{"id":6820,"date":"2015-03-13T16:00:00","date_gmt":"2015-03-13T16:00:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=6820"},"modified":"2022-12-14T16:09:50","modified_gmt":"2022-12-14T16:09:50","slug":"art-week-aftermath-gillman-barracks","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/art-week-aftermath-gillman-barracks\/","title":{"rendered":"Art Week Aftermath: Gillman Barracks"},"content":{"rendered":"\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_event\/justin-mortimer-sevastopol\/\">\u201cSevastopol\u201d<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_space\/future-perfect\/\">Future Perfect<\/a><\/strong>&nbsp;(47 Malan Road #01-22),&nbsp;<strong>January 9 \u2013 February 22, 2015<\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_event\/thousand-knives-michael-janssen-gallery\/\">\u201cThousand Knives\u201d<\/a><\/strong><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_space\/michael-janssen-singapore\/\">Galerie Michael Janssen<\/a>&nbsp;<\/strong>(9 Lock Road #02-21),&nbsp;<strong>January 24 \u2013 March 15, 2015<\/strong><\/p>\n\n\n\n<p>Boasting over a hundred events attracting 46,000 visitors over the course of a week, and anchored by Art Stage Singapore\u2019s 152 galleries and 51,000 visitors over just four days, Singapore\u2019s 3<sup>rd<\/sup>&nbsp;Art Week was, at least in numerical terms, a success (presumably, next year\u2019s edition will involve exponentially spiraling numbers of visitors). With the dust now settled as collectors, gallerists and artists emerge from some kind of frenetic fugue state, it seems timely to take another look at some of the week\u2019s finest shows, which are continuing past Art Week\u2019s brief blast of sound and fury.<\/p>\n\n\n\n<p>Unsurprisingly, one of the major off-fair sites of activity was Gillman Barracks, being home to both a significant concentration of Singapore\u2019s major commercial galleries and the Centre for Contemporary Art. Amongst the hubbub, a number of shows stood out\u2014 in particular, solos by Justin Mortimer and Wong Lip Chin at Future Perfect and Galerie Michael Janssen respectively.<\/p>\n\n\n\n<p>The former, \u201cSevastopol\u201d, takes its title from the Ukrainian city which was the focus of last year\u2019s Crimean crisis\u2014it\u2019s now under&nbsp;<em>de facto<\/em>&nbsp;Russian control, a state of affairs not recognized by much of the world. Being very much tied to the geopolitical conflicts and upheavals of the early 21<sup>st<\/sup>&nbsp;Century, the title seems altogether fitting for Mortimer\u2019s subject matter: the media imagery of insurrection and resistance, as instantiated by Pussy Riot, the global Occupy movement, as well as ongoing protests in Venezuela and elsewhere.<\/p>\n\n\n\n<p>On the face of it, it\u2019s sobering stuff, which occasions a pause for reflection on the fact that even as one stands in a cool white gallery to peer at Mortimer\u2019s lurid, half-abstract, half-figurative canvases, terrible injustices are perpetrated\u2014and protested\u2014around the world. However, to treat these energetic images as some tutting scold would seem a gross oversimplification, with the key to stepping past the surface being that the works emerge from the media images that orbit these spasms of resistance: a carnival of mediated imagery as a counterpart to insurrection\u2019s strains of the carnivalesque, here amplified by Mortimer\u2019s corrosively abstract brushwork. There\u2019s a sense of detachment that yields, if not the opposite of coldness, then something nevertheless dissimilar\u2014a savage vivacity as some common denominator of resistance, underlying whatever issues each holds dear.<\/p>\n\n\n\n<p>Wong Lip Chin\u2019s \u201cThousand Knives\u201d, on the other hand, comes to us from a far more personal space: a relationship which, in the artist\u2019s words, \u201cfailed disastrously.\u201d Despite this intimate and melodramatic point of entry\u2014the stuff of a thousand angsty DeviantArt accounts\u2014there\u2019s a sense of biting, self-aware humor. For one thing, the show\u2019s title is lifted from a line uttered in&nbsp;<em>the<\/em>&nbsp;star-cross\u2019d romantic blockbuster of the late 90s, Titanic, in which the suicidal protagonist is informed that hopping into the Atlantic would probably be quite unpleasant.<\/p>\n\n\n\n<p>In acknowledging the risks of melodrama and sentimentality, the exhibition as a whole takes a turn towards the heroi-comic in an approach that marries theatrical staging with a behind-the-curtains exposure of that very staging. The showpiece of the exhibition finds Lip\u2019s images\u2014paintings on one, stainless steel reliefs on the other\u2014mounted on a pair of imposing, Ferris wheel-like structures, rotating slowly amidst stylized stage lighting. As a whole, it seems suggestive of some interchangeable, combinatorial dramatis personae: each image suggests a specific attitude or emotion, with the possibilities of dialogue shifting as the images slowly rotate past. At the same time, the paintings and reliefs positively revel in the fact that they are not mounted flush to the wall; their \u201cframes,\u201d in a sense, being these thrumming, industrial constructs which wouldn\u2019t look out of place powering a grain elevator.<\/p>\n\n\n\n<p>While being, in some sense exhibitions of paintings, Lip\u2019s and Mortimer\u2019s shows each find their own way to do more than clad the wall in pleasing pictures. After the blink-and-you\u2019ll-miss-it atmosphere of Art Week, these two merit more than a passing glance.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"351\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1264.png\" alt=\"\" class=\"wp-image-6821\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1264-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1264-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1264-451x300.png 451w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1264.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Wong Lip Chin, \u201cThousand Knives,\u201d exhibition view, Michael Janssen Singapore.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"662\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1265.png\" alt=\"\" class=\"wp-image-6824\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/wGNEmMgm-image-1265-239x300.png 239w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1265-120x150.png 120w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1265.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Justin Mortimer, \u201cJoker,\u201d oil on canvas, 240 x 190 cm, 2014.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"791\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1266.png\" alt=\"\" class=\"wp-image-6827\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/iFEFmvml-image-1266-200x300.png 200w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1266-100x150.png 100w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1266.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Wong Lip Chin, \u201cThousand Knives,\u201d exhibition view, Michael Janssen Singapore.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"737\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1267.png\" alt=\"\" class=\"wp-image-6830\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/R75jNGWh-image-1267-215x300.png 215w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1267-107x150.png 107w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1267.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Justin Mortimer, \u201cSchluss,\u201d oil on canvas, 70 x 50 cm, 2014.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cSevastopol\u201d Future Perfect&nbsp;(47 Mal &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/art-week-aftermath-gillman-barracks\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":6837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[1556,2934,1519,2935,2936,2937,2938],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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