Ng Yi-Sheng
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Happy Year of the Ox, dear browsers! To herald the new and bid farewell to the old, I’ve drawn up a list of artsy people based in and/or from Singapore, singling them out for being interesting, independent and (thus far) a little unrecognised.
It’s a personal response to the front-page article of Straits Times Life! at the end of last year (“FEEL THE POWER”, Thursday, 4 December 2008). You see, every year since 2005, ST has published an annual Power List — a ranking of the ten people/groups in Singapore who’re most important to the arts scene, in their eyes. And this time round, the list was, in the words of one of my friends, “shit”.
Take a look at the lineup:
1. Lee Chor Lin, 46, director National Museum of Singapore
2. Michael Koh, 46, chief executive officer National Heritage Board
3. Esplanade programming team led by JP Nathan, 53, director of programming
4. National Library Board Dr N. Varaprasad, 60, and team
5. The Necessary Stage Resident playwright Haresh Sharma, 43, artistic director Alvin Tan, 45
6. …
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Tony Makarome
Sketching of a solo…
I teach a course about the materials of jazz music at the Yong Siew Toh Conservatory of Music (NUS), and each year, my students are surprised to learn that jazz musicians actually think and make conscious choices during their improvisations. Another shocker is that jazz musicians actually need to master their “theory” before they can effectively “play by ear”, bearing in mind mastering your music theory does not mean learning musical nomenclature or someone’s opinion about how music should behave. Rather, in its basic form, knowledge of music theory refers to an understanding of how musical materials relate to one another (acoustically) or how composers and performers of different styles of music create and use their personal musical language.
This is best achieved through active listening to the kinds of music you love and wish to emulate. Over time, you will develop a sort of “intuitive” understanding of how one musical idea relates to another. I placed the word “intuitive” in parenthesis because it relates to a paradoxical idea that (in music) intuition is better than …
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Susie Lingham
… ad lib…
“…. we ask God to free us from ‘God’ so that we may be able to grasp and eternally enjoy truth where the highest angels, the fly and the human soul are all one – in that place I desired what I was and was what I desired.”1
Reader, although the words above are the 13th Century C.E. Dominican mystic-theologian Meister Eckhart’s, let us imagine that, perhaps just before the mutiny in heaven, Lucifer prayed (not yet fathoming the depths of his own desires), his desire for equality and truth coupled oddly with his desire to be desired – his desire for freedom from hierarchical strictures cuffed to his desire for self-empowerment. It was this noble prayer that set freedom free amongst the ‘dogs of war’; it was this ‘heretical’ turn of mind that set the angels nervously whispering: ‘Havoc’!
Brutus, red-dripping knife in hand, not seeing the dogs of war lurking, shouts:
‘Liberty! Freedom! Tyranny is dead!
Run hence, proclaim, cry it about the streets!’
Alas, poor, deluded, murderous Brutus: Shakespeare consigned wisdom to the tongue of one less …
Posted by Susie Lingham
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Fabian Schmid
“fly me to the moon…”
“Fly me to the moon and let me play amongst the stars…!” writes Bart Howard in the popular Jazz tune. “Fly me to the moon” — what’s the big issue? Am I not free to do as I please — book budget air tickets to go wherever I want, get on Skype to talk to anybody in the world for free, learn to sky dive, dance Tango Argentino, or get my PhD through an Open University? Let’s go and fly to the moon! It is one click away and you can do it if you really want to. Just jump on the net, Google “space tourism” and away you go!
Don’t you consider that freedom? I do, but then, what is “all that jazz”? I assume that’s where the consequences come into play. Space tourism? Can’t do the space thing because of my account — it is empty.
“Fly me to the moon and let me play amongst the stars”. Fly, moon, play, and stars — it sounds like vision, longing, desperation, and desire. Actually, …
Posted by Fabian Schmid
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Lucy Davis
Editor, FOCAS
Speech at the launch of FOCAS 6: Regional Animalities, 15 July 2007.
