Talent, creativity and innovation. Fashion and art come together once again this season at La Roca Village in a blaze of colour and light to convey the essenceOn March 16, 2017 / By Nookmag
Talent, creativity and innovation. Fashion and art come together once again this season at La Roca Village in a blaze of colour and light to convey the essence of spring. The artistic movement Cracking Art presents its first exhibition in Spain, at the invitation of the Barcelona Designers’ Collective by La Roca Village. From 1 March to 31 May, La Roca Village will host a surprising and multicoloured invasion of 40 large artworks of snails, rabbits, swallows and frogs created out of plastic, a material chosen by Cracking Art for its capacity to be recast and reused repeatedly. The exhibit will be on display in the Village throughout spring.
The Cracking Art movement currently has more than 400 artistic ‘invasions’ of large-format animal sculptures worldwide, including Bangkok, Moscow, Sydney, Shanghai, Hanoi, Tel Aviv, New York, Paris, Brussels and Milan, among other cities. This initiative for La Roca Village is part of its tradition of creating extraordinary experiences linked to talent, creativity, innovation and sustainability, through the Barcelona Designers’ Collective.
Recognised internationally for its urban installations, Cracking Art was born in 1993 with the aim of radically changing art through the revolutionary use of plastic materials. The artistic movement has, through their exhibitions, demonstrated a social and environmental commitment to bringing art closer to the public while creating a relationship between the natural and artificial reality.
Barcelona Designers’ Collective by La Roca Village
The Barcelona Designers’ Collective by La Roca Village has evolved to become an international platform for the discovery, promotion and sustainment of talent and creativity through innovation and sustainability. The invitation to the Cracking Art movement to visit Spain and exhibit at La Roca Village is the first of several initiative that guests will discover in the Village. Throughout the year, the Barcelona Designers’ Collective will host various initiatives to foster a dialogue between fashion and the different creative disciplines, helping to position Barcelona as a meeting point of national and international talent.
i Light Marina Bay 2017 opened this evening with 20 sustainable light art installations illuminating the Marina Bay waterfront in a colourful showcase. Organised by the Urban RedevelopmentOn March 13, 2017 / By Nookmag
i Light Marina Bay 2017 opened this evening with 20 sustainable light art installations illuminating the Marina Bay waterfront in a colourful showcase. Organised by the Urban Redevelopment Authority (URA), the fifth edition of Asia’s leading sustainable light art festival, which will run until 26 March 2017, promises an experience not to be missed with the introduction of three complementary festival hubs, as well as community partners coming on board to champion the festival’s sustainability cause in different ways.
Community in unity for sustainability
This year, artists from nine countries, including Singapore, are presenting sustainable light art installations anchored on the theme ‘Light & Nature’. Created with environmentally-friendly or energy-saving lighting, the installations highlight the importance of sustainability and reinforce Marina Bay’s position as a sustainable precinct.
Marking the official opening of the festival is Ocean Pavilion, a light art installation designed by Luke Jerram from the United Kingdom. Measuring up to 8.5m in height, the upcycled dome-shaped structures are made of more than 25,000 re-purposed plastic water bottles and illuminated by energy-efficient LED lighting. The installation was put together by more than 300 members of the community – including students from 11 local institutions – over three weeks, during which the bottles were attached onto structural sheets and assembled into the final artwork.
Besides Ocean Pavilion, local students were also involved in the creation of five other light art installations showcased at this year’s festival. This year’s festival also saw the highest participation from local educational institutions – with students from the LASALLE College of the Arts, Nanyang Polytechnic, National University of Singapore, Raffles College of Higher Education and Singapore University of Technology and Design presenting artworks.
Beyond the light art installations, the support for the sustainability cause was expressed through more tangible means by the business community around and beyond Marina Bay to reduce energy consumption throughout the festival. This year, a record number of 79 building owners and organisations have pledged their support for the ‘Switch Off, Turn Up’ campaign by switching off non-essential lighting and turning up air-conditioning temperatures throughout the festival period. The energy saved from this festival tradition will offset the power consumption of the light art installations at the festival.
Mr Jason Chen, Festival Director and Director (Place Management) of URA, said, “The festival has grown beyond a showcase of sustainable light art installations. It is also a platform for active involvement of the community and partners to drive the sustainability cause in various ways. It is encouraging to see more partners getting involved in the festival and supporting its cause, making it a festival for the community and by the community.”
Sensory experience to learn about sustainability
Beyond a visual treat of light art installations, i Light Marina Bay 2017 also features a variety of sustainability-centric programmes organised by festival partners to provide a sensory and interactive experience for the public.
Championing the vision of a sustainable tomorrow and to provide a meeting place for advocates, interest groups and communities of sustainable living, The RICE Company Ltd and Global Cultural Alliance Ltd are presenting one of this year’s three new festival hubs – The Fantastical World of eco.me. From 3 to 5 March and 9 to 12 March at The Promontory, festival-goers can look forward to a recycling and upcycling marketplace, an urban garden, a learning yard, a kinetic energy playground, as well as other activities such as immersive performances, music and a host of upcycling and green activities within these spaces.
On the opposite side of Marina Bay, another festival hub, Art-Zoo – created by Mr Jackson Tan, Creative Director of local multi-disciplinary agency BLACK – will teach children and families about wildlife and creating a sustainable world through a visual adventure, with 11 giant animal and plant inflatables set in an imaginative play-garden at The Float @ Marina Bay. Ticketing details on Art-Zoo can be found here.
Festival artists and industry practitioners will also be returning to discuss the topic of sustainability at the i Light Symposium. Themed ‘Social-Light’, the symposium will address ways in which light can be expressed and employed in various social situations and how light can play an integral role in community building and place-making. Speaking at the symposium are festival artists Dr Chong Keng Hua and Ms Kang Fong Ing, partners at COLOURS: Collectively Ours, as well as industry practitioners, Mr Yusuke Hattori, Associate Director and Lighting Designer from Lighting Planners Association and Ms Toh Yah Li, Principal of Light Collab.
i Light Marina Bay 2017 will be on from now to 26 March. The 20 light art installations will be on display from 7.30pm to 11pm daily with an extension to 12.00mn on Fridays and Saturdays, around the Marina Bay waterfront.
The National Library has partnered with the Bodleian Libraries of the University of Oxford, to showcase Shakespeare’s First Folio for the first time in Singapore. This will beOn March 12, 2017 / By Nookmag
The National Library has partnered with the Bodleian Libraries of the University of Oxford, to showcase Shakespeare’s First Folio for the first time in Singapore. This will be held from now to 23 April at the Level 10 Gallery of the National Library Building.
The exhibition is titled “Shakespeare in Print: The First Folio”. The First Folio is the first printed anthology of 36 of William Shakespeare’s plays, many of which had never been printed before it was published as a folio in 1623.
Through this exhibit, visitors can learn more about Shakespeare’s works, life and times, and the significance of the First Folio as a rare literary artefact, without which many important works such as Macbeth and Julius Caesar may have been lost to us today. The showcase will also highlight selected theatre adaptations of Shakespeare’s works in Singapore and Asia, as well as their significance and influence on literature and other art forms across the world.
There will be a full digital version of the First Folio available for browsing through the 950 folio pages. Alongside this exhibition, Jurong Regional Library, Marine Parade Public Library and [email protected] will host “#Shakespeare”, a display that turns stories from Shakespeare’s plays into tweets by key characters from plays such as Romeo and Juliet, Julius Caesar, A Midsummer Night’s Dream, and Hamlet.
Visitors can also look forward to a public talk by Mr Richard Ovenden, Bodley’s Librarian, and Professor Rhodri Lewis of the Faculty of English Language & Literature, the University of Oxford, on Sunday, 26 March 2017. They will discuss the history of the Bodleian Libraries’ two copies of the First Folio and, using Hamlet as a guide, explain how the First Folio helps us understand Shakespeare’s works. Students can participate in a free workshop on Shakespeare’s literature and theatredesigned for them.
Interesting Facts about Shakespeare’s First Folio
William Shakespeare is a great literary icon. The 400th anniversary of his death was widely commemorated in 2016. Generations of students in Singapore would have studied his works, and this collaboration with the Bodleian Libraries will allow members of the public to view this rare publication.
How do we know of Shakespeare’s plays? The answer is one book: the 1623 First Folio. Without it, 18 plays, including Macbeth and The Tempest, might have been lost.
Seven years after Shakespeare’s death, the First Folio was compiled by his friends and colleagues in the King’s Men theatre company, John Heminges and Henry Condell. Almost all his plays were collated in a folio edition and the First Folio is the earliest folio consisting of a single author’s plays.
The First Folio groups the plays into comedies, histories, and tragedies – an editorial decision that has shaped our idea of the Shakespearean canon. It includes the well-known Droeshout portrait of Shakespeare, which is significant as it has often been used as a standard for comparison for other depictions of Shakespeare.
More importantly, the First Folio preserves 18 of Shakespeare’s plays that had never been published before: All’s Well That Ends Well, Antony and Cleopatra, As You Like It, Comedy of Errors, Coriolanus, Cymbeline, 1 Henry VI, Henry VIII, Julius Caesar, King John, Macbeth, Measure for Measure, The Taming of the Shrew, The Tempest, Timon of Athens, Twelfth Night, Two Gentlemen of Verona and The Winter’s Tale.
It is believed by researchers that 750 or fewer copies of the First Folio were printed and an estimated 230 copies have survived today.
“Shakespeare in Print: The First Folio” will be on view in the National Library, Level 10 Gallery, National Library Building from now to 23 April.
