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Session Dates

11/11 - 7pm - 9pm - Concluded
Singapore Contemporary Art
18/11 - 7pm - 9pm - Concluded
Indonesian Contemporary Art

Details

Venue
Art Plural Gallery
38 Armenian Street, Singapore 179942
Phone: +65 6636-8360
Web: http://www.artpluralgallery.com

Starts on
11/11/2014
Sessions
A 2 Talks Series

Cost
SGD 120.00 (including GST)
-or SGD 60.00 per session-

Payment
Via PayPal - Credit Card



Nanyang Talks


Southeast Asian contemporary art as a category has exploded. Access has been enabled by the proliferation of art fairs including Art Stage Singapore and Art Basel Hong Kong. Recent blockbuster shows at the Guggenheim and ZKM have increased legitimacy and visibility. Our two part series introduces the audience to the social and political history behind the SE Asian contemporary.

Singapore Contemporary Art

Famed global art curator Dr Charles Merewether, former artistic director of the Sydney Biennale and former director of the Institute of Contemporary Art Singapore, will talk about the Singapore contemporary.

Beginning with its roots in the revolt against the dominant painting mediums by The Artist Village collective, Charles will trace the influences of the current generation of Singaporean artists active in the global biennale circuit, including Ho Tzu Nyen, Charles Lim, and Ian Woo. One key theme will be the problematic role of the Singapore state in the Singapore contemporary.

Indonesia Contemporary Art

Our second talk by art historian Paul Khoo, who teaches on at School of Art, Design and Media at NTU University, will be on the Indonesian contemporary. Arguing that Indonesian art cannot be divorced from political engagement, he will trace the political and aesthetic influences on the Indonesian contemporary elite, including FX Harsono, Heri Dono, and Eko Nugroho. The influence of the seventies New Art Movement which sought to collapse the boundaries between the fine arts and life will be examined. Their aesthetic and political philosophy climaxed in the intense art activism against the Suharto New Order regime in the late nineties. What is the fate of a previously political art in this new era of art markets?