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AUGUST 2010 / 5
Malaysia Contemporary
Art Tourism Festival
July 1 – September 30, 2010
Malaysia’s contemporary art scene is a reection of the country itself. It is varied, multicultural and resists stringent denition.
Just like Malaysia, a nation whose historic sites, towers of modernity and glimpses of nature promise surprises and memories on every visit.
For the rst time ever, Malaysia’s Ministry of Tourism hosts the 1Malaysia Contemporary Art Tourism Festival.
The festival encompasses exhibitions, seminars, competitions and other fringe events at various locations around the country.
Come see how Malaysia’s renowned contemporary artists have expertly woven her history, national identity, landscapes and people into paintings, sculptures, photographs, installations and more.
Whether it is abstract works that channel artistic soul, mixed media art that shows off artistic ingenuity or gurative works that display artist prowess, Malaysia has it all.
The 1Malaysia Contemporary Art Tourism Festival is not to be missed. Visit Malaysia and take part in history.
"Contemporary art is a passion that unites discerning travellers and tourists alike from all corners of the world..."
Dato' Sri Dr. Ng Yen Yen
Minister of Tourism, Malaysia
Fatamorgana #2 The State of Confusion > 2006, oil on canvas, 244 x 150cm
Events in Kuala Lumpur, Melaka, Johor and Penang | JUL 1 – SEPT 30, 2010 |
www.tourismmalaysia.gov.my www.motour.gov.my
MINISTRY OF TOURISM MALAYSIA
Menara Dato' Onn, Putra World Trade Centre, 45 Jalan Tun Ismail, 50480 Kuala Lumpur Tel: 603-2693 7111
Starhill Gallery July – September 2010 www.starhillgallery.com
Galeri Seni Rakyat (Folk Art Gallery) 1 August – 30 September 2010 www.perzim.gov.my
i-City Contemporary Art Exhibition 11 August – 9 September 2010
IMCAS 2010 Danga City Mall July – September 2010 www.dangacitymall.com
Art Seminar
The Inuence of Mahathirism on Contemporary Art
MaTic, Jalan Ampang 20 – 24 September 2010
IMCAS 2010 –The Aliya & Farouk Khan Collection Art Seminar Danga City Mall, Johor 27 September – 1 October 2010
A Curatorial Discourse on the Making of an Artwork 12 Gallery, Kuala Lumpur 8 – 10 July 2010
The Aliya & Farouk Khan Collection Art Seminar Galeri Seni Rakyat, Melaka 1 – 3 August 2010
Malaysia Contemporary Art Tourism Seminar Penang 18 – 19 August 2010
MCAT Exhibition 2010
Galeria Sri Perdana 3 July – 30 September 2010 www.arkib.gov.my
Malaysia Tourism Centre (MaTic) 15 July – 30 September 2010 www.mtc.gov.my
Balai Seni Lukis Negara (National Art Gallery) July – September 2010 www.artgallery.gov.my
Galeri Petronas (Petronas Gallery) July – September 2010 www.galeripetronas.com.my
MALAYSIA’S FIRST EVER ART AUCTION
Wisma Bentley Music PJU 7/2, Mutiara Damansara Petaling Jaya 1-8 August 2010
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COMING UP
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31
28
38
COVER STORY
SPOTLIGHT
Gallery in Focus – Pop and Contemporary Fine Art
The Man Behind the Merlion Top 30 Public Artworks
From Cheo Chai-Hiang’s Concepts to Singapore’s Contemporary Art? A Walk Down Memory Lane Strawalde
FEATURES
Williamcho@Flickr
ART AUCTION MALAYSIA - The 1st Henry Butcher Auction of Malaysian Modern and Contemporary Art Collection
Classes at DreamSpace Art Studio Walasse Ting: A Commemoration Yayoi Kusama
Kumari Nahappan: A solo exhibition Singapore Art Wave in Art Expo Malaysia 2010 CONTENTS
AUGUST 2010 / 15 C M Y CM MY CY CMY K
22.
38. 44. 47.
28. 31.
66
DIRECTORIES
Singapore Art Guide For Tourists Malaysia Art Guide
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61
POSTSCRIPT
SINGAPORE
ART MAP
Post-It Notes57
GLOSSARY
CONTENTSIssue #9 (August 2010)
ISSN 1793-9739 / MICA (P) 183/02/2010
www.confabmag.com
Editor-in-chief // Sabrina Sit / [email protected]
Art Director // Amalina MN / [email protected]
Photography Director // Michael Tan (Ambious Studio)
Account Executive // Kayla Hoo / [email protected]
General enquiries and feedback // [email protected]
Submission of press releases // [email protected] Cover
Anna Chron I (Fontainbleau möglicherweise) 1/1/2002 / Anna Chron 1 (Fontainbleau possibly) January 2002,
Oil on Canvas 162 x 130 cm
CONFABULATION MAGAZINE
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The views expressed in CONFABULATION are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by CONFABULATION The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. CONFABULATION also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.
Published monthly, complimentary copies of CONFABULATION are available at several places around Singapore including the National Library, Singapore Tourism Board’s Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Opera Gallery at ION Orchard, Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Sculpture Square on Middle Road), museums and lifestyle shops (STYLE: NORDIC on Ann Siang Road and Lai Chan at Raffles Hotel).
To accompany your daily dose of caffeine, browsing copies are also made available at all good coffee chains in town. For the environmentally-conscious, the PDF format of
CONFABULATION can be downloaded from www.confabmag. com every month or simply flip through the magazine on the website using the online reader.
Subscription price is SGD98 within Singapore and USD98 internationally. For subscriptions, renewals and address changes, please email [email protected].
1. Datuk Ibrahim Hussein The Dream, 1969 Acrylic on canvas 121 x 121 cm 2. Chia Yu Chian Paris Street Scene, 1960 Oil on board 58 x 44 cm 3. Khoo Sui Hoe Lovers’ Dance, 1988 Oil on canvas 90 x 90 cm
4. Dato’ Chuah Thean Teng Mother With Children, 1986 Batik 85.5 x 85.5 cm COMING UP
Singapore: The 1st Henry Butcher Auction of Malaysian Modern and Contemporary Art Collection presents an interesting dynamics of the socio-cultural nexus between Malaysia and Singapore.
Essentially, the people who happened to be sequestered territorially, then as one entity until the 1965 split, were one and the same people with the same ethnic mix and cultural practices and life. Whereas, politically, the two countries had a more strained past what with sibling economic rivalry, the situation on the ground, especially related to arts and culture, is very much different and opposite.
In the arts, the ties are inextricably linked and it is common to find artists from both sides of the causeway having exhibitions together at home and abroad.