Hello everybody, it’s so great to have such a full house; great that so many friends and supporters have turned up. I hope you will be patient with me now in my final speech as FOCAS editor. I have a whole load of thank-you’s to make. But first there are some important things I want to say about this volume, Regional Animalities: on humans and animals in art and life in Southeast Asia.
I have always believed that the strength of the FOCAS series has been that we are a publication that straddles disciplines. FOCAS seeks to situate discourses on art in the immediate concerns that face artists and cultural workers in South East Asia — both as professionals who care about their art, and also as regular people who care about the world. (This is an approach that informs my own art practice and teaching.) This is why FOCAS straddles art criticism, cultural theory, social commentary and activist voices.
And while this approach has it’s advantages …
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Audrey Wong
The issue of using animals in art was in the news, once again — specifically, the actual slaughter of a pig depicted in a video installation recently seen in Singapore (the work was by vegetarian artist Simon Birch, was exhibited at NAFA, and held in conjunction with the 2007 Singapore Arts Festival).1
Despite the artist’s claims that the video was intended to make a point about cruelty in the world today and about the way that humans treat animals — including the slaughter of animals for food — many other artists question the ethics of actually killing an animal for the video. Some artists have said, “there are more creative ways of making the same point”, and rightly so.
But the issue of killing an animal in art goes beyond the question of artistic or aesthetic judgement, it touches on more fundamental matters that affect all human beings: about values, about how we choose to live our lives, about our responsibilities towards other human and non-human lives around us, and about the impact of our actions.
The taking …
Posted by Audrey Wong
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Sharon Siddique
Speech at the launch of FOCAS 6: Regional Animalities, 15 July 2007.
I would like to thank Lucy for this opportunity to express my gratitude to all those who have contributed to the six volumes of FOCAS over the years. Some are my friends. Many are acquaintances. I am full of admiration for them all.
Having just leafed through the six FOCAS volumes lined up on my bookshelf, I must admit that I was also filled with regret. Regret that I had not allocated more of my own time to becoming more involved in FOCAS. Not because I could have contributed anything significant, but because I would have benefited so significantly.
So I am even more grateful for this evening, because I can comment as an outside–insider on the process which has produced the FOCAS volumes, particularly this latest, and I understand, this last, on REGIONAL ANIMALITIES. I would like to record my own humble judgement that these volumes will continue to be collected, read, and treasured, as one of Singapore’s most meaningful early 21st century intellectual exercises.
Having lost some of my …
Posted by Sharon Siddique
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Lee Weng Choy
Article: the SAS Companion, launched in September 2007, and published by The Substation and the Singapore Section of the International Association of Art Critics, was an experiment.
On the one hand, it is a straightforward proposition. A team of mostly young writers, together with some more experienced hands, put together a single-issue newspaper that covered a number of projects from the 2007 Singapore Art Show. Article featured interviews with SAS artists, previews and reviews, and a couple of general pieces on topics in contemporary Singapore art. On the other hand, there is more to Article than reportage of the biggest visual arts event of last year.
Let me give some background to the Singapore Art Show. Initiated in 2005, the SAS is a key part of the National Arts Council’s strategy to promote and develop visual arts. Alternating with the Singapore Biennale, the SAS focuses entirely on locally based artists, whereas the Biennale is a showcase for regional and international artists (and a select group of locals). SAS 2007 had a budget of $1 million, and opened on …
Posted by Lee Weng Choy
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Videology features five artists who each take a process-based approach to their work; in this exhibition, they use video as a way of re-thinking their practices. Videology (29 Feb to 10 March) is the first of two projects in The Substation’s Open Call Programme. Curator Urich Lau explain’s the show’s concept, and artists Claes Erik Erikson, Julie Lee, Maxine Chionh, Patricia Ho and Veliana talk about their works.
Posted by Urich Lau
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