HISTORIES: CONTEMPORARY TURNS IN SOUTHEAST ASIAN ART|
28 September to 24 November 2012
||Mon to Fri: 10am – 5pm|
Sat: 12 – 5pm
*Closed on Sundays and Public Holidays
||ADM Gallery 1 and 2|
School of Art, Design and Media
Nanyang Technological University
81 Nanyang Drive
|Free Admission |
Nanyang Technological University (NTU) reopens its art gallery at the School of Art, Design and Media (ADM) today with an exhibition of groundbreaking Southeast Asian contemporary artworks curated by renowned art critic and historian T.K. Sabapathy.
The grand opening exhibition, Intersecting Histories: Contemporary Turns in Southeast Asian Art celebrates the completion of a two-year renovation project, and launches ADM Gallery as the School’s outstanding new professional exhibition facility. On display until 24 November 2012 are more than 35 seminal, contemporary artworks by 28 artists from Indonesia, Malaysia, the Philippines and Singapore, such as Brenda Fajardo, Nindityo Adipurnomo, Sulaiman Esa and Tang Da Wu.
Intersecting Histories displays some of the most significant and stimulating contemporary art works created by artists in Southeast Asia. The artworks, produced between the 1970s until the present, highlight distinctive moments or turning points in the emergence and development of the contemporary in Southeast Asian Art, such as Jim Supangkat’s Ken Dedes (1975), Cheo Chai Hiang’s And Miles to Go Before I Sleep (1976) and Redza Piyadasa’s Four Propositions (1977).
The works were selected from the permanent holdings of the Singapore Art Museum, the National Art Gallery, Singapore, the National University of Singapore Museum and private collections, including Artesan Gallery + Studio, Singapore, Nadi Gallery, Jakarta, and Dr. Oei Hong Djien, Magelang, Indonesia.
The curator Mr T.K. Sabapathy said, “In this exhibition, each work is seen as vividly crystallizing a number of features; each is vital and absorbing. Works are shown as connecting with and separate from one another, along varied paths of viewing interests. Collectively the exhibition presents compelling markers of contemporary artistic histories in Southeast Asia; histories that are perceived as continuously intersecting with one another.”
A fully-illustrated catalogue will be published in conjunction with the exhibition, featuring a major essay by Mr Sabapathy that offers up new primary research on Southeast Asian contemporary art. The catalogue will also include essays penned by specialists in art history, such as Yvonne Low, Adele Tan, Seng Yu Jin, Aminudin TH Siregar, and Tan Boon Hui.