One reason could be due to the Nanyang Academy of Fine Arts (Nafa), where many of the early artist aspirants from Malaya, mostly of Chinese ethnicity, had had their academic training. The academy was mooted, after all, by Yong Mun Sen (1896-1962), dubbed arguably the Father of Modern Malaysian Painting, before his friend Lim Hak Tai set up the venerated institution.
Auction artists such as Khoo Sui Hoe, Cheah Yew Saik, Tew Nai Tong, Lim Kim Hai, Tan Choon Ghee and Lee Long Looi were trained by the best masters in what is regarded the institution’s Golden Years.
For instance, when Cheah Yew Saik and Khoo Sui Hoe studied at Nanyang from 1959-1961, it had some of the best teachers such as Cheong Soo Pieng, Georgette Chen, Lai Foong Mooi and Tan Tie Chie.
Kuo Juping (198-1966) was there for a year (1941) before the war broke out, Datuk Ibrahim Hussein had a short stint there before moving on to work at an advertising company where he developed his signature style and eventually ended up in the Byam Shaw School of Drawing and Painting in London (1959-64).
Chia Yu Chian (1936-1991), who was privately taught by Chen Wenxi and Cheong Soo Pieng, was given an “honorary” Nafa certificate so that he could study at the Ecole Nationale Beaux Arts in Paris, and Fung Yow Chork met Nafa’s Zhong ART AUCTION MALAYSIA - The 1st Henry Butcher Auction of Malaysian Modern and Contemporary Art Collection
Preview: 01-07.08.10 Auction: 08.08.10 / Wisma Bentley Music (3, Jalan PJU 7/2 Mutiara Damansara Petaling Jaya, Malaysia) www.henrybutcher.com.my
Batik Painting founder Dato Chuah Thean Thean and Khalil Ibrahim had given batik art demonstrations in Singapore.
Academician-artist Dr Jolly Koh was born in Singapore in 1941, before moving back to Malacca where he grew up in, and then to Australia, and now back to Malaysia. He had recently gone back to Singapore in his latest two-man show with Choy Weng Yang at Sunjin Galleries (Singapore) from 8 - 29 July 2010.
Latiff Mohidin, too, has long and rich ties with Singapore. Born in Malaysia but grew up in Singapore, he stayed with his parents at No. 15 Java Road and studied at the Kota Raya Malay School and the English School Mercantile Institution in the early 1950s.
Also featured in the auction is an unusual and large 1989 work of Latiff Mohidin, who launched the book, Latiff Mohidin: Journey to Wetlands and
Beyond at the Singapore Art Museum last year. In
its press release then, the Singapore Art Museum acknowledged that Latiff has long and rich ties with Singapore. Born in Malaysia in 1941, Latiff spent his early years in Singapore, living with his parents at Java Road, where he attended the Kota Raja Malay School and the English School Mercantile Institution in the early 1950s. The artist also held his first exhibition at the former in 1951, wherein he was hailed as a ’wonder boy’ by the local press then. It was also at the same school that his drawing first drew the attention of his schoolmaster who then advised his parents to nurture his manifest artistic talents.
Malaysia’s National Art Laureate Datuk Syed Ahmad Jamal also had an exhibition at Takeshimaya Singapore while most of the artists featured in the auction, including Zulkifli Yusoff have their works in the collection of the Singapore Art Museum. (Ooi Kok Chuen)
Baimu, who persuaded him to switch to a career-changing practice in oil painting.
Khoo Sui Hoe even opened a gallery there called Alpha Singapore which operated for several years after 1972, and later had had several solos there, including one at Outram Park in 1990. It was at Alpha Gallery that Dato’ Sharifah Fatimah Zubir held a solo in 1972 and later in other group exhibitions such as with the Utara group of artists.
Of all the Nafa alumni, the one who most represents the so-called Nanyang Style until today is perhaps Tew Nai Tong, who studied there in 1957-58 before continuing his studies at the Ecole in Paris. Yong Mun Sen spent two years in Singapore, working in a bookshop while painting, before being posted to Penang, where he remained permanently until his death. But he had then decided to set up photo studios which doubled as his gallery cum painting studio.
Yong Mun Sen was also given a rare Memorial exhibition in 1966 besides a solo exhibition at the Victoria Memorial Hall in 1948.
In this auction, Yong Mun Sen had painted a de rigeur work on the Singapore River in 1953. Another pioneer, Dato Hoessein Enas (1924-1995), fleeing political persecution, had a stopover Singapore where he eked a living as an artist and beca rider, before moving to Penang, and then Kuala Lumpur.
Even the Sunday painter, A.B. Ibrahim (1925-77), was an early member of the Singapore Malay Artists Society, joining its second exhibition in 1951 (the society was formed in 1949).
Artist-playwright John Lee Joo For had a solo there in 1972, at the Mandarin Hotel, and also gave a demonstration in Chinese calligraphy in 1989. Chang Fee Ming had a major “graduation” exhibition after an experimental workshop at Singapore’s Tyler Print Institute in November 2009.
Founded in 2006, DreamSpace Art Studio is located just units away from Sotheby’s Institute of Art. Housed in a restored shophouse, the studio offers a quiet respite from Singapore’s buzzing city life. Aside from the art classes on offer, the studio serves as an exhibition space from time to time.
Visit www.hill-ad.com.sg or call +65 9168 7785 for class and exhibition schedules. 创立于2006年，主要是以艺术创作，销售艺术品和绘画教育为 主，现在开始引进中国的年轻画家，并为他们提供策划和举办画 展。 同时，还为绘画爱好者和学生，开设了创作和绘画培训中心，发 掘和培养年青的艺术人才， 欢迎艺术爱好者来参观我们的Art Studio
Classes at DreamSpace Art Studio
Ongoing / DreamSpace Art Studio / +65 9168 7785 (Leo)
www.hill-ad.com.sg
For its second exhibition, The Private Museum offers a rare opportunity to see private collections of late Chinese-American artist Walasse Ting works.
Walasse Ting, born in Shanghai, is a self-taught painter, sculptor, graphic artist and poet. Leaving China in 1949 to travel, he reached Paris in 1953 and became acquainted with artists Karel Appel, Asger Jorn and Pierre Alechinsky, members of the avant-garde group known as COBRA. Known for his paintings of female nudes, animals and scenery, Ting rose into prominence in the 1960s in New York.
Walasse Ting: A Commemoration
19.07.10 - 30.10.10 / The Private Museum / www.theprivatemuseum.org
Pop and Contemporary Fine Art proudly presents one of Japan’s most famous and influential female artists, Yayoi Kusama. Kusama’s work reflects the hallucinations she has endured since childhood which compel her to cover surfaces with polka dots and lines which she calls infinity nets. She has often been quoted saying “If it were not for art, I would have killed myself a long time ago”. In 1973 Kusama voluntarily committed herself to a psychiatric hospital in Tokyo where she continues to live, whilst commuting to her studio, a short distance away.
