On 4 to 6 November this year, Buds Theatre will be hosting a community production titled It’s A Father’s Day. Held at Dignity Kitchen, Singapore’s first hawker trainingOn October 6, 2016 / By Nookmag
On 4 to 6 November this year, Buds Theatre will be hosting a community production titled It’s A Father’s Day. Held at Dignity Kitchen, Singapore’s first hawker training school for disabled and disadvantaged people, the play takes place on Father’s Day, which also happens to be a public holiday.
Scores of people are crossing the Causeway in their cars, to go to Malaysia.
But who are they?
Why are they leaving?
What is their story?
Should they be going?
Is their journey a credible one?
This is the tale of four fathers in four different cars, stuck in the inevitable traffic jam. Each father has a different purpose, a different perspective, a different story. As each tale unfolds, we recognise that all is not as it seems and as the performance moves towards the inevitable end, the proceedings are halted, allowing the audience to intervene and dictate what happens next.
This forum theatre performance is designed to challenge audience perspective, by examining the role of the father within each family unit; to consider the consequences their own resolutions may create, with the intention of highlighting a need for a more cohesive and empathetic society.
Too often the way we deal with these issues is through knee jerk reactions, we shy away from sharing, and force people to make irrational decisions based primarily on the fear of altering the status quo. Through theatre, Bud Theatre encourages people to talk and use their communities to resolve their problems rather than facing them alone. Likewise, they suggest places people can go to that will offer support and guidance, such as Father support groups, counseling groups, and etc.
Dignity Kitchen supports the rights of the disabled and disadvantaged in society, by offering them the opportunity to improve their circumstance. This play aims to highlight and aid recognition of this marginalised community.
As Buds Theatre, aims to provide theatre for change, as well as a voice for marginalised communities and individuals, this production is a combination of a variety of social welfare organisations together – Dignity Kitchen, Buds Theatre and BYT – with the intention of creating a new and empowered community that reaches out beyond specific target audiences and introduces new alternative approaches to building empathetic and socially conscious audiences.
Value of Support
Producers of the piece are advocates of social change. Focused on relevant and pertinent issues, they work to create an empathetic community by highlighting the flaws in our society, and empowering our audiences to get involved by giving them the responsibility of choice. This responsibility allows them to recognize the power of community and acknowledge the difficulties of modern living.
They assist in bridging a gap between gender and disability, and help those isolated by situation and circumstance to share and be empowered by community.
The issues discussed within the play are sensitive yet universal, and members of the public will be able to identify with the storylines either from a personal perspective, or through a friend or family member. The writing itself is intelligent, witty and moving, and the characters are well formed and accessible, while being reflective of today’s society. This performance encourages discourse, and is offered at an affordable and competitive price of SGD50 per entry. Tickets can be purchased here.
* 50% of proceeds will go to funding Dignity Kitchen.
It’s A Father’s Day
4 – 6 November | 8pm
5 – 6 November | 3pm
Block 267, Serangoon Ave 3, #02-02
Serangoon MRT (NE12 Purple line or CC13 Yellow line)
Bus Service: 100, 101, 103, 105, 109, 158, 315, 317
Koh Seng Choon
Matthew Jasper | Zhang Wan Yi | Dominic Ng
April Kong | Adib Kosnan | Rebecca Lee | Alyssa Rahman
Vithiya Bala | Ronnie Thomas | Sahirrah Safit | Fadhil Daud | IIiya Izzudin
A hard-surfaced, slanted wooden panel, pins and metal pipes placed alongside soft-textured fabrics, wools and knitted materials reveal tension as contrasting elements struggle and co-exist together. The contradictionOn October 4, 2016 / By Audrey Chiang
A hard-surfaced, slanted wooden panel, pins and metal pipes placed alongside soft-textured fabrics, wools and knitted materials reveal tension as contrasting elements struggle and co-exist together. The contradiction of Stephanie Jane Burt’s work leaves the viewer in peaceful awe of the tension and beauty she creates.
There is an interesting complexity between the elements of the installation; ‘O Dear What Can The Matter Be’ speaks about themes of intimacies, vulnerabilities and instabilities through the material language of the domestic. In the space at Gilman Barracks, Singaporean artist Stephanie Jane Burt, together with curator Anca Rujoiu arranged the materials to juxtapose one another, highlighting various similarities and differences.
Last week, I had the honour of receiving a private tour by the both of them, and had an unfiltered chat without all the pomp of a more formal set-up.
The project is inspired by ‘The Yellow Wallpaper’, a short story that depicts the effects of the oppression of women in society. Written by American novelist Charlotte Perkins Gilman, the plot centers around a female protagonist undergoing a personal trauma who eventually discovers her hidden self and freedom within the wallpaper that she finds herself in.
