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LASALLE College of the Arts holds Singapore’s first contemporary Asian art histories conference

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6 years ago

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LASALLE College of the Arts will be hosting leading artists and academics in modern Asian art from 3 to 5 December 2018 at Singapore’s first major international conference on Southeast Asian Contemporary art histories. Art and Action: Contemporary Art and Discourse in Southeast Asia.

Co-convened by Jeffrey Say, Programme Leader, MA Asian Art Histories, and adjunct lecturer Iola Lenzi, the conference aims to advance art historical debates and will discuss the development of art practices in Southeast Asia over the last 50 years.

Highlights include an artists’ panel with prominent Southeast Asian artists such as Dr S. Chandrasekaran (Singapore), Arahmaiani (Indonesia), Yee I-Lann (Malaysia), and Imelda Cajipe-Endaya (Philippines). There will also be a Comics panel where Eisner Award-winning comic artist Sonny Liew, author of The Art of Charlie Chan Hock Chye, will be speaking about his practice.

Organised by the MA Asian Art Histories Programme at LASALLE – the first taught Masters programme in the world to focus on Asian modern and contemporary art histories – the conference coincides with the Programme’s 10th year in 2019 and is complemented by two specially curated exhibitions, Moving Pledges, curated by Lenzi, and Dissolving margins, curated by LASALLE’s Melanie Pocock. Both contemplate the role of contemporary art in society, and are on at LASALLE’s Institute of Contemporary Arts Singapore.

“This conference represents the Programme’s goal of building discourse in the relatively new field of Southeast Asian contemporary art, and to discuss themes and issues that are current in the field. What makes this conference unique is that it will be accompanied by a specially curated exhibition on Southeast Asian contemporary art to be held at LASALLE’s Institute of Contemporary Arts Singapore. Prior to attending this conference, I recommend that delegates head to the Moving Pledges and Dissolving margins exhibitions to understand the artistic practices and the theoretical articulations of Southeast Asian art,” said Say.

“Response to the conference has been overwhelming. Our open call for papers attracted interest from all over the world, with the art of nine Southeast Asian countries being represented among the different panels. This shows not only that the time is right for Southeast Asian art to come into its own as a substantial area of study, but that Singapore and LASALLE are recognised as thought leaders in the field,” said Dr S. Chandrasekaran, Head, McNally School of Fine Arts, LASALLE College of the Arts.

Art and Action will bring together leading international scholars on contemporary art discourse, including Professor Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, Professor John Clark, Professor Emeritus at The University of Sydney and leading scholar of Asian modern art, and Marian Pastor Roces, independent curator and social critic who works from a Cultural Studies background to describe structures of power. Lecturer Gilles Massot from LASALLE’s

McNally School of Fine Arts will also be presenting at the conference, along with alumni from the MA Asian Art Histories Programme.

The conference programme is structured around six thematic panels that address specific issues and discourses arising from the particularities of Southeast Asian artistic practice. By connecting visual practices through empirical observation and contextual understanding (involving a grasp of regional peoples, politics, histories, and cultures), each panel represents a different vantage point from which to advance knowledge and the writing of recent art histories.

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Old Codes New Meanings: Aspects of tradition in contemporary Southeast Asian art

The interrogation of the tradition/modern binary has remained a consistent preoccupation of the field, as underscored by Apinan Poshyananda’s 1996 exhibition Contemporary Art in Asia: Traditions/Tensions. This highlights that modernity and tradition are not antithetical in Southeast Asia. Drawing from these ideas, this panel re-examines the relevance of tradition to the study of Southeast Asian contemporary art.

During the period of nation-building, tradition was often integrated into art as a positive emblem of national identity. Given the relationship between artistic practices and social realities, how can we evaluate contemporary artists’ critical engagement with aspects of tradition, particularly when the latter have been exploited to represent nationalist ideologies?

‘Stealing’ Public Space: How Southeast Asian contemporary art engages with the city

In modernising Southeast Asia, the city has been represented either as an embodiment of progress, prosperity, and pluralism, or as a locus of moral decadence and social inequality, opposed to rural self-sufficiency and cultural ‘authenticity.’ This panel’s papers examine the ways in which contemporary art critically engages with the city, and all it represents, as res publica.

Direct Dissemination: Comics and popular media as social practice in Southeast Asia

In Southeast Asian cultures, images, gestures, narratives and audience participation are frequently conflated into a single expressive genre. Extending from the panel Public Space and Social Interventions, this session addresses a lacuna in regional art histories which have yet to analyse the significance of mass media forms as flexible creative expressions that include both visual and textual elements.