Among her numerous awards and distinctions is the Praemium Imperiale, one of Japan’s most prestigious awards for internationally recognized artists, which she received in 2006, becoming the first Japanese woman to receive such a distinction. On the 12th Nov ember 2008 Christies New York sold one of her works for USD 5.1 million, a record for a living female artist at the time.
Yayoi Kusama
07.08.10 – 28.08.10 / Pop and Contemporary Fine Art /
www.popandcontemporaryart.com
Singapore galleries will be making a big wave in this year’s Art Expo Malaysia slated for October 28 - November 1 at the Matrade Exhibition and Convention Centre in Kuala Lumpur.
They will not only be representing Singapore masters and exciting contemporary artists but in reflecting its cosmopolitan and globalized outreach, also artists from various countries and all spectrums. The galleries lined up are Art Facet; Cape of Good Hope Art Gallery, which will also manage the Singapore Artists Pavilion; MAD Museum of Art & Design managed by Jasmine Fine Art; Collectors Contemporary; S.Bin Art Plus; Sunjin Galleries; The Gallery of Gnani Arts, Y2Arts and Yisulang Art Gallery. Art Trove of Germany has also set up base in
Chan Hampe Galleries has been established to advocate Singaporean contemporary art nationally and internationally. To begin our inaugural program, an exhibition of seminal works from one of Singapore’s most celebrated contemporary artists – Kumari Nahappan – will be presented, high-lighting 20 years of artistic practice.
Kumari Nahappan is recognised for her iconic public artworks including Nutmeg at ION Orchard and Pedas, Pedas at the National Museum of Singapore.
Singapore Art Wave in Art Expo Malaysia 2010
28.10.10 – 01.11.10 /
Kumari Nahappan: A solo exhibition
20.08.10 – 10.10.10 / Chan Hampe Galleries / www.chanhampegalleries.com
Singapore while Summit Arts Collection, once based in Singapore with its stable of Myanmar artists, has relocated to Yangon. Valentine Willie Fine Art which started in Malaysia has expanded to Singapore, Indonesia and the Philippines.
What is most interesting about the Singapore galleries is that they have such a diverse buffet of artists not only from Singapore, but also China, Tibet, the United States, India, Indonesia, England, Australia and Germany. Collectors Contemporary, with its base at Pedro Centre, will be using the Art Expo Malaysia 2010, to test the regional market for prints of American Pop Art pioneers Andy Warhol and Roy Lichtenstein. S.Bin Art Plus, a contemporary offshoot of SooBin Art Gallery, will plumb for Malaysian hotshot artist Ahmad Zakii Anwar and Indonesian/Singaporean Lee Man Fong with a host of thirty-something Indonesian artists such as Putu Sutawidjaja (40-years-old), Jumaldi Alfi, Farhan Siki, M. Irfan and Wayan Kun Adnyana.
Sunjin Galleries, celebrating its 10th anniversary, will be showcasing China’s Wu Qiong and the island republic’s own, blind sculptor of wire Victor Tan Wee Tar.
Art Facet, from International Plaza, will parade India’s Raju Mehta, the New York-based surrealist artist Shay Kun and Berlin-based Cornelia Renz, while the Gallery of Gnani Arts will have several Indian artists headed by mechanical engineer-turned-artist P. Gnana, who is based in the island republic.
Y2Arts will parade several China artists such as Liu Gang and Bai Yao while Yisulang Art Gallery has Singapore sculptor Han Sai Por and Tibetans Benba and Jimei Chilei.
Cape of Good Hope Art Gallery, which will also be helming the Singapore Artists Pavilion, has also a stable of China artists besides Malaysia’s Nanyang stalwart Tew Nai Tong. Its Singaporean representatives will include Lim Yew Kuan, the son of Nanyang Academy of Fine Art founder Lim Hak Tai and who headed the institution from 1963-79, Choy Wen Yang, the owner Terence Teo, collagist Goh Beng Kwan and politician-artist Dr. Ho Kah Leong.
Jasmine Tay’s MAD Museum of Art & Design will offer a double-barreled Pop Art fare in China’s Song Wei and Singapore’s Taipei-based Jahan Loh.
Art Trove will present German artists Ewald Platte (1894-1985) and artist-film director Strawalde (Jurgen Botcher).
Singapore galleries entry into the Art Expo Malaysia 2010 promises to bring greater excitement and prestige to the art expo, now in its fourth year. (Ooi Kok Chuen)
Image credit: Zhang Tongshuai Stand with You, 2009 Woodblock monoprint 150 x 200 cm at Sunjin Galleries
Andy Warhol Campbell’s Soup I - Black Bean, 1968 Screenprint 88.9 x 58.4 cm (Edition of 250) SPOTLIGHT
Pop and Contemporary
Fine Art
W
hen Saskia Joosse was looking for a suitable gallery space a year ago, she could not have found a better spot. Nestled in the heart of the city centre, the bedrock of commerce, high fashion and popular culture,Pop and Contemporary Fine Art has found its
new home in Palais Rennaissance early this year.
“We only sell art that we ourselves collect and we own all our pieces,” Saskia explains. Although the gallery owner is reluctant to divulge the exact size of the collection she and her husband have amassed over the years during their sojourns across continents, a quick survey of her gallery reveal an unwavering dedication to art collecting. Their collection, which reads like a Who’s Who of the avant-garde, follows two simple principles – first, to collect only pieces they enjoy looking at and second, to buy only pieces that are in the best possible condition.
Andy Warhol, also hailed the grandfather of American Pop Art, features prominently in their collection which includes some of his most famed pieces – Campbell’s Soup I – Black
Bean (Screenprint) (1968) and Marilyn Monroe (Screenprint) (1967). Warhol’s controversial
appropriation of a publicity shot of Monroe had inadvertently turned her into a modern day icon; the Pop Art movement for which Warhol had undoubtedly played a central role influenced the development of modern art and its reception in profound ways both within America and across the world. Like
dots waiting to be connected, generations of Pop Art could be observed from the gallery’s tidy collection alone.
Keith Haring and Burton Morris – also from Pennsylvania like Warhol – have been strongly influenced by local conditions and art developments; their art works perpetuated themes of pop culture and are difficult to miss in the gallery. Displayed on one side of the wall is the familiar screen print, Growing I, by the late graffiti artist, Haring. It depicts the ubiquitous android figures devoid of sexuality and is a fine example of how a cultural icon had become first popularized and subsequently reconstituted into a trademark that bespoke of his artistic expression. Hung generously across several walls opposite Haring are the colourful paintings of Burton Morris whom the gallery is the sole representative of. His representations of the Chanel No. 5 bottle and Tiffany & Co. gift box are among the many original and stylized renditions of objects and themes related to the world of pop and glamour relevant to his generation. Apart from these “signature” works, Saskia adds that they also collect “sleepers” – which are works that they have discerned as being undervalued. From among the collection lay lessen known pieces – for example lithographs and etchings by Henry Moore, Damien Hirst and Salvador Dali that would surely interest any serious art collector or buyer keen to learn more about the artists’ oeuvre. In particular, the gallery’s collection
also extends to include two influential Japanese artists – Yayoi Kusama and Takashi Murakami. Both of whom had also been strongly influenced by the Pop Art movement of America and whose interpretations of ‘Pop Art’ have gained immense popularity first in New York and in their homeland before gaining international recognition for their art.
