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Latest Happenings: World Premier of ''Ten Thousand Tigers'', by Multi-Disciplinary Ho Tzu Nyen

Earlier last week, The Artling headed over to Esplanade Theatre Studio to attend the world premiere debut of “Ten Thousand Tigers”, an epic one-hour-long-multi-sensory-installation-performance-art, conceived and directed by Singapore artist Ho Tzu Nyen. The production and cast are slated to travel all over the world over the next 12 months including Vienna, Sydney and Gwangju. The Artling left the studio with a jumpy heart and the roar of the tiger ringing in her ears…. Check out more below! By Darryl Wee Article taken from Blouin ArtInfo Contemporary artist Ho Tzu Nyen presents the world premiere of his new work, “Ten Thousand Tigers,” from April 17 through 19 at the Esplanade Theater Studio. Partially inspired by the ways in which tigers have constantly figured as an implied, almost apparitional presence in the history of Singapore and Malaya, “Ten Thousand Tigers” is a multi-disciplinary piece that fuses elements of theater, film, and live sound.  An astute student of intellectual, political, and art history, Ho previously published an essay in the now-defunct locally published magazine Forum on Contemporary Art and Society (FOCAS) that mused on how “cats — big and small, wild and domesticated, imagined and real — have been enigmatically woven into the history of Singapore. “Ten Thousand Tigers” traces how the tiger has loomed large in the cosmological beliefs of the Malayan world, up until its tragic last days when it was hunted almost to extinction by the British colonial masters, reincarnating itself in the most uncanny of places and contexts, such as Japanese soldiers invading the Malayan peninsula during World War II, or guerrillas from the Malayan Communist Party. Later this year, “Ten Thousand Tigers” will travel to a number of other international venues that co-commissioned it — Wiener Festwochen (Vienna Festival) and Carriageworks (Sydney), and Asian Culture Complex — Asian Arts Theater (Korea). “Ten Thousand Tigers” runs April 17 through 19 at the Esplanade Theater Studio. - See more at: https://sea.blouinartinfo.com/news/story/1025790/ho-tzu-nyens-ten-thousand-tigers-premieres-in-singapore#sthash.wf4zuSFM.dpuf Photo credit: Olivia Kwok   To read Mayo Martin’s review, click here: https://www.todayonline.com/blogs/forartssake/cat-power-ho-tzu-nyen-and-his-tiger-tales

April 24, 2014

Diana d'Arenberg, Art and Culture Writer

Diana d'Arenberg, Art and Culture Writer

Our contributor series explores the ideas of gallerists, artists, directors, curators for an insight into the development of the international art scene...

April 17, 2014

William Zhao, Collector, April 4, 2014

William Zhao, Collector, April 4, 2014

Our Conversation Series features intimate interviews with leading experts from around the world: collectors, curators, artists, gallerists, and museum directors.

April 04, 2014

Lu Xinjian, Artist

Lu Xinjian, Artist

Lu Xinjian makes us to think about each city we thought we knew in a completely novel way. Mastering new technology and media, Lu's solo exhibition at artshare.com showcased his groundbreaking series, 'City DNA' for which he uses Google Earth to retrieve a satellite view of a city or neighbourhood and simplifies the topography into basic geometric shapes on his computer. Born in 1977 in China, Lu currently lives and works in Shanghai, China. His works are widely exhibited in China and internationally.