Word-play as Clue and Cue: The place of text in contemporary Southeast Asian art

In recent decades, text has appeared as a recurring component of regional art practice. In such works, locality is registered using words or characters as decorative devices, the deployment of text within the image as a counterpoint or expansion of pictorial narrative, or the use of writing to invite audience involvement. This panel’s papers explore usages and forms of textual integration in visual practices.

Not Lagging, sometimes Leading: Tracing the implications of technological parity

There is no doubt that modern art in Southeast Asia owes a debt to centuries of European representational painting. However, such a lag does not apply to photography, video and film, since these mediums were adopted in several Southeast Asian centres not long after their popularisation in Euramerica. Extending John Clark’s theory of the decentred modern, this panel’s papers explore works produced with visual technologies, including film, video, and photography.

Daring Canon: Assessing art historical narratives of Southeast Asian contemporary art

In this “Asian Century”, historiographies of twentieth-century Asian art still contend with the problematic dominance of the Euramerican canon. If one subscribes to contemporary art being informed by context, is it legitimate to look explicitly at Southeast Asian practice to discern shared formal, conceptual, and processual traits across the region?  Papers presented in this panel examine canon-making in Southeast Asia from a range of perspectives.

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Arts & Culture

Epigram Books to close SAM bookshop amid low sales and footfall

Epigram Books will shut down its bookshop at the Singapore Art Museum on 26 January 2025, citing low sales and foot traffic. The independent bookstore, known for supporting local authors, will continue to operate its online store, but its future in brick-and-mortar retail is uncertain.

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4 weeks ago

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19 September 2024

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Epigram Books, a major supporter of Singaporean literature, will close its Epigram Coffee Bookshop at the Singapore Art Museum (SAM) on 26 January 2025.

The decision comes after years of struggling with low sales and foot traffic at the Tanjong Pagar Distripark location, marking the end of the bookstore’s three-year lease.

The announcement on 19 September follows Times Bookstores’ closure of its final outlet in Holland Road, highlighting the growing challenges faced by brick-and-mortar bookstores in Singapore.

Edmund Wee, publisher at Epigram Books, expressed disappointment, stating: “We tried everything to make this work. Over the past three years, we’ve often asked ourselves, how many people even knew our bookstore existed here, let alone visited?”

Despite efforts to boost traffic, including operating shuttles to increase accessibility, the bookstore struggled to attract visitors consistently.

Epigram Coffee Bookshop, previously located at the Urban Redevelopment Authority Centre on Maxwell Road and later in a pop-up at Beach Road, relocated to SAM in May 2022 in partnership with Balestier Market Collective.

The 20-seater store featured towering shelves showcasing local and Southeast Asian titles, including books from other independent publishers like Ethos Books and Math Paper Press.

However, the location’s industrial setting, which only saw spikes in visitors during major exhibitions like Olafur Eliasson’s, limited consistent footfall.

The closure coincides with the end of Eliasson’s exhibit on 22 September 2024. Although the exhibition provided a temporary boost to the bookshop’s sales, Epigram noted that the increased traffic was short-lived.

Epigram’s future in physical retail remains uncertain. Mr Wee indicated that high rental costs make reopening a physical store unlikely: “Unless rent prices relent, it’s unlikely we’ll move into another space.”

Epigram Books has been a significant presence in Singapore’s independent book scene, promoting local authors and holding literary events.

The bookshop was also a community hub for the literary arts, hosting numerous book launches and events supporting local writers. “These spaces are special to our literary arts community. They’re where book lovers gather, where literary events and book launches happen in support of our writers,” said Mr Wee.

Despite the closure of the SAM store, Epigram will continue to operate its online store. The publisher emphasized the need for continued support from readers: “We’ve come this far with everyone’s support, and we look forward to continued support from our readers as we transition to focus on online sales.”

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Arts & Culture

2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation

The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.

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1 month ago

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3 September 2024

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The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.

This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.

Diverse and Cutting-Edge Filmmakers Dominate FPP Selections

The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.

This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.

Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.

This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.

Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.

LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.

Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.

Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.

The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.

These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.

Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.

The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.

Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.

The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.

Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.

Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.

WIP Selections: A Glimpse into the Future of Cinema

The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.

Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.

Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.

Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.

Series Selections: Imagination Meets Reality

The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.

Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.

Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.

Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.

Looking Forward to the Golden Horse FPP Event

The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.

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