Indeed, Saskia has every reason to be proud of her collection, now made available to the public for the first time. She reminds us, “Fashionable artists may come and go but the true greats have withstood the tests of time and continue to be relevant today.” //
Burton Morris Chanel triptych, 2008 Acrylic on canvas 76.2 x 76.2 cm SPOTLIGHT
Strawalde
Ab und Zu (selbst) / Sometimes (self), Oil on canvas 195 x 175cm
J
urgen Böttcher, or Strawalde, is a painter, sculptor and film-maker. His artistic talents are not constrained by the conventional boundaries that delineate these art forms, and he is well-regarded for the inter-disciplinary character of his works. He adopted the pseudonym Strawalde for his graphic and sculptural art, but uses his birth name for his films. His paintings, sculptures and films are known to influence each other, and he has received a number of prestigious national and international awards for works in all these media. Strawalde’s artistic versatility, together with his impressive oratorical skills, makes him an intriguing figure for art connoisseurs, historians and students.Böttcher was born on July 8, 1931 in Frankenberg, in the state of Saxonia in Germany. He spent his youth in Strahwalde, a small village in the German state of Upper Lusatia. Fond memories of his childhood, family and the people of the village led Böttcher to adopt the name of ‘Strawalde’ for his non-filmic art. “Strawalde” also has echoes of master artists Stradivari and Vivaldi, both of whom Böttcher greatly admires.
Strawalde is part of the generation of Germans whose lives were shaped by the tumultuous events of the mid-20th century. After the Second World War, Strawalde moved to Dresden, which had just become a part of the newly-constituted East Germany. There, he attended and graduated from the Academy of Fine Arts. Between 1953 and 1955, he taught art at high schools in the city, while doing freelance art work at the same time.
Strawalde recognized that his creative impulses for paintings and sculptures could not take flight in this highly regulated environment. He moved into film studies,
having been inspired by films made by Vittorio De Sica, Alexander Dowshenko and Roberto Rossellini. He applied to study at the German University for Cinematography at Potsdam. He was one of a handful of candidates accepted from over 800 applicants, a rare accomplishment in those days, seeing that he had already graduated in another field. He impressed his interviewers with his creativity and clear exposition of his views. He graduated in 1960 and began a second career working for the German Film Academy, DEFA, in East Berlin.
In 1961, Strawalde was expelled from the German Academy of Arts, after being accused of “aestheticism”. This prevented his paintings and sculptures from being shown in any more exhibitions. Many East Germans in a similar position fled to the West for better working environment, living conditions and economic prospects. But Strawalde did not want to abandon his family, friends and students.
A few of his students left East Germany. The best known of these is Ralf Winkler, better known as A.R. Penck. He attained great fame after leaving East Germany in 1980, having faced the same bureaucratic obstacles in getting recognition for his work.
Penck cited Strawalde as his most important teacher. He argues that “Jürgen is not simply a painter, he is a full-blooded painter! … he has really bewitched us all”. He respectfully refers to Strawalde as “Master Böttcher” (Genie-Böttcher) for his guidance and inspiration. He sees Strawalde as a fatherly figure and, as such, occasional tensions can be felt between the two artists - as one would expect in any mentor-student relationship. Penck could not understand Strawalde’s selfless devotion to his family and students. He criticises Strawalde for remaining in East Germany instead of going AUGUST 2010 / 33
1. Feld / Field, 2007 Oil on canvas 137 x 140cm 2. Regen / Rain, 1996 Oil on canvas 195 x 175 cm
3. Spätwerk / Rolling Stones, 2002 Oil on canvas 180 x 150 cm STRAWALDE
to the West to develop his artistic career: “I am not a philanthropist who helps everyone like Jürgen has … he likes people and wants them to succeed in life ... (he) is not that interested in business ... he does not want to become rich”.
Within the confines of East Germany, Strawalde continued to keep a positive outlook and remained optimistic that his contributions would one day make a difference. He was not deterred by being unable to exhibit his works. In a studio at home, he continued tirelessly to paint and sculpt, experimenting with different media, materials and ideas.
For the rest of the time the East German state remained, Strawalde focused on producing films. His films, totally more than 40, were highly successful, and a number of them are still being sold in DVD format. Beginning 1962, he began producing documentary films. That same year, he was awarded the “Silver Grape” at the International Documentary Festival in Liepzig. Once again, despite the national and sometimes international success of his films, he found himself the target of political persecution. Four films were banned – “Drei von vielen”, “Jahrgang 45”, “Der Sekretaer”, and “Barfuss und ohne Gut”. In 1965, Strawalde directed his first, and what turned out to be his last, feature film. The film was halted while in production for being cynical and nihilistic. It was not until 1990, within re-unified Germany, that the draft version of this film had its first screening - at the Berlinale. With a slight relaxation of the political environment, the first comprehensive exhibition of Strawalde took place in Berlin, Dresden and Karl-Marx City (now Chemnitz). At the same time, Strawalde’s film, “Martha”, featuring a lady who makes
a living by sifting through the rubble of bombed out cities in Germany, earned him international fame. In 1982, the National Gallery of Berlin acquired one of his paintings, thus giving him the national recognition that was long due.
Strawalde´s renown began ascending with the reunification of the two Germanys. Here are some of his achievements in chronological order:
1989
Elected a member of the Arts Academy of Berlin.
Invited to lecture at the Art Academy of Hamburg.
1990
Strawalde’s works featured in exhibitions in Toulouse, as well as in the prominent East German Arts festival in Paris. Among other things, he held art workshops at which he composed large paintings as the public looks on.
1991
Becomes guest professor at the Summer Academy Salzburg, a post still held. His film “The Wall” (1991) is awarded the European Film Academy in the category for “best documentary film” at the European Film Awards (Felix)
1992
Receives the Art Award of Darmstadt and the “Filmband in Gold” for lifetime achievement.
1994
Awarded “Officier de l’Ordre des Arts et de Lettres” for his artistic work by the French President François Mitterand.
1997
Receives the Art Award of Dresden. 1998
Wins the Art Award “From the occasion ...” in the Sprengel Museum, Hanover.
1999
Strawalde´s paintings are bought for the collection of the German Parliament. Late 1990s
Extensive exhibition activity. Strawalde`s works are seen in Belgium, France, Switzerland and the USA, among others. Many film retrospectives are dedicated to him in France, Scotland and Spain.