What I really appreciate in Stephanie’s work is the natural way in which she explores the dynamics of female relationships that demands a rethinking of questions in society. Her works of poetry reveal a language of well-considered judgments, muffled emotions and a language of paradox, apparently simple but in fact refined and idiosyncratic.
Although her work is informed by literature and poetry, Stephanie does not follow a linear plot line to convey meanings. Instead, she chose to focus on everyday details as a unifying force. By intertwining harsh materials with soft objects, her work reflects a juxtaposition between foreign and familiar entities. Harsh materials used were recycled and grounded and contains fragments of architectures that hovers inside and outside of buildings. The pipes, railings and window glasses are placed against softer materials such as fabric and wool. Such style comments on the presence of violence and repression in the everyday lives; acknowledging the union of material versus subject matter as soft and hard, deadly and delicate.
On first impression, it looks natural, but upon closer examination, the work seemingly takes on an unexpected form. Anca revealed the importance of the details in the work because it parallels well to the interior state of mind and inner feelings. These discrete objects and spaces speak a sense of unease and are placed and thought out so meticulously well to represent the fragility in us. Although the artwork seems to heighten the tension of anxiety dilemma in us, it is still able to maintain its manufactured, shiny, plastic façade.
Interestingly, Stephanie mentioned how the book situated right at the corner holds a strong interactive element that invites viewer to act in compelling ways for a deep need to assert their individual autonomy. Presenting the book as a multisensory medium, it calls for viewers to rip off a page of the book in moments of vulnerability and restlessness. Said to be designed by Vanessa Ban, the designer explores the use of graphics and spaces well and has successfully translated themes of violence and a sense of continuity in Stephanie’s work. There can be no doubt that there is an underlying desire to incorporate direct viewer participation into the installation experience as an unavoidably material phenomenon.
This sense of continuity does not just stop here. Viewers are left to ponder over the artwork’s placement, the artist’s intentions and possibly re-think the notions of fragility, vulnerabilities and instabilities.
This installation seeks to raise important questions about the realities of everyday life. One key aspect of Stephanie’s artwork is that she takes pride in the form, colour and painting of her work and is clearly seen through a finely honed sense of composition. What is beautiful about her piece is that it leaves one open to interpretation through an exploration of the contrasting materials and the settings.
2 September ~ 23 October 2016
Gillman Barracks, 1 Lock Road
They say dance is a universal language. Dancers’ code lie their body movement, no matter how differentiated they are by the various genres and sub-genres that they master.On September 30, 2016 / By Gracie
They say dance is a universal language. Dancers’ code lie their body movement, no matter how differentiated they are by the various genres and sub-genres that they master. It does seem that revolutionising the art involves breaking through the boundaries of genre, as testified by Haikal Razali and Francesca Yang, dancers and competitors at this year’s Breakout Hip Hop Dance Competition.
Both Haikal and Francesca have battled through their individual journeys in dance. Exuding an urban vibe, Haikal started dancing during his schooling days when he signed up for a lyrical jazz dance class at a studio. He fell in love with dancing and has since honed his craft in hip hop. A key member of his dance crew, Team YOMO, Haikal has been dancing professionally since 2013 and is also a freelance instructor at O School.
Francesca, in contrast, started dancing when she was about three years old and has been involved in Chinese dance, ballet, contemporary and most recently, hip hop. Currently taking a gap year to pursue her passion in the arts, she studied dance as an art form in School of the Arts (SOTA). There, she contributed to the arts scene by being the first organiser, together with her schoolmates, of the Blackout Dance Competition. Her hip hop dance crew, SPUNX, aims to bring a different form of hip hop to the stage as all members have a diverse background in dance.
In collaboration with Converse, we gathered Haikal and Francesca for a chat to learn more about their stories and unique attitudes towards dance.
Nookmag (N): Dancing is a lot about style. How do you evolve your style to keep things fresh?
Haikal (H): You have to take classes that are out of your comfort zone. Let’s say I dance hip hop, and maybe I’d drop by a contemporary, reggae or street jazz class. As a dancer, you have to keep on moving.
Francesca (F): I agree. It’s something that I try to do besides hip hop. In contemporary dance, we push the boundaries and question what dance is and how we can change it from there. This makes us change our mentality and break out from dance steps that we fall back on by default.
N: How does your attitude affect the way you approach dance?
H: I have to be disciplined. I tell myself every day that I want to do something new to stay motivated and inspired. If I don’t, I’d just ‘die’.
F: You really have to put yourself out there. For me, I still find it hard to go to classes alone as it scares me a lot, especially with dancers who are very good. If you really love dance that much, you’d put yourself out there no matter how you look. I believe you should do your best and grow from there.
N: It is challenging to try a new dance especially since you’re already a master of your style.
H: I do have that same problem at times, but I have to be confident and tell myself that I cannot be shy. Or else, I’ll definitely lose out. I’d just go to class and do my thing. I don’t care. I attend a class to learn and you need to have the right mentality to do that and know your purpose for attending.