There’s no other music festival that can rock out the crowd more than the St. Jerome’s Laneway Festival. On the 21 January, the Laneway Festival returned for itsOn March 9, 2017 / By Jochebel Khong
There’s no other music festival that can rock out the crowd more than the St. Jerome’s Laneway Festival. On the 21 January, the Laneway Festival returned for its seventh edition at Gardens by the Bay, with a stellar selection to indie music.
The line-up carried many firsts for the long-running indie festival, including inviting versatile rapper Mick Jenkins to the party to add some hip-hop element into the mix, and Singapore singer-songwriter Sam Rui adding a streak of R&B to indie.
Even as it started pouring, the morale of the crowd was not getting lower. Partygoers were seen in funky raincoats, having a warm bowl of ramen, and some were even playing badminton. Yes, in the rain.
For the very first time, Kult is presenting its latest magazine issue, TOYS, in conjunction with its gallery show titled Choking Hazard: An exhibition about toys. The magazineOn March 7, 2017 / By Nookmag
For the very first time, Kult is presenting its latest magazine issue, TOYS, in conjunction with its gallery show titled Choking Hazard: An exhibition about toys. The magazine is currently available for sale.
The world of toys has always been a hotbed of controversies regarding issues such as mass production, consumerism, and even gender. The decision to link the themes of both the gallery show and magazine was an attempt to present these conversations through the full spectrum of visual culture.
Over 80 percent of the 50 contributing artists have never been featured in Kult and were scouted through social media, local art markets and word-of-mouth. While some are fresh faces to the scene – The C Project (SG), Sean Bernhardt (USA), .G/FK/DS (PH) – this issue also sees work from seasoned creatives like art collective The Terror Troopers (SG), illustrator Ash Schmitt (AUS), and toy maker Anatoy (KR).
Last month, Tell Your Children celebrated three years of creative projects, illustrations and autonomy. Highly esteemed for its signature style of illustration and mad skills, the collective hasOn February 28, 2017 / By Gracie
Last month, Tell Your Children celebrated three years of creative projects, illustrations and autonomy. Highly esteemed for its signature style of illustration and mad skills, the collective has captivated audiences with its art pieces on countless of prominent lifestyle initiatives and events. As its name suggests, Tell Your Children is one good news worth passing down to the next generation.
In collaboration with Converse, we visited the collective at their studio, where creative vibes bounce off the walls and ideas that bear no boundaries are cultivated. The well-grounded team – made up of Deon, Kevin, Lydia and Russell – is an ideal representative of the story behind the Chuck Family, the backbone of Converse’s campaign this season.
We stole a chat with the collective in the sequence of the Chuck Family story, which is broken down into four parts – The Beginning (embodied by the Chuck Taylor All Star), The Throwback (embodied by the Chuck ’70), The Sequel (embodied by the Chuck II) and The Evolution (embodied by the Chuck Modern).
Nookmag (N): Happy 3 years old! Behind every collective is a foundation that sparks off an exciting journey – a creative one in your case. Tell us how Tell Your Children was established. What was the foundation that brought everyone together?
Deon (D): We met while studying illustration at Temasek Poly. I guess the foundation is our common interest in music, street fashion and inspirations. That really laid a common ground for us to build something. We started Tell Your Children in 2014, right before I ended National Service.
Russell and I were really close as we were classmates and we’ve always wanted to start something together. This idea didn’t take off until I was in National Service. We met Lydia at a mutual friend’s party and threw this idea out – why don’t we do this together. Kevin joined in after that. Being in the army also strengthened the mission of being our own boss because I didn’t enjoy the regimentation and having to answer to authority in the army. That really sparked off this journey.
N: What are the strengths that each of you bring to the table?
Russell (R): I bring the good looks to the table. (Everyone erupts in laughter) I think we have our unique strengths. Deon is really good in being the PR guy; he’s really good in dealing with the clients and collaborators, and getting our name out to people. Kevin is good at tying things up backend, taking care of our finances. Lydia’s good at her creative direction and her draftsmanship. She does really dope murals and illustrations.
D: Russell is good at drawings. He comes out with sketches and very crazy stuff that I don’t think a lot of people can do. I guess he has some humour at times. We complement each other.
R: As individuals, we’re good at our own art styles.
N: With your individual styles, how do you come together to come up with the signature look of Tell Your Children?
Lydia (L): We had problems trying to put our stuff together in the beginning. There was a lot of back and forth. It’s a matter of time and experience that we form a certain style, but still kept individual styles.
D: We’re still looking to develop that. There are four individual styles, so we’re trying not to outshine each other but build each other up.
N: Your ethos – a cultural phenomenon that strives for creative excellence together against the status quo – has clearly set the standard for the team. What was the status quo in the creative scene 3 years ago when you started? What was the gap that TYC was trying to fill in the scene?
Kevin (K): For me, the status quo has always been the same old thing – you graduate from school, spend the next three years in an ad agency, work yourself up the ladder, probably hope to win some awards along the way and maybe you become art director or something. That’s always been the status quo, even for the more seasoned professionals in the design industry. I think what it means for us is that we want to strive for bigger things. It doesn’t mean you have to be in an ad agency to do big projects.
D: Even though we’re branded as an illustration collective, I think we want to fill the gap for youths and brands. When we started, there weren’t really any peers and young people that we could look up to that had the same interest as we did. It was hard to find creative studios that we could connect with. We try to organise and create events for people who have similar taste as us and keep that whole creative community growing. I think that’s what we’re trying to do with the gap while trying to set new boundaries overseas and cross new borders. Since we’re in this age of social media, it’s really easy to connect with people. At least we’re setting a bar that younger or new creatives can look at and know that it’s possible for them to do it. I hope we’re successful in trying to fill that gap.
N: What other shared values does the collective believe in?
D: I think we’re on the same page about wanting to do what we love with the people that we love. We’re community-driven. We have a good camaraderie, and so we can trust each other to have our backs. When anything happens, we know we have support from everyone else in the team. Personally, it’s comforting.
R: I think it’s also putting out works that we want to see. These are works that you don’t usually see in Singapore as we’re trying to do something different, but not to the extent of winning awards and stuff.
N: What are some of the most memorable and noteworthy works that are close to your heart?
K: Personally, I don’t like to look at what we’ve done. What we’ve done is already in the past and if you keep looking at the past and harping on it, you don’t have space in your mind to look at future things.
D: For me, there are a few projects that I would look back as milestones that presented us at different stages. One would be the first show that we did in 2014. The other would be our US tour end of 2015. There are definitely more, but these two are the ones that stand out more than others. The first one introduced us to the creative industry in Singapore and the second one introduced us overseas. At the end of the day, we feel that while Singapore is growing (in the arts), we should compare ourselves on the global scale. That’s how we normally set our benchmark. The US trip was a fun seven weeks on the road – very interesting and memorable experience. It helped us to grow and bond closer together.
N: Who/what are some of your influences and inspirations?
D: One of our biggest influences right now is The Madbury Club. They are a collective quite similar to us but bigger. They’re based in New York, Brooklyn. When we went for our US tour, we managed to link up and painted a mural in their studio. We’re constantly finding inspirations outside of illustration. We have this group chat where we’re always sending inspirations to each other.
R: I feel like the collective inspirations stems from the individual inspirations and influences. We’re always sharing our individual inspirations.
K: Ultimately, the individual makes up the collective and not the other way round.
N: Do you take past work/concept as inspiration?
R: I think we take them more as a learning point.
L: Yes, how can we do better and what we did wrong.
N: How do you think the creative scene has transformed since you started?
K: I think it’s a question that shouldn’t be aimed at us but at the people because we’re always neck-deep in the work. We’re doing the work. It’s hard to tell the ramifications of what we’ve done. You got to ask people from the outside. It’s hard for us to answer. I can only hope it’s good.
D: At the end of the day, we’re just trying to create events that we think people would enjoy or what we want to see or what we see is lacking. Based on our previous couple of exhibitions, I think the turnout is quite surprising. I hope it’s been fun for people who participated.
N: In what ways has the collective grown?
D: I think we have grown in the sense that we have learnt to work as a group. It’s actually quite difficult for small collectives to last three years without any major conflicts. Over the years, we have learnt how to manage each other’s expectations and feelings, and have that open channel of communication that only comes after working with each other long enough. We’re still growing and learning how to achieve our goals together. We don’t try to overshadow each other. We’re working together to build something from scratch.
N: What are the challenges you face and how do you combat them?
D: Like what we mentioned before, one of the challenges is to create an environment where everyone is comfortable with each other. It’s important to always enforce that we’re all in this together. It’s about communicating and not bottling up our thoughts. Most problems can easily be prevented with communication.
R: In terms of external challenges, we try to be objective about our clients’ needs and stuff like that. When it comes to a point where people are asking for too much, it’s time we put our foot down and explain to them why our way is the best way. If they have a better suggestion, we’re open to dialogue.
K: It’s a lot about educating the clients as well. They don’t come from a creative background but we do. Maybe they don’t see our perspective and we don’t see theirs. It’s about coming to an agreement to find the best solution.
N: One of TYC’s recent highlights was Trashold, where you collaborated with contemptcreations to marry art and fashion together. How did that breakthrough came about? Will there be more of such initiatives?
R: I’ve always had an interest on customising clothes and the things that I wear. It was a natural progression and it was also because we knew Jackie from contemptcreations. One day we approached her to ask if she was interested to do a project about customising jackets. It was quite hectic in scheduling and finalising the whole show. It paid off quite well. It showed that people had an interest in the stuff that we do, even on a different medium.
