2015

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Cartier to present “Shape Your Time” exhibition in Singapore

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Audemars Piguet to Feature Kurt Hentschläger Video at Art Basel Hong Kong

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NAGA Sheds its Skin to Become National Gallery Singapore

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2014 Market Report: Auction Houses Zoom in on New Collectors

Art Fairs Asian Art Auctions Published stories

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13 Questions with Gao Weigang

A golden staircase leading nowhere, shattered fragments of mirror embedded on canvas, these and other works in an exhibition by Chinese artist Gao Weigang will invite visitors to examine their material desires at Espace Louis Vuitton. I talked to the artist ahead of the opening March 12.

Dinh Q. Lê Finds Beauty in Tragedy

Viewing an artwork can be a very powerful experience and the memory may stay with you for a long time. The impact can be even greater for the artist who created it. One of the most powerful works for Vietnamese artist Dinh Q. Lê is a series he first created in 1997, shortly after returning to Vietnam—the homeland he had fled when he was 10 years old. Titled “Cambodia: Splendor and Darkness,” the series comprised photographic portraits of victims of the Khmer Rouge regime woven together with shots of the exquisite wall carvings at Angkor Wat. “There are certain bodies of work you’ve done, you feel it’s completed and you let it go, and some others that stay with you. I think this body was kind of, maybe haunting is not the word, but I always felt it was not complete; for a variety of reasons. At the time, I was only using photography, which had a lot of limitations; I really hate the glossy surface of photography, its plastic feel, and I always felt this body of work needs to ...

The Art of Evolution; Theo Jansen's Strandbeests

Every spring a new Strandbeest (beach animal in Dutch) is ‘ born ’ on the northern beaches of Holland. The strange-looking creature with spindly legs and wings on its back will then take its first steps, gently coaxed by its ‘father’, Theo Jansen, and slowly learns to adapt to its seaside environment before becoming dying in the fall. The Strandbeest is actually a wind-powered kinetic sculpture that blurs the lines between art, engineering, and science. Surprisingly in the hi-tech age of computerized Artificial Intelligence, they are built out of rather mundane materials (PVC tubes, zip ties, recycled plastic bottles) yet the beach animals can not only walk on their own but can also react to their environment having developed over time a sense of self preservation. Jansen refuses to label his sophisticated kinetic sculptures as artworks and instead refers to them as a fast evolving new species on earth, dividing each generation into time periods and giving them scientific...

Hu Jieming's Different Realities

When art collectors Ryan Su and Adrian Chan were asked by ShanghArt Gallery whether they could support Hu Jieming with his film, little did they know they would become the main protagonists in the Chinese artist’s latest project. “He asked us if we wouldn’t mind appearing in his film, and I said ‘OK.’” Su recalls adding “We thought it would be an interview and take a day,” For the two avid contemporary art collectors, Hu’s loose creative process was an eye opener. “There was no script and the project kept on growing and changing,” says Chan. “On the first day of filming we had a brief conversation about the project, but it was all very vague. He told us he wanted to showcase some of the most beautiful and lesser known places in Singapore, because Singapore had to be the focus of the work as it was part of a specific residency programme.” Su says As avid nature and bird lovers, the pair took the artist on a trek around Mount Faber Hill, where Hu photographed a majestic T...

Hong Kong’s New Golden Age - How the Hong Kong art scene is consolidating its premier position as the commercial art hub of Asia

Great ideas are often born out of necessity and Hong Kong’s latest commercial art jewel, H Queen’s, is no exception having been conceived by architect William Lim’s frustration with the inconvenience of having to trek around the city to seek out various contemporary art galleries. “The galleries used to be on Hollywood Road and I would walk from one end to the other and visit around 10 galleries in one go. But around six years ago, some of these spaces started to be replaced by restaurants and other retailers, and galleries started to move into office buildings,” explains Lim, adding that having to pass through these buildings’ security checks could add to the frustration. “So after a while I just stopped going to these galleries, and only really visited the Pedder Building regularly — because it has a good concentration of art galleries — and a few galleries in the Soho area,” recalls Lim, who is also a well-known collector of Hong Kong contemporary art. Though Hong Kong...

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