I have written the curatorial text for Kazakhstan-born, Singaporean artist Inessa Kalabekova, who has an upcoming show at the East Garden Gallery, of the Fullerton Hotel in Singapore, from March 1 to March 30, 2023.
I have visited the artist’s studio during my last trip to Singapore, and learned about her art practice that fuses collage and painting. Her new show is called “The Nature of Art”, and here the artist looks at nature through the eyes of mythology and poetry.
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Cambodian artist Pen Robit’s work constantly bounces between figuration and abstraction. In the unpredictability of his style and subjects, he shows a willingness to explore and expand his understanding of reality through his artistic practice.
“I paint to discover the world, history, and reality through colour,” he tells me from his home studio in Phnom Penh. “I don’t care if what I’m doing is seen as contemporary art or not – my approach to painting is very classical, and I constantly look for a way to connect with the history of art.”
I have interviewed the artist for Plural Art Mag
Here is the link to the interview
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Can machines create value? And do objects have meaning if there are no humans around to experience them?
These are the questions that Singapore artist Gerald Leow has been grappling with in the past few months. If you’re based in Singapore, you might have seen his latest work while walking by Marina Bay Sands. Called Perpetual Motion, it’s a series of column-like sculptures with reflective surfaces that appear to be in constant dialogue with the skyscrapers on the bay.
I have to say that Gerald is one of my favourite Singaporean artists, and I have been following his work since 2015. Plural Art Mag has just published my article on his new exhibit:
“Before you start painting, you’re a person in flux, multi-dimensional and colourful. You decide what characteristics you want to embody as a painter prior to entering the studio each day, ” says Ruben Pang from his studio in Sardinia, Italy.
I have interviewed the artist for Plural Art Mag for his new online solo show at Primo Marella Gallery.
Here is the link to the interview
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The Singapore-based webmagazine Plural Art Mag has just published an interview with artist Justin Lee and Teng Jee Hum, one half of the Teng Collection, together with June Ong.
It was beautiful to learn how their synergies came together to create a one-of-a-kind show at The Private Museum in Singapore.
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I had the privilege to write the curatorial essay for the catalog of Neapolitan artist Sergio Fermariello’s new show “Warriors” opening tomorrow, 7 February, at Richard Koh Fine Art in Singapore. The piece is titled: “Hitting God’s Head with a Hammer Until It Breaks” – a poignant metaphor courtesy of genius Fermariello himself.
As a side note, when I first started working with the art scene in Southeast Asia, back in 2012, I could only hope more and more ties would create between my native Italy and that part of the world.
It has been incredible to see how these exchanges unfolded, and even more beautiful to see Italian artists experiencing the Southeast Asian art world, that has been so open and kind to me.
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Robert Zhao Renhui
A definition of ‘artist’ according to my arts writer friend Donato is a person that is obsessed with something. However, as soon as artists become famous, you see this obsession wearing out or being somehow forced into a structure. Whereas over the years Robert Zhao has developed a team of people collaborating with him, I’d say his obsession is always there. He’s a total nature nerd, and you can feel his genuine obsession with it, paired with a strong conceptual background, which makes him in my opinion and in that of many other art critics, an incredibly powerful artist. Where you’d expect a snobbish, intellectual figure, you meet a very nice and considerate man who is really interested in sharing his passion and his work.
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Donna Ong
Part of the charm of the forest is that it is supposed to be dangerous and mysterious. In this way you can still appreciate it but in a safe way. It’s an interesting metaphor about what is happening in Singapore. In the first chapter we have already talked about the work of Donna Ong in respect to the idea of tropical nature. We looked at “The Forest Speaks Back” which explored the idea of the tropics, by conveying two different points of view: that of the colonisers, and those of natives. Donna is interested in how the narrative for nature in Singapore has changed and evolved: “I think previously there was a lot of emphasis on the Garden City, so we had tropical nature but made it into a garden. A tamed tropical garden rather than a forest.”
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Geraldine Kang
Earlier we have introduced the work of Singaporean artist and photographer Geraldine Kang. When I first came to Singapore for a month-long immersion of interviews and visits to art spaces, she was the first one among the artists I had planned to speak with. The intuition was good. Alongside allowing me to deepen my knowledge of her work, she also gave a good insight into the working conditions of the younger generation of Singaporean artists, their peculiar outlook and their experience in the art world. Geraldine was also teaching at LaSalle — we indeed meet in the school café — so she gave me a first hint of awareness of the conditions of the still-students, the yet-to-become-artists.