2000
Receives the “Golden Dove” award at the International Leipzig Documentary and Short Film week.
2001
Strawalde is awarded the First Class Service Cross of Germany.
Böttcher introduced in 2001 his then last film “Concert in the Open”.
2006
Honored at the Berlinale Camera for lifetime achievement.
On the occasion of his 75th birthday, a retrospective is dedicated to him.
Since 2006, there have been many exhibitions in Germany and in other countries. Retrospectives of his films have been screened in several countries, including France, Japan, Korea, the U.K. and the USA
His paintings are included in the following public collections: collection of the German Parliament, National Gallery Berlin, Albertan in Dresden, The Dresden Residential Palace, Albertan in Vienna, Bibliothèque Nationale de France, Museum Ludwig and the Boston Public Library. //
CONFABULATION wishes Singapore
a very Happy Birthday and dedicates
this issue to the lesser-known artists
behind some of the nation’s icons
such as the Merlion and takes A Walk
Down Memory Lane to revisit some of
the best public sculptures that have
unfortunately been removed and kept
in storage. We explore contemporary
art in Singapore and follow the traces
of Post-it notes left behind all over
town by a litterbug.
To a country that have only three
small parts – Cuisine, Media and
Sport & Recreation – to make up
the Culture section on its Wikipedia
page (http://en.wikipedia.org/wiki/
Singapore) but have an entire article
exploring gay art in the country
(http://en.wikipedia.org/wiki/
Singapore_gay_art)
Cheers!
The Man
behind
the Merlion
THE MAN BEHIND THE MERLIONT
here are many iconic sights in Singapore but
little is known about the artists who created
them. We are acquainted with local artists such
as Georgette Chen, Liu Kang, Cheong Soo Pieng
and Ho Ho Ying but the talents behind National
symbols such as the Merlion is often overlooked.
There is Thomas Woolner who sculpted the
iconic Sir Stamford Raffles in front of Victoria
Theatre and Concert Hall as well as Cavalieri
Rodolfo Nolli, an Italian sculptor who came to
Asia in 1913 with a group of Italian artists on
the service of the King of Thailand to construct
artwork for the throne room. He finally settled
in Singapore in 1921. He was responsible for the
Allegory of Justice which forms the pediment of
the façade of the former Supreme Court Building
(1939).
The 13-ton tympanum (inner cavity) sculpture
that rests within the archway of the building
was carved from faux stoneware and makes for
an imposing decoration for a building that has
been designed in a classical Greco-roman style.
The artwork depicts Adam on the far left with
the serpent, a fallen man, his back turned from
the Goddess of Justice in the centre.
His imprint is also left behind on various other
pre-World War II and colonial buildings of
importance that include the Fullerton Building,
the Tanjong Pagar Railway Station and the former
City Hall.
But, we need to move on to something even
bigger: The Merlion, a trademark of Singapore
and a must-see for all first time visitors to the
country. Just who is the man responsible for
crafting the massive animal, a sculpture made
from cement and so large that it had to be built
on site? CONFABULATION examines the work
of art:
Artwork Lim Nang Seng (Singapore) The Merlion, 1972 Cement 8.6-metre tall
Patron Singapore Tourism Board
Location There are five Merlions in Singapore which are recognized by STB. 1. The original statue at Merlion Park
2. The 2-metre tall cub statue standing behind the original statue
3. The 37-metre tall gigantic replica — with Mouth Gallery Viewing Deck on the ninth storey, another viewing gallery on its head and The Merlion Shop — at Sentosa Island
4. The three-metre tall glazed polymarble statue at Tourism Court (near Grange Road) completed in 1995
5. The three-metre tall polymarble statue placed on Mount Faber’s Faber Point
In addition a recognized Merlion statue is found at the Merlion Restaurant in Cupertino in California, USA.
Emblem Fraser Brunner
Fraser Brunner was a member of the Souvenir Committee and the curator of Van Kleef Aquarium. The Merlion logo became the emblem of STB on 26 March 1964 and its registration as a trademark was finalised two years later on 20 July 1966.
By 1997, although STB has acquired a new corporate logo, the Merlion was still protected under the STB Act and use of the symbol required their permission.
On 1985, the Merlion Week was initiated by STB which included a week of celebrations, including dance and carnival events. Unfortunately, in recent times, the Merlion do not get to have a whole week that revolves only around him anymore.
Kwan Sai Kheong, Vice-chancellor of the University of Singapore and Ambassador to the Philippines.
Details such as the water-fountain and piped-music which flows out of the Merlion were added.
Merlion
design Conceptu-alisation of the Statue AUGUST 2010 / 41Construction Lim Nang Seng, Local craftsman
In November 1971, Lim Nang Seng began sculpting the Merlion statues, one larger than the other. The actual Merlion to be built was so large that it had to be built on location and required the enlistment of all eight of Lim’s children, in particular Pee Nee and Pee Boon.
The Merlion and its cub were finally completed in August 1972.
Description The Merlion was officially installed at 8:45 pm on 15 September, 1972, by the then Prime Minister Lee Kwan Yew, on his birthday.
Minister Mentor Lee Kuan Yew was again the guest of honor for the official launch of the new site which took place on 15 September, 2002, exactly 30 years since it was built.
The Merlion is an imaginary creature with the head of a lion and the body of a fish. This half-lion, half-fish sculpture rests on undulating waves. The lion head alludes to the legend of Singapore’s founding by Sang Nila Utama, a Palembang Prince who, on his arrival on the island, saw what he thought to be a lion and thereafter renamed Temasek, Singapura or “Lion City”.
The fish-tail represents Singapore’s links to the ancient sea-bound island which was Temasek and its long and successful association with the sea, reflecting how our forefathers traversed the oceans to come to Singapore and our subsequent dependence upon it as a port.
It sits facing the East, aligned in the most auspicious feng-shui position as advised. An inscription reads “The Merlion has been erected as a symbol to welcome all visitors to Singapore”.
Edwin Thumboo cemented the iconic status of the Merlion as a personification of Singapore with his poem Ulysses by the Merlion in 1979. Due to Thumboo’s status as Singapore’s unofficial poet laureate and the nationalistic mythmaking qualities of his poetry, future generations of Singaporean poets have struggled with the symbol of the Merlion, frequently taking an ironical, critical, or even hostile stand - and pointing out its artificiality and the refusal of ordinary Singaporeans to accept a tourist attraction as their national icon.
The poem “attracted considerable attention among subsequent poets, who have all felt obliged to write their own Merlion (or anti-Merlion) poems, illustrating their anxiety of influence, as well as the continuing local fascination with the dialectic between a public and a private role for poets,
which Thumboo (as Yeats before him, in the Irish context) has wanted to sustain as a fruitful rather than a tense relation between the personal and the public.” Among the poems of this nature are “Merlign” by Alvin Pang and “Love Song for a Merlion” by Vernon Chan.