We’re constantly thinking about projects we can do that will have an interest to us. It’s also about managing the finances to put into this project.
K: We always want to one up ourselves. That’s a benchmark and we constantly have to think of how to top ourselves.
N: Speaking about fashion, tell us more about your dress sense and how Converse fits in with your style?
D: I think Russell and I are quite similar. We like the easy-to-wear stuff – simple shirt, pants and cap on a normal day. Converse is very versatile and easy to match. We prefer high cut most of the time.
K: I like the comfort of Converse shoes. I like how blank it is. Being blank is a strength, you don’t complicate things.
R: That’s what I like about Converse. It’s a go-to shoe that you can wear on any occasion. You don’t have to think so much about it. They’re not trying too hard to push different silhouettes. They’re just going back to the classics. I think that’s what makes Converse cool.
L: Classic shoes, fits any outfits.
N: How does the future look for Tell Your Children?
D: Right now, as a collective, I guess we’ll be focusing on building our presence overseas. Our future will have a lot of travelling and a lot of getting to know more people in the global creative industry. Hopefully, we secure more jobs as we go along. Right now, the future is quite uncertain especially since the start of this year. It’s very hard to predict the market. We’re all being optimistic.
L: We’re way better than we were the last few years. We have more precise plans and goals now than the past. Goals-wise, we’re more certain of what we want to achieve. We know what we want and who we want to reach out to.
N: Any plans for another overseas tour?
D: Yes, next month to Hong Kong, Shanghai, Beijing… We’re trying to focus on Asia. We already have a list of people, agencies, F&B places that we can create content with. We just did a visual for Little Bao in Hong Kong. We’re going to link up again and see what we can do together. Sounds pretty fun. At the end of the year, we’re planning to do a big trip but we’ll have to clear this Asia trip first. Taking one step at a time. If we can make the year-end trip work, I think it’ll be pretty sick.
N: How do you constantly keep things fresh while maintaining your signature style in your creative works?
R: Like what we said previously, we try to outdo the previous job.
D: There are four of us and we have very different inspirations and influences. We try to keep on top of things about what’s going on. We share them around. It’s one of our main focuses to stay relevant, so we’re always trying to find things that will resonate with people nowadays.
K: Personally, I feel it isn’t about staying fresh but staying true to ourselves because nobody can be fresher than you are. Nobody is you. Same way, you can’t always be fresher than others if you’re always trying to look outwards.
N: Looking ahead, how do you hope to inspire the next generation?
D: We don’t really set out to be inspiring. We just want to keep doing what we’re doing by putting out good works and engaging the younger creative community. We’re also trying to make a name for ourselves.
L: We do hope that the younger generation are inspired by our works.
D: We try to make it a point to give talks and reach out to people who are trying to start something themselves. We got one of our friends to help us paint as she was trying to learn about murals and stuff. We make it an effort to engage with the younger crowd.
Check out the full details of the four key models that make up the Chuck Family.
Conversation seeks out inspiring individuals who possess a creative spirit and brim with passion. It offers an insight into the lives of these individuals and the things that drives them. This edition is proudly sponsored by Converse.
Photo Credits: Chee BP
Unveiling a new realm of music exploration on this side of the world, boutique brand Figure8 Agency, introduces a stellar lineup of the latest and most intriguing artistsOn February 28, 2017 / By Nookmag
Unveiling a new realm of music exploration on this side of the world, boutique brand Figure8 Agency, introduces a stellar lineup of the latest and most intriguing artists out of France. There has been an explosion of captivating musical movements in recent times spanning the modern pop chanson of 1960s (The yéyés) through the coldwave of the 1980s and the more recent foray into the French electronic scene and French rap. Curating a fine selection of substantial artists, Figure8 present a series of concerts for music lovers worth checking out.
La Femme– Celebrating The Woman
Leading the pack on 7th March is La Femme. Contrary to having a name which translates to “The Woman” in French, the band is made up of 5 males and 1 leading lady. Touted as the “future of French rock”, the band was chosen by Red Hot Chili Peppers to support them during their 2016 European tour. Inspired by a love of retro sounds through Gene Vincent, The Velvet Underground and Kraftwerk, La Femme has emerged with a grim- meets-glam genre of its own; like a new-wave rave filtered through The Ventures’ back catalogue. They’ve cultivated a unique style for themselves which takes influence from broad range of the vintages – particularly 80s synth wave, nuvo-surf; 60s pop and glam rock.
No sooner had their debut album launch in 2013, did it hit No.1 in the French digital charts making La Femme the next best IT group overnight. The band have premiered at festivals such as Glastonbury, The Great Escape, Primavera Sound, SXSW, Clockenflap and more. They have been generously praised from the likes of Jacques Audiard and Romain Gavras, to legends Jean Michel Jarre and Hedi Slimane. The latter whom used La Femme’s version of Oh Baby Doll in a Saint Laurent campaign featuring Cara Delevingne.
Celebrating the female strength and spirit, up and coming Singaporean noir pop duo, TOMGIRL will open the night. Inspired by classic film noir thrillers, motorbike ganglands and insidious femme fatales, the band prepare to showcase its deadly assault of heavy guitar riffs, pounding drumbeats and fuzzy bass lines while primming the stage at SCAPE for the French krautrock and psych-punk band. Fans of Ladytron, Stereolab, The Cure and Siouxsie, and the Banshees will definitely be in for a treat.
Rising to stardom, La Femme earned a Best new album in 2014 at Victoires de la Musique. The September 2016 release of their album “Mystere”, has also earned them another nomination for Best Rock Album for Victoires in 2017. Many are expecting them to rise to the ranks alongside legendary French musicians Air, Daft Punk, Phoenix and Justice.
“We are excited to bring La Femme to Singapore for the first time. They are the synthesis of everything we’ve loved for the past 50 years in the pop & rock genre in France. Ever since 2014, Figure8 is passionate about bringing in the best of France’s vibrant and expanding music scene. We aim to expand the reach and appreciation of music across genres and nationalities. Following this first 2017 gig, Figure8 will continue to bring the best of the French Touch from electronic acts to pop and folk. What better way to start than with the very diverse and trendsetting culture brewing in Singapore.”, Says Dany Inthaxoum, Director of Figure8 Agency.
About The Concert
7 March, SCAPE The Ground Theatre
2 Orchard Link #04-01
Indigo Child & Design Says Hello collaborate to showcase the works of local designers who have worked on music projects and artworks in Singapore. D# (pronounced D Sharp)On February 27, 2017 / By Nookmag
Indigo Child & Design Says Hello collaborate to showcase the works of local designers who have worked on music projects and artworks in Singapore. D# (pronounced D Sharp) is a platform that serves as a visual presentation of Singapore’s talented designers in the music industry with the intention to create a deeper conversation on the importance and role of design in the process of artist branding and development.
“In recent years, we’ve seen Singapore music grow to be one that is vibrant, full of individualism and improvisation. As the spotlight shines on our current musicians and artists, we hope that D# will impress upon the importance of design and amplify the works of our talented designers here in Singapore.” – Daniaal Adam of Indigo Child
“The core of what we do at Design Says Hello has always been about providing a platform for meaningful conversations about the value of design in Singapore. D# is part of a larger vision showcasing the many roles that design plays across the creative industry in Singapore.” – N. Ziqq of Design Says Hello
The exhibition will be held on the rooftop of the National Design Centre from 6 – 8 March, in conjunction with Singapore Design Week. It will showcase the brilliant works of local designers and artists such as Dawn Ang (Aeropalmics), LeMatt, Marc Gabriel
Loh, Linying & The Super System. The event on 6 March will start at 6pm and will feature performances by [.gif] & Intriguant. There will also be a feature film sharing of all the designers & artists involved in the exhibition.
Piloted by the National Arts Council in 2012, the Community Arts and Culture Nodes initiative aims to enrich communities through regular and accessible arts programmes across neighbourhood island-wide.On February 22, 2017 / By Nookmag
Piloted by the National Arts Council in 2012, the Community Arts and Culture Nodes initiative aims to enrich communities through regular and accessible arts programmes across neighbourhood island-wide. NAC has partnered likeminded organisations such as the National Library Board, People’s Association and most recently, SAFRA, to co-develop quality arts programmes to engage the communities they serve.
Coming on board as the 15th Node this year is SAFRA’s newest clubhouse – SAFRA Punggol. It will form part of the [email protected] programmes held across the Jurong, Mount Faber and Toa Payoh SAFRA clubhouses, offering performances, workshops and interactive installations.
Ms Kris Ho, Deputy Chief Executive Officer (Operations), SAFRA, commented: “We see the arts as a very dynamic avenue where we can encourage more interesting and meaningful interactions among the NSmen community and their families. Hence, we’ll have many more programmes at our clubs this year that promote active participation in various genres of art like interactive, performing, and visual arts. We are certainly looking at having more workshops conducted by well-known artists to engage and benefit SAFRA members and also ground-up initiatives where NSmen can showcase their creative talents, creating a vibrant arts scene within our clubs.”
Since the first three nodes were set up in Siglap South and Kallang Community Clubs and Woodlands Regional Library, approximately 1,000 arts programmes have taken place over the last five years, at the steadily increasing network of nodes.
To engage residents meaningfully, Node programmes are spread across art forms, offering platforms for both young and old to pursue their areas of interest. Said Woodlands resident William Tan, “These community arts programmes liven up the entire precinct – adults and kids alike enjoy it. My 10-year-old son loves the Art Fresco drama programme at the Woodlands Regional Library node. The programme instils a sense of confidence in our kids and teaches vital soft skills in bringing out the potential in our next generation.”