March 28, 2014

New Exhibition: Of Indeterminate Time Or Occurrence by Heman Chong

New Exhibition: Of Indeterminate Time Or Occurrence by Heman Chong

The Artling caught up with artist Heman Chong, Singapore’s very own enfant terrible and gallerist Stephanie Fong at the recent opening of Of Indeterminate Time Or Occurrence at FOST Gallery. The exhibition contains four different works highlighting Heman’s practice, which provides a way of understanding relationships between image and text, examining how one is intrinsically linked to the other in his idiosyncratic manner of generating fictional narratives. This exhibition features 66 new paintings from the Cover (Versions), and our personal favourite, the new neoon work Never (Again). Catch the show before it ends on 4 May 2014.   Interview with Stephanie Fong, founder/Director of FOST Gallery Why did you choose to showcase Heman Chong? Where does he stand; significance in the local art scene? I choose artists whose practice interests me. It is of course with the benefit of hindsight can we really judge the significance of an artist, or anything else for that matter. So ask me again in about 20 years’ time. However if you are asking me to predict the trajectory of Heman’s career, then I will say it is on the upward. What is unique about Heman’s practice? I like that he is always challenging our notions of art and art making, sometimes seriously, sometimes tongue-in-cheek. What is FOST Gallery’s mission? To present artists with a predilection for being at the fore of contemporary art. Are his works worth collecting? Why should one collect Heman Chong? Heman Chong is one of the most exciting contemporary Singaporean artists to collect. I like that he challenges collectors not only at a fundamental level but in many works, he also forces the collectors to take a more active role by involving them in some decision-making after the acquisition. Buyers of Heman’s works enjoy such challenges and are not passive collectors. What is your advice for new and budding art collectors?  Buy what you like and buy the best you can afford. (Above and below) Of Indeterminate Time of Occurrence by Heman Chong at FOST Gallery Interview with Heman Chong Which words or phrases do you most overuse? F**k off! / What the f**k?! / Are you f**king serious? / Are you f**king kidding me? / What the f**k is going on? / How the f**k am I suppose to think about this? / What a f**king bad show. What is your favourite place to see art? Dia Beacon in upstate New York. Do you have a museum- or gallery-going routine? Obviously. What’s your favourite post-gallery watering hole or restaurant? This is a question for Aun Koh, not me.  Do you collect anything? Hardcover first editions of novels that are discarded by public libraries. What’s the last artwork you purchased? I don’t need to buy art. Usually, I am able to barter for great pieces with my own work. I have about 18 pieces of amazing pieces in my collection, the contents of which are a secret. Gallerists will have us assassinated if they knew what we exchanged. What work of art do you wish you owned? Gerhard Richter  Rocket 1966  93 cm x 73 cm Oil on canvas What would you do to get it? Nothing. I don’t wish for things I don’t have. This prevents stomach ulcers. What’s your art world pet peeve? Stupid questions. What international art destination do you most want to visit? The Miho Museum in Kyoto. Apparently, it’s not only a museum but a shrine that is used by the Shinji Shumeikai spiritual movement. Founded by Mihoko Koyama in 1970, the movement believes in ‘the pursuit of beauty through art, appreciation of nature and natural agriculture, a method of food cultivation.’ They also practice johrei, a type of spiritual healing. Adherents of Shumeikai believe that, in building architectural masterpieces in remote locations, they are restoring the Earth’s balance. I like it when things are not what they are, that there is a hidden core behind what is visible. https://www.miho.or.jp/english/ What under-appreciated artist, gallery, or work do you think people should know about? The Bophana Center in Phnom Penh, Cambodia. https://www.bophana.org/site/index.php Who is your favourite living artist? Sung Hwan Kim What is the last great book you read? The Sound and The Mountain by Yasunari Kawabata. Interviewed by Ning Chong (FYI : Aun Koh is a Singaporean food blogger and founder of chubbyhubby.net) More of Heman Chong’s works for sale at The Artling.

March 24, 2014

Shanyan Koder, Founder and Director of Hua Gallery

Shanyan Koder, Founder and Director of Hua Gallery

Our contributor series explores the ideas of gallerists, artists, directors, curators for an insight into the development of the international art scene...

March 21, 2014

James Chau, Television Presenter

James Chau, Television Presenter

Our contributor series explores the ideas of gallerists, artists, directors, curators for an insight into the development of the international art scene...

March 14, 2014

Sylvain Levy, Founder of DSL Collection, Feb. 27, 2014

Sylvain Levy, Founder of DSL Collection, Feb. 27, 2014

Our Conversation Series features intimate interviews with leading experts from around the world: collectors, curators, artists, gallerists, and museum directors.

February 27, 2014

Alan Lo, Collector, Feb. 13, 2014

Alan Lo, Collector, Feb. 13, 2014

Our Conversation Series features intimate interviews with leading experts from around the world: collectors, curators, artists, gallerists, and museum directors.