The Merlion was featured– or, depending on point of view, not featured– during the 51st Venice Biennale (2005) in the controversial work “Mike” by artist Lim Tzay Chuen. He had proposed taking the sculpture in the Merlion Park to the Singapore Pavilion at the exhibition, but was refused by the authorities.
Said art critic Lee Weng Choy: “Tzay Chuen’s work is important precisely because he addresses this very Singaporean problem of ‘can’ versus ‘cannot’. A personal comment by Eugene Tan, the curator of Lim’s exhibition: “After the failure to move the Merlion to Venice for the Biennale, I was apprehensive that Tzay Chuen’s intended installation might perhaps be too subtle for the context of Venice and overlooked. However, I was proved wrong, judging by the positive reception to Tzay Chuen’s work. The strength of the work lies in the way it engages with different audiences through various levels. Some viewers became aware and fascinated by the artist’s intention to move the Merlion, while others were simply pleased to have found clean and functional washrooms at their disposal. In the latter, this led to long queues to use the washrooms, which attests to the success of the Tzay Chuen’s intention to challenge and break down the boundaries between the experience of art and life in a particularly pertinent and poignant way.” //
Top 30
A selection of the
best of Singapore’s
iconic public
artworks worthy
of an art trail on
a good-weather
day (listed in no
particular order).
Image credit: williamcho@Flickr 6. Momentum by David Gerstein 30 PUBLIC ARTWORKS
1. Sir Stamford Raffles Artist Thomas Woolner Year 1887
Patron The Government of the Straits Settlements Location In front of Victoria Theatre and Concert Hall
2. First Generation Artist Chong Fah Cheong Year 2000
Patron Far East Organization / Sino Group / Singapore Tourism Board
Location Along the Singapore River (next to the Fullerton Hotel) 3. Fishing by the River
Artist Chern Lian Shan Year 2005
Patron The Riverwalk / National Heritage Board / Singapore Tourism Board
Location Along the Singapore River (in front of The Riverwalk)
4. Six Brushstrokes
Artist Roy Lichtenstein Year 1997
Patron Collection of Pontiac Land Group Location Roy Lichtenstein Sculpture Plaza at Millenia Singapore
5. Abundance III
Artist Sun Yu-Li Year 1993 Patron Suntec City
Location Suntec Singapore International Convention & Exhibition Centre (intersection of Raffles Boulevard and Temasek Boulevard)
6. Momentum
Artist David Gerstein Year 2007
Patron One Raffles Quay (Keppel Land / Cheung Kong Holdings / Hongkong Land) Location Finlayson Green
(opposite One Raffles Quay) 7. Living World
Artist Ju Ming Year 1986
Patron Collection of the Singapore Art Museum (SAM)
Location In front of SAM
8. A Visit to the Museum: Taking the Past Forward
Artist Chern Lian Shan Year 2000
Patron National Heritage Board Location In front of the Peranakan Museum
9. Negative Mass, Harmony of the Generations
Artist Oh Sang Wook Year 1995
Patron Collection of Ministry of Information, Communications and the Arts (MICA) Location MICA Building (intersection of Hill Street and River Valley Road)
10. Big Bang
Artist Brother Joseph McNally Year 2000
Patron Collection of the Singapore Art Museum Location MICA Building (small courtyard)
11. ASEAN Sculpture Garden
Artist Napoleon Veloso Abueva / Vichai Sithiratn / Ng Eng Teng / But Muchtar / Anthony Lau / Osman Bin Mohammad
Year 1982
Patron National Parks Board Location Fort Canning Hill 12. Space – Time Link
Artist Anthony Poon Year 1997 Patron UE Square
Location UE Square (Shell House entrance)
13. Web Light
Artist Matthew Ngui Year 2009
Patron Orchard Central
Location Orchard Central (side facing Orchard Road and Killiney Road)
14. Sculptural Reliefs Artist Gerard d’Alton Henderson Year 1970
Patron Hilton Singapore
ocation Hilton Singapore (side facing Orchard Road) 15. Mother and Child
Artist Ng Eng Teng Year 1980
Patron Far East Organization Location Orchard Parade Hotel (side facing Orchard Road)
16. Urban People / Nutmeg / Cloud
Artist Kurt Laurenz Metzler / Kumari Nahappan / Troika
Year 2009 Patron ION Orchard Location ION Orchard
17. Progress & Advancement
Artist Yu Yu Yang Year 1988
Patron Lien Ying Chow Location In front of OUB Centre
18. Harmony Artist Yu Yu Yang Year 2001
Patron Collection of City Developments Limited (CDL)
Location In front of Republic Plaza
19. Homage to Newton
Artist Salvador Dali Year 1985
Patron Collection of United Overseas Bank (UOB) Location UOB Plaza 1 (ground floor)
20. Bird
Artist Fernando Botero Year 1990
Patron Collection of UOB Location Along the Singapore River (next to UOB Plaza II)
21. Reclining Figure
Artist Henry Moore Year 1982 Patron OCBC Bank
Location OCBC Centre (along Canal Road)
22. Samsui Women
Artist Professor Liu Jilin Year 1999
Patron URA Centre
Location URA Centre (side entrance facing Maxwell Hawker Centre)
23. Struggle for Survival
Artist Aw Tee Hong Year 1987 Patron SMRT
Location Outside Raffles Place Station (in front of OUB Centre)
24. The Climb
Artist Ng Eng Teng Year 1987
Patron Housing and Development Board (HDB) Location HDB Hub (in front of Block 190)
25. Mama’s Precious One Artist Chong Fah Cheong Year 1989
Patron HDB
Location HDB Hub (in front of Block 184)
26. Flower Tree Artist Choi Jeong-Hwa Year 2006
Patron VivoCity Location VivoCity
(entrance facing HabourFront Centre) 27. Snowman
Artist Ignes Idee Year 2006 Patron VivoCity
Location VivoCity (The Promenade)
28. I Was Here
Artist Francis Ng Year 2005
Location In front of the University Cultural Centre
29. Superstring
Artist Joshua Yang Year 2009
Patron Land Transport Authority (LTA) Location Marymount Station on Circle Line 30. The Coin Mat
Artist Jane Lee Year 2009 Patron LTA
Location Bartley Station on Circle Line 30 PUBLIC ARTWORKS
From
Cheo Chai-Hiang’s
Concepts to
Singapore’s
Contemporary Art?