F: It’s mentally challenging for me to really try to get over myself, especially since doing dance in school was really hard for me as it started getting very tough and competitive. When it came to calling for dancers, I didn’t used to be picked and that really hurt. But I continued dancing, tried my best and eventually, I got picked for one of the showcases. Hard work pays off so you must not give up. Mentally prepare yourself as it’s not easy to be in the arts and dance scene.
N: Tell us more about your Blackout Dance competition experience?
F: It’s really nice to see how the competition has grown. I was part of the team that organised the first competition when we were still studying at SOTA. Back then, we couldn’t have preliminary rounds as there were not enough participants. There were other problems such as getting sponsors and attractive prizes. It grew from there and the competition this year was the biggest. I’m proud of my juniors from SOTA who continued it.
H: We’re all working adults at Team YOMO, so when there’s an opportunity to compete, we’ll join as it’s really hard for us to get together and dance on normal days. We wanted to get the full squad for this competition as one of my crewmates is getting married soon. We didn’t expect to win. We were just chilling backstage and everybody was dancing and chilling out. When they announced that the winner was our team, we were like “what?”. It was a great experience. I watched the previous Blackout competitions as this is my first time participating. I must say this year was quite tough and it was a blessing that we actually won.
The competition gathers dancers together and I see the young generation dancers stepping up, which is good. You can see the community is still growing and the crowd was awesome – I love it.
N: Dancing and music go hand-in-hand together. What kind of music keeps you grooving?
H: I like Justin Bieber’s music. I just got to put it out there. His current songs make me want to dance and I like to use them in my classes. I like to listen to the soundtrack from High School Musical sometimes – I’m a fan. I have this child in me. When I listen to these songs, I get flashback memories. This keeps me moving.
F: I like all kinds of music. My taste is very diverse. I can go from jazz to R&B. Each kind of music has a certain feel that makes me want to move in different ways. When I’m in the train listening to music, I’m trying so hard not to move because people are going to think that I’m weird.
Once, my friend and I went to an exhibition at the ArtScience Museum and my friend convinced me to do an impromptu dance there. I was hesitant at first but agreed. We improvised and it was fun. For some reason, people started to gather to watch us. There were photographers and they thought that we were part of the exhibition! It was really fun, learning how to put yourself out there and ‘YOLO’.
H: When I was in Melbourne a few months ago, I went to this shop called Culture Kings. There was a DJ spinning in the shop and I just danced. The people around clapped and appreciated it. I think it’s the culture, it’s different.
N: Who do you look up to and how does this person inspire you?
F: My best friend, Pamela Khiu, one of the crew leaders. She really encouraged and pushed me to go for hip hop classes even though the beginning was hard and stressful. It was hard for me to catch on and I was on the verge of giving up. She dragged me to classes and said that I was very good for a first-timer. She has been dancing hip hop for a longer time and she does O School recital. I always look up to her because I know that even though it’s hard for her sometimes, she still puts herself out there.
H: I have a few inspirations. The one who’s always sticking with me is Hirzi from my crew, Team YOMO. We started dancing together nine years ago and we stayed on. Back then, I liked to do lyrical and it was hard as no one appreciated this kind of dance. We didn’t care and just did it. I learned bopping and he did breakdance, so we actually exchanged skills and stuck together till now.
N: What kind of challenges do you face?
F: Daring to get involved in the arts scene. Pursuing a legit career full-time in the arts is something that is difficult to bring myself to do even though I love it so much. The way that the society here feels about the arts deters a lot of people from pursuing it.
H: I just need time. Sometimes I want to do a lot of things in one day but I can’t. As a dancer, I need to keep fit and I cannot be sick. The challenge is with myself and what I can do. I always want to challenge myself to do something different.
N: What makes you stand out?
H: Just being myself I guess. You have to be yourself, and people can appreciate you. They will slowly notice and recognise your style. It takes time. I feel that everyone is different.
F: I try not to take things too seriously. I think that’s why I’m taking a gap year as I want to do what suits me. I try to be more quirky and relaxed in what I do.
N: Tell us more about your style and how Converse complements it.
H: I’m more of a basic kind of guy. I like white, black, beige – basically earth colours. My shoes need to be black or white – no other colour. I like to wear long tees that make my body look longer.
I used to wear Converse quite frequently. I had a few Chuck Taylors high and low cuts. I prefer [the latest Chuck II] as it has padding inside, which makes it more comfortable. Converse is cool, it matches well with everything.
F: I don’t have a specific style. Sometimes I’d go really basic, sometimes I’d go full-on strange, sometimes very girly and sometimes hip hop. Very different styles. Converse shoes to me feels like a throwback as I used to wear them a lot.