For the month of February, the public can look forward to a taster for some of the year- long arts programmes from now to 26 February, showcasing 25 exciting arts experiences ranging from music and dance performances, visual art installations to hands-on workshops at 15 different nodes island-wide.
Some of the key highlights include Shadow. Art. Play! by Isabelle Desjeux at SAFRA Toa Payoh (an interactive experiential installation exploring the work of shadowplay), Shakespeare & the Navarasas by Subin Subaiah, Gerald Chew and Krissy Jesudason at Siglap South CC (a journey through the nine basic human emotions through the words of Shakespeare himself), The Rainbow Toymaker by Cake Theatrical Productions at My Community @ Queenstown (a theatre performance featuring Singapore’s best-loved retro games such as Five Stones and Pick Up Sticks) and Drumming & Dancing in the City by NADI Singapura and The Royal Dance Off at Mapletree Business City.
One of the performances, The Rainbow Toymaker, is a dynamic interplay of music, costumes and larger-than-life props that will be presented by the community and outreach arm of home-grown theatre company Cake Theatrical Productions, Sweet Tooth. Said Artistic Director Natalie Hennedige, “We are happy to bring The Rainbow Toymaker into community spaces. Our aim is to reach out and offer performances to one and all, and bring the arts to the people. The Community Arts and Culture Nodes initiative gives us the opportunity to engage with the community.”
“We’re excited to showcase our island-wide nodes and the diversity of arts programmes they have in store for the year ahead,” said Ms Chua Ai Liang, Director of Arts & Communities, National Arts Council. “Whether you already enjoy the arts, or are new to it, the growing Node network makes it easier for anyone to enjoy and participate in quality arts experiences.”
“World War II has brought out one class of people, a generation that has resilience and has been able to overcome all odds. That was actually the goodOn February 17, 2017 / By Nookmag
“World War II has brought out one class of people, a generation that has resilience and has been able to overcome all odds. That was actually the good part of the war.”
– Ms Mary Magdeline Pereira, 75, War Survivor
75 years ago, on 15 February 1942, Singapore fell to the Japanese, and with it descended a period in our history known as the Japanese Occupation of Singapore. Much has been documented about the hardships and atrocities of World War II. But to a generation of young Singaporeans today, these are but tales told through their history books. Hence, the stories of war survivors and veterans such as Ms Mary Magdeline Pereira, are that much more necessary and powerful. Amidst the gloom and darkness of the war, these stories of hope and resilience shine through, providing insights into the tenacity and unity of our forefathers during the tumultuous war years.
The National Heritage Board (NHB) commemorates the 75th anniversary of the Fall of Singapore with various initiatives across the year, starting with the annual Battle for Singapore commemorative event. From 16 February to 12 March 2017, members of the public can join in a series of guided tours, a public talk, and offerings at the various Museum Roundtable (MR) museums to learn more about the events leading up to the Fall of Singapore, and stories of the Japanese Occupation. These programmes and activities have been organised together with community partners, MR museums, and heritage experts.
Ms Angelita Teo, Director of the Museum Roundtable division at NHB, said, “The commemoration of the Fall of Singapore every February sees people of all nationalities, and walks of life, gather to remember those who gave their lives during the war. It is a time of sadness and reflection, but more than that, it echoes the strength and unity of human kind, just as it was 75 years ago. The various tours and programmes of Battle for Singapore 2017, done in partnership with war veterans, heritage experts, and everyday Singaporeans, celebrates this very spirit of togetherness, and the poignant stories of survival and courage. These shared memories are an invaluable part of our intangible heritage, and must be passed down through the generations.”
Battle for Singapore 2017 Series of Programmes
For the Battle for Singapore 2017, which runs from 16 February to 12 March 2017, NHB will be offering 49 tour runs to 11 World War II-related sites and structures in Singapore. These include tours to the old Command House; key military installations constructed by the British such as Labrador battery, Gillman Barracks and Alexandra Barracks; and a night tour of Pasir Panjang. The public can also enjoy four new tours this year, allowing them to discover more aspects and stories of World War II. They are:
MR museums have also come on board with special programmes for the Battle for Singapore commemorative event. One highlight is the re-opening of the Former Ford Factory, a National Monument, which has been closed for a year-long revamp. Set to reopen to the public on 16 February 2017, the new exhibition gallery will feature never-been-seen-before archival materials, as well as interactives that will tell a more compelling and immersive account of a significant period in Singapore’s history, including the legacies of war.
In addition, the Army Museum will be organising a special exhibition – Celebrating 50 Years of National Service, while the Eurasian Heritage Centre will provide greater insights on what the Eurasian community went through during these tumultuous years through guided tours of the centre by members of the Eurasian Association, and a talk by war survivors. Please refer to Annex B for details on these special programmes.
Members of the public may visit www.museums.com.sg for more information, and to sign-up for the Battle for Singapore 2017 programmes. Sign-up begins 6 February 2017, at 10.00am, and slots on the tours will be allocated on a first-come first-serve basis.
Upcoming War World II Exhibition at the National Museum of Singapore
Also in commemoration of the 75th anniversary of the Fall of Singapore, the National Museum of Singapore will launch a major, blockbuster international exhibition, titled 1942: The Fall of More than Singapore (working title), from September 2017 to February 2018. The exhibition will be centred on the Fall of Singapore in 1942, exploring the fall – and its impact on people’s lives – in a regional context and through the lens of lesser-known, personal stories about people’s wartime experiences. The National Museum will be collaborating with other international museums and partners to present this exhibition, which will see a range of artefacts from both overseas museums as well as the National Collection being displayed. More information on the exhibition will be provided closer to date.
In addition, NHB will also be releasing on its heritage portal, Roots.sg, and social media platforms, articles, photo essays and videos in commemoration of the 75th anniversary of the Fall of Singapore. These include a collaboration with photographer Nicky Loh on a photo essay of war survivors, including amongst them Ms Mary Magdeline Pereira. World War II stories depicting the lesser known aspects of the Japanese Occupation will also be available for reading and use by educators and parents looking to share more with their young ones on this milestone chapter in Singapore’s history.
Ask any Singaporean, and most would agree that Tekka Market is synonymous with Little India. But few would know that the name “Tekka”, or “Zhujiao (竹脚)” in Mandarin,On February 6, 2017 / By Nookmag
Ask any Singaporean, and most would agree that Tekka Market is synonymous with Little India. But few would know that the name “Tekka”, or “Zhujiao (竹脚)” in Mandarin, actually has Chinese origins. When translated, it means “bamboo clumps”, alluding to the bamboo that once grew along Rochor Canal. Few would also know that Little India, unlike its sister precincts of Chinatown and Kampong Gelam, was never intended by Sir Stamford Raffles to be an area designated for Singapore’s Indian community. Instead, it developed its identity organically over the years, establishing itself as a melting pot of diverse communities and cultures, all of which have co-existed since the precinct’s early beginnings. These lesser known facts of Little India will be made available and accessible to Singaporeans and visitors through the Little India Heritage Trail, the newest heritage trail by the National Heritage Board (NHB).
Enhanced Heritage Trail Experience with New Trail Offerings
The Little India Heritage Trail is NHB’s 16th heritage trail. It features over 40 heritage sites with 18 heritage markers across four kilometres, detailing the history of the over 200-year-old precinct. Aside from the staple heritage trail offerings of heritage markers, a trail brochure, and maps in four languages (English, Mandarin, Malay and Tamil), all of which illustrate the history and heritage of selected sites, the Little India Heritage Trail goes the extra mile with specially curated thematic routes to cater to time-crunched trail-goers. The three bite-sized thematic routes are:
· “Serangoon in the 1900s” (40 minutes) – This route takes trail-goers on a historical trail to learn about the early communities that settled in the area in the early 20th century.
· “Walk of Faiths” (1 hour) – This route features the many different places of worship on the Little India Heritage Trail, and provides insights into the different religions and communities that have co-existed in the precinct since the early days.
· “Shop Till You Drop” (30 minutes) – This route allows trail-goers to enjoy the myriad of retail offerings in Little India, while learning more about the traditional businesses in the district.
Newly launched Bluetooth beacons to enhance trail experience
Another new offering for the Little India Heritage Trail, to be launched as a pilot project later this year, uses Bluetooth beacons installed on the heritage markers along the trail. Through visitors’ mobile devices, these beacons will enable them to explore the history and stories around each marker in greater detail. Trail-goers will be able to access lesser known information of the site they are at, and view photos of the site shared by other trail-goers. This new trail function is also intuitive: it helps users identify the other heritage markers close by, and features simple directions to help them get to their next destination. By recommending relevant markers in the vicinity, it not only enhances the trail experience for trail-goers, but paints a more complete picture of the multi-faceted history and heritage of Little India. Lesser known facts, presented in bite-sized nuggets of information, also help make the large volume of content more digestible and relatable, thus making the trail more appealing, especially for time-starved audiences.
Mr Alvin Tan, Assistant Chief Executive (Policy and Community) of NHB, said: “We are always looking to improve the experiential aspects of our museums, festivals and heritage trails, and that is why we have decided to introduce new thematic sub-trails as well as Bluetooth-enhanced markers for the Little India Heritage Trail. These improvements will enable users to enjoy trail content that has been customised to appeal to more specific interests as well as to retrieve additional trail content with greater ease. We will continue to collect feedback from users of our heritage trails, review our trail offerings and incorporate the necessary enhancements for our future trails.”