February 13, 2014

Review: Sound: Latitudes and Attitudes

Review: Sound: Latitudes and Attitudes

Although it’s been a long time since artists started exploring the possibilities of sound, sound art has long had something of a marginal character, owing to a certain definitional slipperiness, readily overlapping with fields like music and performance art. That may be beginning to change, though, with 2010 seeing the first Turner prize awarded to a work of sound art. Here in Singapore, Sound: Latitudes and Attitudes, curated by Bani Haykal and Joleen Loh, showcases some of the most fascinating examples of sound art from the past few years, bringing together a diverse group of seventeen artists, each approaching sound from their unique perspective. As befits a major survey of sound art in Singapore, there’s an archive available for perusal – Mark Wong’s Finding Sound. It brings together numerous fragments and artifacts of Singapore’s aural history, ranging from video interviews to newspaper clippings and cassette tapes, each annotated by the artist. Rather than presenting a potted chronology of the subject, establishing clear lines of descent from early to contemporary sound art, Finding Sound offers a richly textured look into the complicated interconnections which gave rise to (and now characterise) sound in Singapore. It’s more concerned with sound in art, rather than sound art per se; here, sound art’s blurred boundaries overlap and exchange influences with performance art, underground rock and experimental music, amongst others. Not only does sound have a distinct bent towards the interdisciplinary, it also lends itself well to a variety of presentations, and modes of experience. Much of the show is divided into listening stations and sound scores. The former offers an altogether individual listening experience, with each recording neatly enclosed by headphones. Fittingly enough, the listening stations themselves, orderly ranks of blank little plinths, are visually indistinguishable from each other – there’s no telling what you’ll be getting into, whether harsh noise, delicate instrumentals, or ambient field recordings. Of course, you could always refer to the gallery layout plan, but where’s the fun in that? If the word ‘score’ brings to mind neatly ruled sheets of paper with sensible arrangements of musical notes, the selection here ought to be more than enough to challenge the limits of that convention. For instance, Brian O'Reilly’s Linear Element resembles a sketch of some urban environment – perhaps shophouses, while Zai Tang’s Respect II (Bukit Brown Cemetery I), in ink and graphite, offers a gestural, expressive interpretation of the ambient sounds of that soon-to-be highway, which you can hear with the turntable provided. In addition to the scores and listening posts, the show also features other situations and experiences of listening; the first you might encounter is Ang Song-Ming’s No Man’s Band, situated just outside the gallery’s doors. Drawn from recordings of rehearsals of Bowen Secondary School’s brass band rehearsals, the serendipitous discontinuities and dissonances of rehearsal seems to form a suitable contrast to the structured environment of Singapore’s secondary schools, while also suggesting the exploratory character of the show as a whole. Mohamad Riduan, Hijrah (detail), presented at Bridge: Dari Utara ke Selatan (Bridge: From North to South), Jendela, Visual Arts Space, Esplanade, mixed media installation, dimensions variable, 2013. Photo: Muhamad Wafa Like the transient, ephemeral nature of sound, the show itself isn’t static, featuring a programme of changing installations and live performances. The current temporary installation, Mohamad Riduan’s Hijrah atau Jihad, centres on row after row of simple motor-driven stringed instruments, controlled by a panel bristling with switches, powered by small photo-voltaic cells. The installation adds a layer of interactivity to the exhibition, enjoining the viewer to participate in modifying and composing the aural environment of the gallery. Sound: Latitudes and Attitudes runs from 7 February to 16 March 2014 at the Institute of Contemporary Arts Singapore, Tuesdays to Sundays, from 10am to 6pm. Admission 

February 12, 2014

Yang Jiechang, Artist, Jan. 30, 2014

Yang Jiechang, Artist, Jan. 30, 2014

Our Conversation Series features intimate interviews with leading experts from around the world: collectors, curators, artists, gallerists, and museum directors.

January 30, 2014

Lorenz Helbling, Director of ShanghART Gallery, Jan. 23, 2014

Lorenz Helbling, Director of ShanghART Gallery, Jan. 23, 2014

Our Conversation Series features intimate interviews with leading experts from around the world: collectors, curators, artists, gallerists, and museum directors.

January 23, 2014