Text: Yvonne Low
Cheo Chai Hiang, And Miles to go before I sleep, 1976, Wash board, hinges, stenciled letter, latch
H
ow did Contemporary Art come about in Singapore? Still considered a fairly recent discourse here, Contemporary Art appears to have followed a global trend - as the internationally ‘new’ art. The practice of Contemporary Art predicates a much wider field of international production discourse generally described as ‘visual culture’, and is characterized by the use of commodity images and visual technologies, often exchanged across and between countries in the form of international art shows. Practitioners of the Contemporary Art may choose to conceptualise an artistic concept through the use of one or more of the following media – painting, sculpture, installation, video, performance or other more complex types typically generalized as multi-disciplinary. Although it is difficult to pin down the precise impact of globalization on art making and reception, it is important to recognize its role as significant; it has revolutionalised the manner at which art was created, received and interpreted – and particularly in the manner at which local art practitioners of Contemporary Art now define their ‘art’ themselves. Much as such art practices may appear to be widely practiced now, they were once viewed as alien in the local context. During the 60s and 70s, art practitioners hoping to pursue further education in art often went to Paris and London. Cheo Chai-Hiang and Tang Da Wu went to London and were exposed to new ways of conceptualizing art – ‘possibilities’ which were then perceived as alien in Singapore. For example, Cheo’s infamous submission – 5’ x 5’ (SingaporeRiver) (1972) – which consisted of a set of
instructions to the organizers (the Modern Art Society) was rejected. Art as ‘concept’ was unimaginable. In this particular instance, Cheo’s work predicates the fundamental concept spearheaded by Marcel Duchamp back in 1917 Paris – that the idea comes before the visual example. This example further
showed how a concept perceived as alien can accentuate the role and possible function of dominant gatekeepers. Subsequently, from the late 1970s through to 1980s, there was an increase in prevalence of conceptual-based and performance-conceptual-based artworks, indicating perhaps that the gatekeeping role held by certain art societies was either losing precedence or showing less resistance to alien art forms.
In 1976, Cheo once again submitted his work to a local exhibition, this time to a National Sculptural exhibition. Entitled And Miles to
Go, it was a 3-dimensional object consisting
of a wooden washing board with hinges that are attached to a roughly hewn log of wood. Although it was initially rejected, the jury accepted the entry in the end. The audience were allowed to flip open and close the board like a book. His ‘sculpture’ had experimented with ready-made objects and was conceptualized to provoke critical responses from the audience; such departures questioned the conventions of sculpture and art making as an aesthetic practice.
Three decades later, Donna Ong presented a series of four site-specific sculptural installations titled secret, interiors: chrysalis
(19) (20) (21) (22) at the inaugural 2006
Singapore Biennale. Secret, interiors: chrysalis
(21) used ready-made objects such as
stationery and everyday items to construct the interior of a plane. She too urged the audience to ‘enter the work’. In terms of medium and approach, there were stark similarities between Cheo’s 1976 work and Ong’s 2006 work – both had re-worked ready-made objects into meaningful objects (art) and both required their audience to understand their work by engaging with it physically. Of course, to what extent was Ong’s work then considered new (modern) and contemporaneous remains to be examined in context; what is significant is
that State agencies had commissioned her to make such art. Conceptualism, as shown, is possibly a precondition to the generic and canonizing category of Contemporary Art. On this note, it is important to remember that terms such as ‘Conceptualism’ or ‘Performance’ are names given to art practices and they need to be re-defined and examined from a local perspective; in brief, Conceptualism in Singapore is in all likelihood quite different from Conceptualism in Japan or China (for example) in terms of how it has developed and how it has been interpreted and received. The difficulty of recognizing such issues lay implicitly in how such practices have been represented in the
English language, a ‘common’ language that has following Singapore’s independence gradually become the people’s default lingua
franca. A close examination of Cheo’s work
shows that he is often less interested in providing a name for his aesthetic practice – whether in his Mother-Tongue or in English – than in pushing all boundaries (including his own) circumventing his practice. The local language issue – being uniquely Singapore’s – has pressed it upon us to remember that much as Conceptual Art is determined by an artist’s own terms, unique and specific to his national-cultural identity, so too is Singapore’s Contemporary Art a unique phenomenon developed in accordance to local conditions and local responses. //
Donna Ong, Secret, interiors: chrysalis (21), 2006, Mixed media installation
A Walk Down
Memory Lane
- Revisiting the forgotten
Public art is art that is specifically commissioned for a particular site and its community in mind. The works can be intended to be permanent or temporary and its form can range from mosaics, paintings, sculptures, lighting, landscape designs, textiles, glassworks, video installations, ceramics and performance art.
Introducing the artwork into the local environment creates a significant impact in terms of encouraging regeneration and enhancement of the space and creates opportunity for social and educational interaction and can even promote tourism. Before, Singapore was earnest about public art and endeavored to build monuments and artworks that reflected national aspirations and struggles. However, by 1970-80, the task proved taxing and this gave way to private and corporate commissioning of artworks.
In the recent years, LTA has been actively encouraging the incorporation of art into their train stations (in what came to known as Art in Transit), a practice common in Europe and North America.
In 2007, a National Heritage Board survey estimated that there were over 300 public artworks on display. The earliest surviving work of public art in Singapore is a statue of an elephant, a gift from King Rama V of Thailand in 1871 that is currently located at The Arts House (side entrance facing the Padang). Sadly, over the years, not all sculptures stood the test of time and many have come and gone from our public spaces.
A Walk Down Memory Lane takes us through
a handful of these works of art; some which have been removed and placed in storage, and others permanently destroyed in the pursuit of the newer and better.
Artwork Brother Joseph McNally (Singapore) Athletes in Action, 1979 Patron Housing and Development Board
Location Previously at the Town Centre
Description The Town Centre was originally built in 1973 and the sculpture was added in 1979. It survived a few different redesigns of the Town Centre, but not the rebuilding in 2004 and is currently not accessible by the public.
Artwork Chern Lian Shan (Singapore) Breakthrough, 1990 Patron NTUC Income
Location Previously at the NTUC Income building
Description Breakthrough is a golden sculpture of a horse leaping out of an egg, commissioned to celebrate the 20th Anniversary of NTUC Income. The Golden Egg depicts the essence of life as all forms of life begin with an egg while the Golden Horse is a symbol of hardwork, dedication and reliability.
Artwork Sun Yu Li (Singapore) Dancer, 1993 Patron Wing Tai Land
Location Previously outside Park Mall
Description The work is a liberation of the body and soul. The sculpture evolves itself into ever-changing symbols following the rhythm of nature. The curves twist gently, achieving greater balance and rhythm through the asymmetrical design. The swaying posture looks as if it is inviting you to dance to the music of life.
Athletes in Action
Breakthrough
Dancer
Artwork Elsie Yu (Singapore) Joyous Rivers, 1987 Patron Singapore Airlines
Location Previously located at the Marina Bay. It was moved during the redevelopment of the Esplanade waterfront.