Community Giving Back Through Heritage
To encourage greater interest and involvement by youths in our history and heritage, NHB will be working closely with the Nanyang Academy of Fine Arts (NAFA) and Umar Pulavar Tamil Language Centre (UPTLC) – one of MOE’s Language Centres – to adopt the Little India Heritage Trail for a period of three years. This is an initiative under NHB’s signature Heritage Trail Adoption Scheme, which sees teachers and students incorporating our heritage trails and their rich content into the school curriculum. Upon completion of their training, the students from NAFA and UPTLC will be guiding their peers on the Little India Heritage Trail as trail guides. NHB and the Indian Heritage Centre (IHC) will also be offering guided tours for the Little Heritage Trail in the coming months.
The Little India Heritage Trail brochure and map (to be available in four languages) can be downloaded from NHB’s heritage portal, Roots.sg. This will allow trail-goers to embark on their own self-guided trail, and select the route(s) that most interest them. When the new Bluetooth mobile pilot for the Little India Heritage Trail markers kicks in later this year, trail-goers will have access to even more information and pictures. Printed copies of the trail brochure and maps are also available for pick-up at IHC.
A range of merchandise, featuring landmarks along the Little India Heritage Trail, is available for visitors looking for mementos of the trail experience. Developed by NHB’s MUSEUM LABEL, the merchandise will be sold at the various Museum Label shops.
It’s been an incredible journey thus far for Gallery & Co., filled with many exciting moments and events. To commemorate this milestone, Gallery and Co isOn January 26, 2017 / By Nookmag
It’s been an incredible journey thus far for Gallery & Co., filled with many exciting moments and events.
To commemorate this milestone, Gallery and Co is throwing a party to celebrate and everyone is invited! It’ll be a night of fun interactive activities like live drawings by local artists, silk-screen printing and more. There will be exclusive and exciting giveaways and 20% storewide for retail and F&B from 6.30pm onwards; just their little way of giving back.
Daryl C. from Darker Than Wax will spin the night away while you enjoy a tipple at the POP Bar. The kitchen will be open till late too for those who fancy a bite or two!
Coinciding with this special event, The Artist Project 1.0 “Siapa Nama Kamu?” comes to conclusion with launch of the final installation, “State of Mind” and the official store launch of the second drop that was previously launched online last November, “Biodata”.
The Artist Project is a collaborative effort between Gallery & Co. and various local and international brands, artist and designers, with artworks and products created in visual response to the question, “What does Singapore mean to you?”.
Gallery & Co.
National Gallery Singapore
1 St Andrew’s Rd
26 January 2017, Thursday
1830 till late
Singapore’s longest running entertainment institution, Zouk Singapore, has unveiled its much-anticipated relocation to the nightlife and entertainment precinct in Clarke Quay. Primed as an evolution of itsOn January 22, 2017 / By Nookmag
Singapore’s longest running entertainment institution, Zouk Singapore, has unveiled its much-anticipated relocation to the nightlife and entertainment precinct in Clarke Quay. Primed as an evolution of its Jiak Kim predecessor, the new space promises to take all revellers and fans of the Zouk culture into a new era of party experiences with an unparalleled packaged of top-notch dance music and world class service in a new home that is bold and progressive.
Striving to maintain its status quo as the frontrunner in propelling the dance music in Singapore and within Asia, Zouk at its new premises will continue to uphold the foundations that the brand is built on – stellar programming of international and local acts, inimitable audio-visual experience of quality sound systems, lighting and design, service excellence, as well as local community partnerships across music, arts and design that are aimed to highlight local talents and culture.
“The Zouk brand is an institution that is iconic to the local scene and is consistently recognized on the global clubbing stage as one of the best nightlife spots across its years of operation. With this relocation, we saw an opportunity to evolve with the culture of music, a chance to create a new atmosphere that will breathe new life to the brand with the promise of new experiences. This big move has been much anticipated by all and I couldn’t be happier with the result of a spectacular super club that is the
embodiment of progression with nods to the history that we all have come to love. Leading the relocation has been exciting, I’m truly honoured to be a part of it and I am confident that fans will love this refresh” says Hui Lim, Chief Information Officer, Genting Hong Kong.
Housed within Clarke Quay’s Cannery Block and spanning across two floors, the new Zouk complex will once again be a collection of unique concepts with the retention of signature dance stages Zouk and Phuture, the recently launched restaurant and bar, Red Tail, as well as a soon-to-be-unveiled fourth concept. Designed by interior design firm, Independent Consultants, the concept of the new spaces revolve around the idea of evolution in the music scene and club culture. Intended as a progression of what revellers both old and new loved about Zouk’s former home, the new spaces follow an overarching neo-industrial and futuristic
aesthetic inspired by the underground rave clubs and refurbished warehouses in New York and Berlin. Across the two revamped outlets, the space features five distinct thematic concept bars, and custom-made furnishings that are specifically designed to further establish the industrial appeal of the new space. Retaining the original sound system that was custom created by the renowned late audio engineer, Gary Stewart, Zouk and Phuture will continue to provide the warn and crisp quality sound that Zouk has always been known for. Recalibrated on a yearly basis for up-to-date configuration personally by Stewart and now by the Zouk sound team, the sound system is a one-of-a-kind creation that is specially equalized to suit all genres of dance music.
ZOUK + PHUTURE
The biggest surprise of its new home at Clarke Quay will be the ability to merge both Zouk and Phuture to form a superclub-like space to accommodate bigger acts in town and to cater to events of a larger scale. A strategic design feature made to heighten the versatility of the space so as to cater across different scales of events and happenings, the walls separating both outlets are actually removable soundproof double walls, and both Bar 3 and Bar 5 can be combined to form a fuller sized bar with strategically placed LED screens to project the action up front onscreen. Other modular features include the two-tired platform seatings in Zouk, as well as the seatings allocated around the dance floors of both outlets.
“Evolution is the theme and the overall concept of the design of this new space so we wanted to play around with the idea of a space that is dynamic and versatile. While its predecessor is known for four distinct yet independent outlets, the relocation has provided us with the opportunity to break down the barriers of stand-alone spaces to inject flexibility and coherence to the signature outlets without losing the essence of both Zouk and Phuture” says Phillips Connor, Founder of Independent Consultants.
Art Stage Singapore 2017, the flagship fair of Southeast Asia and anchor event of the Singapore Art Week, closed its seventh edition yesterday. The Fair saw a significantOn January 19, 2017 / By Nookmag
Art Stage Singapore 2017, the flagship fair of Southeast Asia and anchor event of the Singapore Art Week, closed its seventh edition yesterday. The Fair saw a significant presence of regional collectors, which largely contributed to the major sales made at the Vernissage on 11 January and over the next four days from 12 January to 15 January 2017. The support and presence of the collectors from Southeast Asia, especially Indonesia, increased significantly compared to previous editions, demonstrating that Art Stage Singapore’s efforts to match- make the region’s different arts scenes have shown positive results. On the other hand, despite the show of commitment by six leading Singapore-based collectors in opening their collections to the public at the Collectors’ Stage exhibition, local interest and engagement unfortunately did not correspond with international interest.
Art Stage Singapore 2017 drew a total of 33,200 visitors. The collectors who were present at the Fair included Mr Disaphol Chansiri from Thailand; Mr Soichiro Fukutake, Mr Tetsuyuki Oishi and Mr Daisuke Miyatsu from Japan; Mr Alain Servais from Belgium; Mr Dick Quan and Mr Stephen Shaul from Australia; Dato’ Noor Azman bin Mohd Nurdin, Dato’ Marcus Tan Ser Lay and Mr Pakhruddin Sulaiman from Malaysia; Mr Alex Tedja, Mr Deddy Kusuma, Mr Ir. Ciputra, Mr Prasodjo Winarko, Mr Haryanto Adikoesoemo, Mr Wiyu Wahono from Indonesia; Mr Leo Shih and Mr Stephen Wu from Taiwan and Mr Chong Zhou from China.
First-time exhibitor Emmanuel Fremin Gallery from New York reported sales of USD270,000. Another first-time exhibitor Galerie OVO from Taipei also reported good sales of works ranging from USD3,600 to USD25,000. Works by Indonesian artist Rudi Mantofani presented by Singapore’s Gajah Gallery were snapped up by a regional collector for SGD280,000 within 15 minutes of the Fair’s VIP Preview on 11 January. Art Agenda, S.E.A sold a work by Singaporean artist Cheong Soo Pieng for SGD150,000. STPI sold a work by Rirkrit Tiravanija for USD80,000 and reported sales of works by Singaporean artist Han Sai Por for between SGD10,000 to SGD40,000. Sullivan + Strumpf did well with their emerging Indonesian artist Irfan Hendrian as well as with Australian artist Karen Black. Singapore’s FOST Gallery reported successful sales of the entire series Being Together by Singaporean artist John Clang. Richard Koh Fine Art performed well with their Malaysian artists such as Anne Samat, Haffendi Anuar and Yeoh Choo Kuan who had a sell-out of his works at the Fair. Several emerging galleries at the Fair also made successful sales with their roster of upcoming artists.
