{"id":7921,"date":"2013-10-31T18:12:00","date_gmt":"2013-10-31T18:12:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7921"},"modified":"2022-12-18T18:18:45","modified_gmt":"2022-12-18T18:18:45","slug":"curiosity-and-confidence-singapore-biennale-2013","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/curiosity-and-confidence-singapore-biennale-2013\/","title":{"rendered":"Curiosity and Confidence: Singapore Biennale 2013"},"content":{"rendered":"\n

\u201cIf the World Changed\u201d: 4th Singapore Biennale<\/a><\/strong><\/p>\n\n\n\n

Various locations, Singapore. Oct 26, 2013\u2013Feb 16, 2014<\/strong><\/p>\n\n\n\n

Yavuz Can, the founder of Yavuz Fine Art, is impatient with the question of whether the Singapore Biennale\u2014any Biennale\u2014is \u201cgood\u201d or \u201cbad\u201d. A biennale should equally be about what a single person can gather from it as showing the artistic spirit and forms of a place or region\u2014on both sides, aspects which can\u2019t necessarily be judged positive or negative, \u201cyes\u201d or \u201cno\u201d, and not least because a biennale contains so many exhibitions and art works. This is something worth remembering every time: what are the expectations of such an event? So personal a thing is it for an art work to really speak to you that to take even one such experience from a biennale containing myriad works\u2014as is true for the broader flow of exhibitions\u2014makes the whole exercise worthwhile.<\/p>\n\n\n\n

This year\u2019s Singapore Biennale officially contains 82 works\u2014over half of them commissioned for the occasion\u2014spread across ten venues in the center of the city. Singapore Art Museum (SAM) is the focal point, with the National Museum of Singapore, The Peranakan Museum, the National Library and Singapore Management University included in the list. An ecstatic opening ceremony drew crowds of people and fanfare from the announcer plus a hired drumming performance with flaming torches on the lawn. No one could accuse the organizers of lacking energy.<\/p>\n\n\n\n

\"\"<\/a>
Singapore Art Museum (SAM).<\/figcaption><\/figure>\n\n\n\n

The 2013 Singapore Biennale (now into its 4th<\/sup> edition) drops the standard format of a single Artistic Director guiding decisions about the theme and selection of works. Instead, a \u201ccuratorium\u201d of no less than 27 curators with localized expertise across South East Asia were put behind the still distinctly Biennale-ish title \u201cIf the World Changed\u201d. At the press conference, an assembled number of them told us \u201cThere are many Asias in Asia,\u201d that this is about melting down the conventional national pavilion idea (as seen in Venice), showing different South East Asian elements simultaneously and saying \u201cThis is us\u201d with less geographical labelling. The decision to have 27 curators started with \u201cWhat SAM staff don\u2019t know\u201d about the art in different places in the region, and also avoided the trend for international curators who tour the globe and reappear at every major event. The latter was envisaged for the art works, too (though there was one which some will recall seeing at dOCUMENTA\u2014the mesmeric post-apocalyptic video work \u201cEl Fin del Mundo\u201d (2012) by Moon Kyungwon and Jeon Joonho).<\/p>\n\n\n\n

So, though Singapore was asserted as an international site, the focus was not on \u201cinternational\u201d figures and works in the sense of the global art-world circuit. Rather, the aim was expressed fervently in terms of focusing on the region, and \u201cintensity\u201d\u2014SAM putting its arms, as it were, around it all, and away from the usual suspects. The title logo, with words pointing at different angles from the center like a signpost, seems apt. Apparently, the curators were barely given guidelines for their choices, and in any case (according to the former SAM Director Tan Boon Hui), the aim is not always for a finished product; not having one, he asserted, reveals \u201ccreativeness\u201d, with unresolved conflict and a degree of assemblage helping to \u201cbreak the cycle\u201d. Clearly, disputes had arisen and some ends gone untied, though overall one sensed the earnestness of the sentiment.<\/p>\n\n\n\n

\"\"<\/a>
Tran Tuan, \u201cForefinger\u201d, mixed media, set of four, dimensions variable, 2013.<\/figcaption><\/figure>\n\n\n\n
\"\"
Nguyen Oanh Phi Phi, \u201cSpecula\u201d, installation of Vietnamese lacquer on epoxy and fibreglass composite with iron frame, dimensions variable, 2009.<\/figcaption><\/figure>\n\n\n\n