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Adeline Kueh
“What gets measured gets managed,” wrote Peter Drucker, the founder of modern management. And the struggle of measuring what is imponderable is one of the shapes that the contrast between bureaucracy and spirit takes shape. In this context, we have seen how there are those giving breath to a life in a country which is all about achievement and “getting there”. If this attitude of bringing home results has proved successful for the city state, artists are those who need to rebalance the machine with a ghost. To give humanity to the clog.
Artist Adeline Kueh belongs to those who are able to give shape to feelings that you can’t simply calculate on a spreadsheet. Her sensitivity is attuned to the appreciation of beauty, and she finds it in the memories, in the history of people, places and objects. I meet this pretty, tiny and brisk woman in the Lasalle cafè where she works as an art educator. Every project she starts comes from a personal place, and has memories and meaning attached to it. She looks with a romantic and poetic eye at themes which can be considered quite risqué (she loves to drop a French word here and there — perhaps from her living in Canada as a young student, perhaps from her wide-ranging readings).
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Nature in Singapore
The garden city utopia was conceived well before Singapore would reclaim this title for itself. The term was first created in 1898 by utopian thinker Ebenezer Howard. The concept of having housing outside the city, providing to each house its own garden, was made possible by the brand new railroad, which made transportation possible. Again, it was a way to go home, away from the industrial pollution. This idea was successfully implemented in Anglo-Saxon countries. In the US especially, this sort of nuclear family solution came to correspond with the American dream.
As we mentioned earlier, suburbia proved problematic not only on a social level. There are also other problems involving a shortage of horizontal space, and most importantly, the transportation which made possible the idea of garden city must today be reduced for environmental reasons. Today’s transportation calls for a different conception of the garden city, a garden city that is mainly vertical, and that is what has been implemented by Singapore. In its modern idea of the Garden City, Singapore wants to show that nature and business can be integrated. The western division between leisure and work doesn’t have to be so sharp. Business life doesn’t have to necessarily happen away from nature, and be balanced by it. This corresponds, on a wider scale, to the dismantling of the idea of work-life balance, as if work and life would be two separate entities. What is valid for the individual is valid also for the wider community. It is true that there is a place to sleep, a place to work, a place to relax, but we must keep in mind that in our mind and life the boundaries are not so strict as walls.
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Daylight dystopia
In our worse dystopian imagination, brought to fruition by filmmakers and artists, we imagine the cities of the future being an endless continuation of buildings and city lights, from the steamy Metropolis to – moving to the ‘80s – the cities of Ghost in The Shell, or Neon Tokyo from Akira. Asian mega-cities provided a good model in this respect. The urban landscape of Blade Runner for example was inspired by a particular part of Kwaloon, also known as the Walled City. This was an area of incredible density, a human anthill, picturesque and inhuman at the same time. In 1994, Kwaloon was demolished. Visitors eager to see the ruins of this mythical place will instead find a park with gardens, floral walks, ponds and pavilions. The future was not as we imagined, if not only for the lack of flying cars which many of us lamented, but also because it doesn’t look as evil as we thought. Then came the daylight dystopia. As a child, I remember approaching this slightly less suffocating concept in the Disney PK comics. This was a superhero series of Donald Duck set in a futuristic future. In a particular episode, PK travelled to the future to find that instead of the tower he operated from – the Ducklair tower created by a tech genius – there was a garden. Our beloved flying cars came in handy in that comic in order to reach the heights of that vertical city, whose buildings have gardens on top, another idea which is being implemented in the green architectural world. An idea that has been developed by many architectural firms reimagining the future of the urban landscape as we will see. The palaces of the old city will be pillars, or comprised into other buildings, and of course we have plenty of examples of this as well. The final look of this city is a green aspirational environment which will preserve history and won’t look as dingy and ugly as we imagined dystopian cities to be.
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Naima Morelli is an arts writer and journalist specialized in contemporary art from Asia-Pacific and the MENA region.
She has written for the Financial Times, Al-Jazeera, The Art Newspaper, ArtAsiaPacific, Internazionale and Il Manifesto, among others, and she is a regular contributor to Plural Art Mag, Middle East Monitor and Middle East Eye as well as writing curatorial texts for galleries.
She is the author of three books on Southeast Asian contemporary art.
Reach out: contact [at] naimamorelli.com