The Southeast Asia Forum, which has become a pillar and institution of Art Stage Singapore, and Collectors’ Stage exhibition were also key successes of Art Stage Singapore 2017. The Southeast Asia Forum exhibition presented 24 works by 23 artists. Among the highlights of the exhibition was the performance piece Livin’ La Vida Imelda by Filipino artist Carlos Celdran which attracted large crowds at each performance. Untold Movements Act 1: Neitherland, Whitherland, Hitherland by Titin Wulia who will be representing Indonesia at the 2017 Venice Biennale resonated well with visitors of the Fair and Malaysia’s Ivan Lam’s Coma 38/500 gave many visitors the opportunity to purchase an artwork. The Forum’s lecture series was also well-attended. The talk titled Art + Money – A Dangerous Liaison? with speakers Alain Servais and Prof. Franz Schultheis of University of St Gallens and moderated by Lorenzo Rudolf, Founder and President of Art Stage Singapore drew a full house.
The Collectors’ Stage exhibition presented works from the collections of six Singapore-based collectors – Hady Ang, Jim Amberson, Kenneth Tan, Michael Tay and Talenia Phua Gajardo, Michelangelo and Lourdes Samson and a collector who wished to remain anonymous. The exhibition, presented in partnership with The Artling, hoped to foster an understanding about art collections and reveal the thought processes and motivations behind them. The exhibition was curated by one of Indonesia’s top curators, Enin Supriyanto.
“Art Stage Singapore 2017 was very successful. It was smaller compared to that of previous years, but that did not affect the quality of the art that was on show. Many of the gallerists that we spoke to said it was a great fair in terms of sales. So while the number of visitors seems to have been less than in previous years, the fair attracted the right types of collectors and art enthusiasts who saw the quality of the works offered. Collectors’ Stage was definitely a highlight of this year’s fair for me. I am grateful for the chance to share some of our pieces with a wider audience and it gave us the opportunity to see our Southeast Asian pieces in conversation with contemporary art from other regions, including Southeast Asia, Africa, Europe, and America. Collecting is a continuous journey and learning from other collectors and artists makes it so much more enjoyable,” said Ms Lourdes Samson, Art Collector.
“Ultimately, it is all about the art. Collectors are the audience that support the creation of art through their patronage and enthusiasm. Art Stage Singapore is an excellent opportunity for established and potential collectors to get enchanted and informed,” said Mr Jim Amberson, Art Collector.
Art Stage Singapore 2017 was on from 12 to 15 January 2017 at Marina Bay Sands Expo and Convention Centre.
Singapore’s leading bilingual theatre company Toy Factory Productions is proud to present its first production for 2017, PRISM. A thought-provoking play that explores the limits of one’sOn January 17, 2017 / By Nookmag
Singapore’s leading bilingual theatre company Toy Factory Productions is proud to present its first production for 2017, PRISM. A thought-provoking play that explores the limits of one’s threshold for pain and loss, PRISM spotlights the struggle between progression and development, and eroding a nation’s heritage and culture, through a storyline that will resonate with audience given the parallel in the current state of affairs locally.
An original script penned and directed by Toy Factory’s Chief Artistic Director Goh Boon Teck in 2003, PRISM was first staged as a grand multi-cultural theatrical performance that featured performing artistes and designers from six countries; including Japan, Indonesia and Malaysia. Today, the premise of the script remains relevant, especially in Singapore where development is slowly but surely usurping more local treasures.
In line with Toy Factory Productions’ unwavering commitment to provide the opportunity and platform for budding local talents, the upcoming PRISM is helmed by rising director Rei Poh; a consummate actor last seen in Toy Factory’s Titoudao, and features an all-Singaporean cast comprising several fresh faces led by Fir Rahman, who recently headlined the high-profile local feature film, ‘The Apprentice’ (Cannes Film Festival 2016).
Director Rei Poh shares his approach to his adaptation, “The story told is simple; one of progression versus loss, through a narrative that is familiar to most of us. I would like the audience to ‘feel’, more than ‘watch’ the show, since pain and loss are more deeply felt and conveyed through experience, than explained.”
Aman, an urban city development official, starts to question his work of demolishing old historical buildings to make way for new cityscapes. Faced with the task of informing the residents of the impending demolition of the city’s oldest heritage ‘The Surrounding City’, Aman experiences the wrath of the city, despair of her dwellers and confronts his personal ambivalence about the price of material gains.
HIGHLIGHTS OF PRISM
Lauded for his performance in Boo Junfeng’s ‘The Apprentice’, Fir Rahman takes the lead as ‘Aman’ in his first collaboration with Toy Factory Productions. He brings with him his experience from his notable film and television stints locally and across the causeway.
To heighten the sense of ‘pain’ and ‘loss’, the team carefully considered each and every element within the production to further evoke these feelings; from the textures and colours of the set, to the sound and even make-up.
Besides veteran local thespians Alvin Chiam, Farah Ong and Trey Ho, budding new actors Farez Najid, Lina Yu and Ching Shu Yi are anticipated to inject sparks to the dynamic cast. Lianhe Zaobao’s pick for rising star to watch, Choreographer Goh Shou Yi lends his expertise in this first collaboration with Toy Factory Productions, while local architect and design studio owner Leong Hon Kit undertakes his first Set Designer role.
Date: 23 February to 5 March 2017
Time: 3pm (all days except 23 February), 8pm (all days)
Venue: 100 Victoria Street, National Library Building, Drama Centre Theatre, Level 3
Ticket Prices: $75 (Cat 1), $65 (Cat 2), $55 (Cat 3), $42 (Cat 4)
Duration: 2 hours (no intermission)
Ticket Agent: SISTIC, visit www.sistic.com.sg or call (65) 6348 5555
(not inclusive of $4 SISTIC booking fee)
In conjunction with Singapore Art Week 2017, The Private Museum is proud to present 21st Century Calligraphy: Selections from the Nanshun Shanfang Collection. The exhibition features 19 ChineseOn December 29, 2016 / By Nookmag
In conjunction with Singapore Art Week 2017, The Private Museum is proud to present 21st Century Calligraphy: Selections from the Nanshun Shanfang Collection. The exhibition features 19 Chinese calligraphy works from 5 established Chinese calligraphers: Wang Dongling, Sun Xiaoyun, Wang Tiande, Wei Ligang, and Guan Jun.
Where Wang Dongling’s artworks illuminate the essence of gestural abstraction through his bold experimentations of embodied action and performance in Chinese calligraphy, Wang Tiande’s artistic practice explores the ambivalent relation between contemporaneity and the traditional. In contrast, Wei Ligang’s background in mathematics contributes to his unique approach of the deconstruction and re-construction of Chinese characters in his artworks, and Sun Xiaoyun’s emphasis on her brushstrokes and aesthetics, along with Guan Jun’s neoclassical style, portray distinctive interpretations of historical transcripts by renowned Chinese poets such as Du Fu and Su Dong Po.
In this exhibition, viewers will gain the opportunity to catch a glimpse of the wide array of calligraphy styles — reflective of their various artistic development and practices in breaking the conventional approach of Chinese calligraphy — displayed throughout this collection.
Please RSVP by 6 January 2017 via email, or call The Private Museum at +65 6738 2872.
Opening Reception @ The Private Museum
Tuesday, 10 January 2017 | 6.30 pm
The Private Museum
51 Waterloo Street #02-06
Saturday, 14 January 2017, 11 am @ The Private Museum
Wang Dongling will discuss his experiences and journey on how he has developed a personal characteristic in his body of calligraphy pieces overseas and in China. This is an opportunity to meet the artist in person and understand more about his calligraphy practice.
The Private Museum is a registered charity and a registered Institution of a Public Character (IPC) founded by Singaporean philanthropist and real estate developer, Daniel Teo. Situated in the heart of the museum precinct in an arts and cultural centre, 51 Waterloo Street, the museum focus on providing a space for art collectors to showcase their collection in a curated display as well as an alternative platform for artists to push boundaries in the expressions of various art forms, the museum’s public outreach program also aims to bring the collectors and artists closer to the general public and to help foster interest and the support for art.
The seventh edition of Art Stage Singapore, Southeast Asia’s flagship art fair, opens from 12 to 15 January 2017 (Vernissage on 11 January) with the second Southeast AsiaOn December 27, 2016 / By Nookmag
The seventh edition of Art Stage Singapore, Southeast Asia’s flagship art fair, opens from 12 to 15 January 2017 (Vernissage on 11 January) with the second Southeast Asia Forum and regional and international galleries presenting artists from across Asia and the world.
Art Stage Singapore continues to lead with innovative fair content, engaging with and addressing contemporary issues pertinent to world affairs today. Beyond a market platform, Art Stage Singapore plays a key role in the ecosystem of contemporary art in Singapore and Southeast Asia, not only in developing and bridging individual regional art markets, but also in creating a forum for the exchange of ideas that are critical to understanding the economic and sociopolitical issues of the day.
“Art Stage Singapore takes our role as a key player in the contemporary art scenes of the region very seriously. While acknowledging today’s challenging economic and sociopolitical situations, we continue to be committed to strengthening the art ecosystem of Southeast Asia by presenting relevant and innovative content that would encourage a more involved art scene. This is why our second Southeast Asia Forum, through its exhibition and series of lectures, will be even more important to the way we position ourselves as an engaged art fair that looks beyond the markets,” says Lorenzo Rudolf, Founder and President, Art Stage Singapore.
Against this backdrop, the seventh edition of the Fair will strengthen its focus on Southeast Asia. It will emphasise the importance of developing a cohesive Southeast Asian art market by bringing together individual markets of the region into a single bloc for the region to be more competitive vis-à-vis the other more developed global art markets in the West and China.