But if there had been some scuffles behind the scenes, one wouldn\u2019t have known it from the show. Everything was ready and prepared; the works were well and sometimes thoughtfully presented. The sculptures of index fingers by the Vietnamese artist Tran Tuan, for example (\u201cForefinger\u201d, 2013), are carefully arranged on the floor in the atrium and initial anteroom of the museum, one pointing accusingly at the reception booth, others curling darkly next to the passageway. In general, one could observe that the art works tended towards narrative and socio-political bases. Among the works at SAM, for example, the \u201cForefinger\u201d pieces just mentioned reference a practice in Vietnam by victims of war and its traumas of cutting off their trigger fingers to avoid being conscripted for future conflicts. Upstairs, Nikki Luna\u2019s work \u201cTiempos Muertos (Dead Season)\u201d (2013) is close to 1,000 diamond shapes arranged in grid formation in glass cases around three walls. Each is a resin case filled with sugar, marking the human cost\u2014and financial gain by plantation owners\u2014of the industry in the Philippines. The boat on the ground floor by Ahmad Abu Bakar (\u201cTelok Blangah\u201d, 2013) is piled with bottles, their labels handwritten notes by prison inmates in Singapore which express their consciences about their situations, hopes and feelings. Across the road, at the SAM annex building, 8Q, one could find a large painting done with soil on canvas by the Talaangig Artists collective. Using colors made from the different clay soils in their ancestral lands, they express their traditions, history, place and spirit\u2014determining themselves against such forces as agricultural corporations in the modern world.<\/p>\n\n\n\n

As always, one noticed a consensus about certain works. Khvay Samnang\u2019s 5-channel untitled video piece (2011-13) in 8Q shows the artist neck deep in water in different public lakes in Phnom Penh, pouring a bucket of sand over his head\u2014an act symbolizing their being filled in by the government for private sale as land. Outside 8Q is a wooden stall\u2014literally a shack hung with different items\u2014glass jars, a rubber ring, woven mats, a bird cage, pots, masks, a sailor suit, stickers and jelly moulds. This is \u201cToko Keperlaun\u201d (2010, 2013) by Anggun Priambodo. All are items the artist finds useless, but that others might find useful. Hence, they are for sale (your correspondent was grateful for a new percolator) at the artist\u2019s invitation\u2014simultaneously a symbol of the vanishing old provisions shops found in Singapore and Priambodo\u2019s native Indonesia, and a comment on consumerism enacted though knick-knacks.<\/p>\n\n\n\n

\"\"<\/a>
Nikki Luna, \u201cTiempos Muertos (Dead Season)\u201d, sugar and resin, installation dimensions variable, 2013.<\/figcaption><\/figure>\n\n\n\n
\"\"
Anggun Priambodo, \u201cToko Keperluan\u201d, installation with wooden shop, consumer items, video and performance, dimensions variable, 2013.<\/figcaption><\/figure>\n\n\n\n

At SAM, visitors strained to perceive the minute wooden figures carved by Toni Kanwa for his \u201cCosmology of Life\u201d (2013) installation; not far away, the 4,000 kg of red seeds piled in a red room by Kumari Nahappan\u2014\u201cAnahata\u201d (2013)\u2014and conceived to symbolize possibility, drew attention with its simple yet plural form. Also upstairs at SAM, the impressive arched structure erected by Nguyen Oanh Phi Phi and lined with Vietnamese lacquer was likened to a Byzantine chapel and Vietnamese village gates by different sets of visitors standing inside.<\/p>\n\n\n\n

But it was the Japanese outfit teamLab which finally stole the show. The interactive digital installation \u201cPeace Can Be Realized Even Without Order\u201d (2012) wowed with its movement-sensitive light and sound performance.<\/p>\n\n\n\n

Elsewhere, notable exhibitions running parallel to the Biennale are an informative historical show at the National Museum: \u201cA Changed World: Singapore Art 1950s-1970s\u201d and \u201cLost to the Future: Contemporary Art from Central Asia\u201d. Curated by former Lasalle College of the Arts\u2019 curatorial director Charles Merewether, the latter is a fantastic show of work; its tone, somewhat deliberately, is at odds with the worthy zeal of the Biennale. At the Singapore ARTrium, too, the \u201cSpot Art\u201d festival is worth the trip; \u201cSculpture Square\u201d, down the road from SAM, is rather less so. In what is still a nascent art scene in Singapore, the biennale perhaps has yet to really support the galleries\u2014works were commissioned directly from the artists, and one couldn\u2019t be sure whether the crowds at the opening would translate into footfall for the commercial exhibitions at gallery enclave, the Gillman Barracks, for example, which is also government-sponsored.<\/p>\n\n\n\n

In all, the 4th<\/sup> Biennale in Singapore shows no sign that momentum there is slowing\u2014quite the opposite. In the words of a seasoned observer, this is \u201cThe start of something big.\u201d Even if one didn\u2019t meet art that seared itself into the memory this time, curiosity and confidence are in place for the next.<\/p>\n\n\n\n

\"\"<\/a>
Exhibition view, \u201cA Changed World: Singapore Art 1950s-1970s\u201d, National Museum of Singapore.<\/figcaption><\/figure>\n\n\n\n
\"\"
2013 Singapore Biennale buzzwords, as chosen by the curators.<\/figcaption><\/figure>\n\n\n\n
\"\"
Talaandig Artists, \u201cMemories of the Peoples of the Earth: The Talaandig R\/evolution\u201d, soil on canvas, 244 x 488 cm, 2013. (At SAM Annex Building, 8Q)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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