Description A sculpture to commemorate the successful completion of the cleanup of the Singapore River/Kallang Basic Catchment. It epitomizes the eternal flow of live-giving water. Meandering and in-terlocking patterns of rivers and catchments are captured on its base, whilst joyous, dancing waves, frozen in motion, portray the abstract form of mass celebration of a happy event. The waves surge forward in one direction, at a 60 degree angle in one direction, symbolizing Singaporeans striving with one common purpose towards a better tomorrow. Lights at night enliven the liquid forms with an animated, shimmering glow. At the time, it was the most expensive work com-missioned to a local artist.
Joyous Rivers WALK DOWN MEMORY LANE
Artwork Tan Teng Kee (Malaysia) Musical Fountain, 1974 Patron DBS for Plaza Singapura
Location Previously placed at Plaza Singapura and later moved to the Marina City Park (and then removed)
Description Tan mentioned in a catalogue for his retrospective show held at Sculpture Square in October 2001 that, “the commission was sponsored by the Development Bank of Singapore (DBS). It was to be displayed in front of a shopping centre called Plaza Singapura. I studied the environment, measured the size of the proposed pool and used metal to build an abstract form, using straight lines to build a model. My concept was to join two clusters of forms: one in front of the other. From a distance, the two forms appear like natural forms, like a mountain, summits high and low. It can appear as a landscape, as a scene that seems to be changing. I wanted to convey a sense of change and development. I sent it in for the competition and the judges selected my work.”
From an exchange with art historian TK Sabapathy in 1991 – TK Sabapathy: Are you still very interested in art in public places? Do
you still think that it is relevant or important?
Tan Teng Kee: I think it is important for the public environment. First we must look for a suitable environment to display sculpture; that is important. That is challenging work for me, a big project. I Artwork Robert Indiana (American) LOVE, 1987
Patron Wing Tai Holdings
Location Previously located at the Marina Bay. It was moved during the redevelopment of the Esplanade waterfront.
Description The LOVE design has been reproduced in a variety of formats. Likewise, the sculpture has been recreated in multiple versions and a variety of colors, and is now on display around the world. The piece in Singapore is one of the thirteen LOVE sculptures located outside of USA.
Artwork Obie B. Simonis (USA) Metamorphosis I, 1986 Patron Marina Centre Holdings
Location Previously along Marina Bay
Description John Portman and Associates was developing a large architectural project in Singapore and commissioned Simonis to create the work for the project.
Musical Fountain LOVE
Metamorphosis I
just want to mention about the first project which I did in 1974. At that time it was a closed competition and I was lucky to win the first one organized by the Development Bank. The judges selected my submission, but the managers of Plaza Singapura could not believe that my entry could be the winner; but they had to accept it as the judges had decided on it. So, the manager decided to test the entries on his own staff. Everyone including the clerks and the janitors were asked to view the first three winners and to select one from their own judgments. They were asked to cast their votes. Guess what! They still chose mine to be the overall winner. Is that not amazing? TK Sabapathy: That is interesting and I am glad you disclosed that.
Artwork Yu Yu Yang (Taiwan) Peace and Prosperity, 1971 Patron Mandarin Hotel / Lien Ying Chow
Location Previously in front of Mandarin Hotel
Description Yu Yu Yang has had a strong influence as a teacher, counting Ju Ming as one of his students. In 1983, he drew up plans for a Space & Technology Art Centre in Singapore, and in 1991 the Singapore National Museum featured his work in an exhibition titled “Stainless Steel Sculptures Exhibition”.
This work stood for 20 years in front of the Mandarin Hotel but little remained after a remodelling of the hotel in the late 1990s. Remnants included two white stucco structures pictured.
Peace and Prosperity
Artwork Chern Lian Shan (Singapore) Rainbow, 1994 Patron Pidemco Land
Location Previously outside Pidemco Center (later developed into One George Street)
Description The sculpture was intended to reflect the business goals of the now defunct Pidemco Land.
Rainbow
Artwork Sim Lian Huat (Singapore) Singapore at the Crossroads, 1986 Patron Port of Singapore Authority
Location Singapore Port
Description The sculpture is fabricated from brass plates. It is crossed at the centre to symbolise Singapore’s strategic position at the crossroads of world shipping. Its shape is inspired by ancient Chinese junks which plied in this region and reflects Singapore’s long maritime history and the port’s contribution to Singapore’s development.
Singapore at the Crossroads WALK DOWN MEMORY LANE
Artwork Chieu Shuey Fook (Singapore) Singapore’s Multicultural Life,
1987
Patron Singapore MRTC (currently known as SMRT)
Location Previously Orchard MRT, destroyed during the building of ION Orchard
Description Chieu states that the artwork was the largest copper enamel artwork in the world. This low relief copper enamel mural measured some 2.5 x 30 metres, and cost around S$200,000 at the time of its commission.
Artwork Elsie Yu (Singapore) Soaring Visions, 1992 Patron Donated by Mr Albert Hong
Location Previously at the Marina City Park
Description A symbol of our society’s aspirations and progress. Its components symbolise the spiralling development of a people working together for a common cause. Each layer of the brass units represents bursts of energy of individual effort. The units are moulded together in a fluid movement emphasising the co-operation between individuals. The brass units are attached to the shaft by stainless steel pipes which signify the unifying and stabilising strength of the people. The volcanic base emerging from the earth portrays both the dynamism of the Nation and the solid roots which form the basis for advancement.
Artwork Leo Hee Tong (Singapore) Surprising Singapore, 1987 Patron Singapore MRT
Location Previously leading to the entrance of Orchard MRT station Description Measuring 2.2 x 37 metres, it was a painting that was translated
into a mosaic mural featuring the tourist icons of Singapore. It was destroyed in the construction of ION Orchard.
Artwork Ju Ming (Taiwan) Taichi, 1984
Patron Donated to the National Museum by the Trade Mission of Taiwan
Location Previously in front of the Singapore History Museum (now known as the National Museum)
Description The twin of this sculpture is located at the HDB Headquarters office. Singapore’s Multicultural Life
Soaring Visions
Surprising Singapore
Taichi
Artwork William G. Stirling Typical Prosperous and Honest Merchant, 1937
Patron Gift from the artist
Location Previously in front of the Raffles Museum, it was moved to make way for the time capsule and again during the renovations of the National Museum of Singapore in 2004-2006
Description The artwork was the artist’s conception of a typical prosperous and honest Chinese merchant during the colonial days.
Artwork Ramon Orlina (Philippines) Wings of Victory, 1986 Patron Wisma Atria
Location Previously displayed in the Wisma Atria atrium
Description A S$300,000 work made up of 67 suspended steel birds weighing 35kg each. It is presumably destroyed during a change of the mall’s ownership and management.
Typical Prosperous and Honest Merchant
Wings of Victory WALK DOWN MEMORY LANE