Southeast Asia Forum
Art Stage Singapore 2017 will present the second Southeast Asia Forum, which aims to emphasise the balance between art, commerce and content. The Forum is a thematic programme, comprising an exhibition and a series of lectures that offer more focused and deeper views into global issues that have direct impact on Southeast Asia. The second Southeast Asia Forum will focus on the theme of capitalism and is titled Net Present Value: Art, Capital, Futures, which seeks to explore the values of art, imagination and progress, and, the price of doing business as usual in the global capitalist system.
The Forum’s exhibition surveys impacts of economic development on cultures, beliefs, social relations and daily life in Southeast Asia as countries race to establish their place in the league of global economies. Through the works of socially engaged artists, many from the region, the exhibition emphasises the importance of cultivating alternative forms of capital and conditions for the evolution of societies in an increasingly complex global environment.
Exhibition highlights include works by the following artists:
Singapore’s Kent Chan presents his project If Not, Accelerate a project that examines the issues of migrant labour in Singapore through the matrix of the polis, the Greek word for ‘city’. The etymological root of the words ‘police’, ‘policy’ and ‘polity’, the polis as the de facto site of politics and its many entanglements, provides the conceptual linkages to excavate the historic and contemporary links between Singapore and its large migrant labour population. Through an assemblage of videos, text and sculpture that problematise the representation of migrant labour, this project unravels a city, its socio-economic politics, anxiety and trajectory.
Ivan Lam’s Vending Art is a project that seeks to trigger questions and reflections on the commodification and consumption of art, the definition of ‘art’ and ‘artist’, the value of an artwork and of an artist, the changing dynamic and relationships between artists, galleries, art fairs and buyers. For Vending Art in the second Southeast Asia Forum, artists in and from the Southeast Asian region are invited to each submit one original artwork, in the size of a business card. For each artwork received, Lam will produce a Perspex case carrying the artist’s name, which will then be placed in a fully operational vending machine to be located on the fairground.
An interdisciplinary collaboration led by French architect François Roche
Liminal, a collaborative work by New-Territories/M4/RMIT, is a re-imagined telling based on the Greek myth of Pythia, the Oracle of Delphi who was believed to possess divine powers of foretelling the future. Pythia’s two thousand-year reign (1600 BCE – 393 CE) is thought to have ushered in a powerful form of enterprise through divining. In referencing the ancient system in which the Oracle was harnessed to gain influence and capital, Liminal alludes to advertising and selling false dreams, to the timeless and universal human condition of greed and a tendency to excess and destruction. Liminal points to the notion of excess: of technology, of knowledge, of consumptive orgy.
Jose Tence Ruiz
Filipino artist, Jose Tence Ruiz’s series CSI: Chimoy Si Imbisibol presents masked figures seemingly portrayed as forensic experts fill up the monochrome print on canvas works. Chimoy is a colloquial term for ‘household helper’, or someone who usually carries out the mundane tasks in one’s home. The series depicts images of the Filipino domestic helper in the midst of doing everyday chores in various areas of the household, such as doing the laundry, washing the car, sweeping the floor, and cleaning the toilet. The white clinical attire of the figures draws a divide between the figures themselves and their surroundings, creating a sense of alienation while at the same time obscuring its presence. It further emphasises the role of Filipino domestic helpers in contributing to the widespread capitalism around the world, as the invisible force behind the world’s labour economy.
With “I, Svay Sareth, eat rubber sandals” Cambodian artist Svay Sareth questions the weapon of political psychology, borrowing the very strategies he critiques in a tone between comedy and suffering and a timeline traversing the past and present. The single channel video documents the artist’s performance “I, Svay Sareth, eat rubber sandals”. Both in reference and contrast to Jorgen Leth’s scene of Andy Warhol’s cool indifference eating a hamburger in 66 Scenes from America, Svay intensely gnaws apart his meal – a resistance to the numbing effect of Cambodia’s fast-growing consumer society and a refusal to consume political ideologies that continue to maintain low education and high poverty levels.
The Forum’s series of lectures and panel discussions will bring together economists, business leaders, policy makers and the art community to examine, through different perspectives, challenges relating to social inequality arising from the global capitalist system. In creating encounters between thinkers, actors and influencers, the Forum seeks to bring about more inter-disciplinary understanding and collaboration in re-imagining conditions and ideals for social inclusion in the 21st-century global society.
Art Stage Singapore will present a diverse range of carefully selected galleries from across Asia and the world featuring 126 exhibitors from 27 countries. Three quarters of the exhibitors are returning galleries. A quarter of all participating galleries are new to the Fair. 80 percent of the participating galleries hail from Asia Pacific and one third of the total number of galleries are Southeast Asian. This clearly defines Art Stage Singapore 2017 as an Asian art fair.
The Collectors’ Stage
Art Stage Singapore 2017 presents for the first time in Singapore the Collectors’ Stage, a project collaboration between Art Stage Singapore and The Artling. The show will feature artworks from the collections of six leading Singapore based collectors. This follows in the footsteps of the very successful Collectors’ Show exhibiting works from the collections of six leading Indonesian collectors at the inaugural Art Stage Jakarta in August 2016. The six Singapore based collectors will open up their collections for a selection of artworks to be featured in an exhibition at the Fair.
Joseph Balestier Award for the Freedom of Art
Together with the U.S Embassy Singapore, Art Stage Singapore will once again present the Joseph Balestier Award for the Freedom of Art in conjunction with the Fair. The Award recognises an artist or curator from Southeast Asia who is actively committed to the ideals of liberty and freedom of expression, and through his or her work, continually seeks to express these ideals. The winner will be awarded a cash prize of USD15,000.
To date, the three finalists of the Joseph Balestier Award for the Freedom of Art 2017 are as follows:
Arahmaiani is regarded as one of Indonesia’s most respected and iconic contemporary artists, known for her commanding and challenging commentaries on social and cultural issues. Her artistic practice incorporates an extensive range of media including video, installation, painting, drawing and sculpture. Since the 1980s and 1990s, Arahmaiani has established herself as a pioneer in performance art in Southeast Asia. Her artistic practice is a survey of thoughts and actions that investigate social, political and cultural issues.
Aye Ko (Myanmar)
Aye Ko’s performance art has established his position as one of Myanmar’s most high-profile artists. For the past two decades, his practice has interrogated the meaning of politics and nature. In 2008 Aye Ko and his colleagues established ‘New Zero Art Space’ to share their ideas and activities with the wider public. This space continues to actively stir the dynamics of contemporary art in Myanmar.
Chaw Ei Thein (Myanmar)
Chaw Ei Thein continues to challenge and give insight into the language of womanhood specific to her culture and Southeast Asia. She gained international attention in the mid-1990s with her performance works, particularly in 2008 for her collaborative sugar piece September Sweetness. Today, Thein continues to find strategies and opportunities for Burmese artists to share their work, seeking to encourage active and participatory dialogue and exchange with her artistic community in Yangon.
“I congratulate Arahmaiani, Aye Koh and Chaw Ei Thein as the finalists of the Joseph Balestier Award for the Freedom of Art 2017, an award that underscores the moral and sociopolitical roles of contemporary art. That two of the three finalists are women artists sends a strong message about the position of women in our societies. As artists they have worked tirelessly to bring the world’s attention to pressing socio-political issues in their home countries. As women artists, their participation in this Award serves to advance the cause for women and gender equality not only in the region, but also the rest of the world.” — Lorenzo Rudolf, Founder and President, Art Stage Singapore.
“We’re proud that in its third year, the Joseph Balestier Award for the Freedom of Art continues to recognize artists who push creative and expressive boundaries,” said U.S. Ambassador to Singapore Kirk Wagar. “The three finalists – Arahmaiani, Aye Ko and Chaw Ei Thein – are opening up new dialogues on important issues in their communities, and around the world, through their art. I look forward to congratulating all the finalists and announcing the winner on January 10.”
The 2017 award jury that selected the finalists included: Professor Ute Meta Bauer, Director, Centre for Contemporary Art (CCA), Singapore; Ms Zoe Butt, Artistic Director, The Factory Contemporary Art Centre, Ho Chi Minh City, Vietnam and Mr Enin Supriyanto, Independent Art Curator and writer, Indonesia. U.S. Ambassador to Singapore Kirk Wagar and Lorenzo Rudolf, Founder and President, Art Stage Singapore, will announce the winner at an award ceremony on January 10, 2017.
Art Stage Singapore 2017 is the anchor event of the Singapore Art Week and takes place from 12 to 15 January 2017 at Marina Bay Sands Expo and Convention Centre. For more information, visit Art Stage Singapore.
If you’re a 90’s kid, chances are you’d probably have heard Divian Nair’s voice on the radio. Just early this year, he made waves on social media withOn December 26, 2016 / By Nookmag
If you’re a 90’s kid, chances are you’d probably have heard Divian Nair’s voice on the radio. Just early this year, he made waves on social media with his impactful video titled “I Will Not Die For Singapore” which triggered a conversation among Singaporeans; and last month, he played host to The Best of You’s Finale Exhibition, a social movement that seeks to reinforce the spirit of appreciation within our communities by offering a platform for people to reflect upon their experiences, challenge stereotypes and break down barriers between communities.
We caught up with the bubbly media personality to chat about his involvement with The Best of You, his current initiative We Are Majulah, and the future for him.
Tell us more about your recent involvement with The Best of You social movement.
The Best of You social movement by Julie’s has always been an amazing platform for people to both share their stories and learn through the hardships and successes of others. My involvement was no different, save for the fact that I had the privilege of hosting its on-site exhibition. Being very much in line with the work I do with my company, Storyteller Productions and We Are Majulah, I felt a strong sense of purpose as I interacted with the team that put the movement together, the movement’s founder as well as the amazing people featured this year. I also learned valuable lessons about the importance of principles and commitment from my personal exchanges with some of the people involved.
You shared a touching story on your brother with The Best of You. What’s your fondest memory growing up with your brother?
I think it would be impossible to pinpoint one memory that would stand out as the fondest but the moments I treasured the most were our family trips to the zoo, Orchard Road during festive periods and definitely the airport – just to watch planes take off after dinner!
Growing up in an interracial family, how has this influenced you in your personal life and your work?
Growing up in an interracial family left me racially blind to a certain degree. I didn’t see my father as an Indian man, or my mother as a Chinese woman. They were just my parents. I also never identified myself as much by race as I did with my environment and culture. This proved to be very useful for the relationships I formed as I grew up because I didn’t identify people I met by race and took them for the people that they were. I have an inner circle of friends who represent all the major races of Singapore and it never occurred to me it was anything valuable.
What was difficult however, was seeing the stark contrast presented by people who were conditioned to identify themselves and others by race first. In a country where the balance of races are not equivocal, the mentality represented by some proportion of the majority race does not reflect a perspective of equality. This is inevitable and can cause some amount of stress through misunderstandings which still frequently occur. I myself have been subject to racist behavior on a personal and professional basis many times.
What are the challenges you’ve faced with your interracial background? How has this played a role in you founding We Are Majulah?
The primary challenge of growing up in an interracial family is feeling like you never really belong anywhere. To many Chinese people I’ve met, I have always been more Indian and vice versa to Indian people. In a country where the proportion of races are not as equal as my genetic make up, I’ve also realized, that even though I am exactly half and half, I’ve only ever been labelled as the “Indian Guy”. This naturally put me on a quest to find something bigger than race that I could belong to and identify myself with. Singapore, as a country, as a culture, became that for me. And so, We Are Majulah was born. “Majulah” (To move onward, to survive together) became a fundamental concept I felt could be shared as a non-contradictory belief on a micro and macro scale.
Your video titled “I Will Not Die for Singapore” garnered half a million views on Facebook alone. Are we expecting more “surprises” in the near future from the team?
I don’t know if the first video was ever intended to be a surprise! But we are definitely striving forward with what little resource we have to continue our efforts. We are currently developing an initiative to help combat the rising number of suicide linked cases from young adults between the ages of 10 and 19. We are also looking at putting out another video sometime next year. Apart from that, it’s really the daily grind of brick laying that we are focusing on.
In your opinion, does Singapore have our own identity?
In my opinion and experience through visiting over 20 countries while running We Are Majulah for almost a year, I’d have to say it’s there and it’s growing. Identity is hard enough to find as an individual. It usually grows the most during a period of struggle. It is also something that is extremely complex and delicate, plus it doesn’t always grow the right way. I know that the work my team and I are doing is a small fraction of contribution, necessary for a concrete identity to solidify but we feel that it’s better to do something constructive than sit around and complain all the time.
You’ve received your fair share of criticism on We Are Majulah being a propaganda tool; what is your response to detractors? With We Are Majulah, can you prove a point to your critics?
To the critics I say, lets discuss. Discussion is key for constructive growth as a people. What happens when one sides slams the other with no avenue for recourse because they think they are “right”? You get Brexit and Trump. The point is not to win an argument. The point is to not show that your side is smarter and everyone else is stupid because they don’t share your view. The point is understand each other so we can grow with compassion.
When we launched the video, the objective was to incite discussion. Everything from the title of the video, it’s level of ambiguity, the tone, the colors – it was designed to make people “feel” and thereby find it in themselves to say something about. We just sat back and watched it all happen. We saw how the media took different sides on how to portray the story. Critics and supporters alike weighed in. We also saw the phenomenon of the “silent majority” unfold. As we sieved through every comment and share, we found something interesting. While the impression formed through the headlines of some media articles and comments on the Facebook and YouTube video gave the impression that it was largely criticized, we found that most of the positive comments were written as personal posts through the video share.
We are Majulah still stands as apolitical and nonpartisan, like we said from the start. While we have collaborated with government-linked agencies for messaging that is in line with what we are trying to push out, we are not backed financially by any government or private party. To date, we have produced almost 50 episodes for the Good Word Project (a video series collecting advice from everyday Singaporeans), garnered almost 13,000 followers on our Facebook page, participated in events, had an event of our own and built a small community of writers – all in less than a year.
What are your thoughts on race and racial harmony in Singapore?
I think race and racial harmony is a work in progress. I heard Senior Minister of state Dr Janil Puthucheary once say that it is, and always will be a work in progress. I cannot agree more. If we consider that in our grandparents’ generation, not stabbing each other was not being racist, then in our parent’s generation, working together was not being racist – we can see how much we have progressed in a short amount of time. It is arrogant of us to think racial harmony is something we have already achieved and don’t have to pay too much attention to. We must continue to work at it.
What are your hopes and aspirations for 2017?
All I am hoping for in 2017 is that the escalating conflict overseas doesn’t reach our shores. And if it does, I hope that we will standby by each other and move on together, no matter what.
The Best of You is a social initiative by Julie’s Biscuits running in both Singapore and Malaysia that aims to create a positive change to the community we are living in. Since its inception in 2014, the movement has collected and shared thousands of inspiring stories from the public, artists as well as social organizations. Visit The Best of You’s official website to be part of this meaningful cause.
We are Majulah is a social enterprise that aims to provide community based solutions to improve civic consciousness for a better tomorrow. They are focused on the fundamental concept of “Majulah” (to move onward, to survive) as a belief that can be owned and shared by the individual and the community alike, to build a society that is inclusive, tolerant and compassionate.
“The heart has reasons that reason cannot know.” — Blaise Pascal What if the next MRT breakdown was not just another simple breakdown? What if your pet wasOn December 24, 2016 / By The Rainbow-Monger
“The heart has reasons that reason cannot know.”
— Blaise Pascal
What if the next MRT breakdown was not just another simple breakdown?
What if your pet was saving your soul every time it hisses and barks?
What if the next person walking off a ledge only wanted to fly?
Track Faults and Other Glitches by Nicholas Yong is a journey into a different dimension in our subconsciousness. It offers an alternate reality; a perspective focused on everything outside of ourselves, and results in a not-so-fairy-tale package that’s difficult to let go of until we reach the end.
The journey begins as we discover a zombie’s greatest fear, accompany a man as he gets over his inhibitions for flying, and discover the greatest love a parent can have for their child. One by one, each of the ten stories in this collective evokes a plethora of emotions, leaving us wanting just one story more. Be prepared to laugh, tear, hide under the sheets, and cuddle your pet close while reading this quirky book, and remember to spare a kind smile to the next ordinary-looking stranger you meet; you never know who it’ll be on the inside. *wink*
A senior correspondent with Yahoo Singapore by day, Nicholas finds inspiration from daily events throughout his decade worth of experiences, as well as from spell-binding storytellers such as Neil Gaiman, Philip K. Dick and John Le Carre. By night however, he transforms into a lyrical caped crusader who founded the Geek Crusade and strikes amusement and fancy in the hearts of his readers. Aside from Track Faults and Other Glitches, Nicholas is also the author of Land of the Meat Munchers (2013) – a zombie tale set in Singapore, and was one of the authors featured in the recent Singapore Writer’s Festival in November 2016.
Track Faults and Other Glitches is now available for sale in major bookstores including Books Kinokuniya, Times Bookstores, and Popular Bookstore at a retail price of SGD19.90 (after GST).
Since its inception in 2002, E-TracX DJ Skool has been on a mission that extends beyond just imparting skills and knowledge to aspiring DJs. With its well-established DJOn December 21, 2016 / By Arman Shah
Since its inception in 2002, E-TracX DJ Skool has been on a mission that extends beyond just imparting skills and knowledge to aspiring DJs. With its well-established DJ academy, the establishment is adamant on building a community of like-minded individuals who are supportive of one another. Here, we highlight how it champions, nurtures and unites not only its rising talents, but also its professional acts.
At its core, E-TracX is a training ground for beginners and seasoned practitioners alike. Depending on where you are in your journey towards achieving greatness, you can opt for either the introductory DJ courses or advanced creative courses. There are also one-off workshops that cover the essential aspects of deejaying, turntablism and music production.
A student is only as good as the instructor’s teaching methodologies, and E-TracX boasts some of the best instructors in the Lion City. They include DJ Koflow and Edwin, whose students have gone to perform at venues like Blu Jaz and St James Power Station. Another name also worthy of mention is Perk Pietrek, the six-time DJ Battle Champion who recently dropped his new album under Far East Movement’s record label.
E-TracX does not believe in complacency; it’s always looking for means to sharpen the skills of the trainees under its wings. Instead of just teaching them how to DJ like everyone else, part of the curriculum sees the instructors pushing the students to level up. They are encouraged to collaborate with other musicians and dig deep within themselves to think of new concepts.
At the end of the day, E-TracX aspires to create an ecosystem where ardent fans of the DJ culture can coexist in a positive and mutually-benefitting manner. To achieve this dream of building a family of champions, the school has created many platforms for DJs to shine, including DJ residencies at clients’ venues and ad-hoc gigs at clubs and bars.
They have also launched “Newbie” Jams, which welcomes anyone who needs help with turntablism and controllerism techniques. These sessions provide the perfect opportunity to hang out and network with other passionate talents of varying skill levels in the game.