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
SPRMRKT is thrilled to present Diagonale du Fou, a solo exhibition by Ho Chi Minh City-based artist Sandrine Llouquet. Not immediately translatable, the show’s title refers to theOn September 25, 2016 / By Nookmag
SPRMRKT is thrilled to present Diagonale du Fou, a solo exhibition by Ho Chi Minh City-based artist Sandrine Llouquet. Not immediately translatable, the show’s title refers to the various edges and planes of consciousness and reality that are connected through Llouquet’s non-linear, multi-layered, preternatural drawings — the ‘crazy diagonals’.
Sandrine Llouquet creates a personal syncretism that results from her in-depth reading and research into a multitude of schools of thought: from ancient Greek philosophy, Foucault, Nietzsche, Deleuze and Jung; the exploration of Alchemy; through to the study of religion and rituals, especially paganism and animism. Her work is “a marriage of the uncanny and the familiar” — as in Freud’s Das Unheimliche — with recognizable images from a variety of different sources, combined to create dream-like tableaux.
Llouquet explores ritual transformation and the transmutation of reality, which is composed of archetypal imagery. By juxtaposing known elements with strange and eerie surroundings, Llouquet, much in the same guise as a psychologist, hypnotist or guru, stimulates the deepest recesses of our unconscious and memory. Recurrent characters populate her scenes — faceless, masked, half-animal. Referencing myriad ritualistic and cultural traditions, the compositions exude an illusory higher knowledge of the world and of our place in the universe.
Diagonale du Fou by Sandrine Llouquet
29 September – 29 November 2016
2 McCallum Street
“Each of my artworks is a step left behind that shows the building of oneself: wandering, passage from one stage to another, rebellion, escape, rebirth… By pursuing my research on this idea of building oneself, I naturally came to study the history of alchemy and found deep similarities with my notion of art: a quest for wisdom that goes with material experimentations. Since then, the esoteric/hermetic dimension has kept growing in my practice while I interrogate the ideas of religion and ‘belief’.”
Born in 1975 in Montpellier, France, Sandrine Llouquet has lived in Vietnam since 2008. She graduated from École Pilote Internationale d’Art et de Recherche – Villa Arson in 1999. A dynamic contributor to the development of contemporary art in Vietnam, she was a founding member of Wonderful District, a project that promoted contemporary art through exhibitions, concerts and theatre pieces, as well as a member of Mogas Station, a Vietnam-based artist collective.
Llouquet’s work has been exhibited in numerous venues including the Palais de Tokyo, Paris, Yerba Buena Center for the Arts, San Francisco, California and Tate Modern, London. She has also participated in a number of biennales with Mogas Station, such as the Shenzhen Biennale (2007), the Singapore Biennale (2006) and in Migration Addicts – a collateral event of the 52nd Venice Biennale. An ambitious new project is currently on show in KENPOKU Art 2016 in Ibaraki, Japan through to November 20, 2016.
The first of its kind, INDIGOISM introduces brain entrainment to the public through this digital showcase piece combining binaural beats produced by Jean Reiki (Mind of the Cosmos),On September 23, 2016 / By Nookmag
The first of its kind, INDIGOISM introduces brain entrainment to the public through this digital showcase piece combining binaural beats produced by Jean Reiki (Mind of the Cosmos), and virtual reality by Warrior9 through the immersive digital experience that is DRONE.
DRONE is a short sampling meant as an introduction to brain entrainment, a technique that stimulates the brain into specific states such as enhanced concentration, relaxation, meditation or sleep induction using a pulsing sound, light or electromagnetic field. This project utilizes binaural beats through audio stimulation to evoke the brain’s ‘frequency following’ response encouraging brain waves to align to the frequency of the pulse, thus inducing the aforementioned altered states.
The DRONE project contains traces of binaural beats in this 2-minute track. By then, the accompanying audio and visual elements would have occupied the senses fully, helping the individual relax with an end goal of escaping reality for just a little while.
Adding another artistic element to the project, the DRONE audio-visual booth was conceptualized by visual artists Soph O and Sam Lo (INDIGOISM). Taking cues from Archifest’s zero-waste theme, the booth features daybeds made from cardboard and other found packing materials from the artists’ studios. The result is a massive art jam featuring aural, digital and physical 3D artwork.
The DRONE Travels
Archifest 2016 @ Raffles Place
24- 30 September 2016, 9am-7pm
The brainwave entrainment function only takes effect after an individual is continually exposed to binaural beats for at least 15 minutes. The DRONE project runs for a maximum of 2 minutes, and therefore has little to no effect on the individual. This project is meant as a sampling, an introduction to binaural beats and brain entrainment. If you would like to further explore brain entrainment and what it can do for you, do visit the archive of binaural beats by Mind of the Cosmos at INDIGOISM.
About the Elevate platform by INDIGOISM:
Elevate is an experimental platform under the INDIGOISM umbrella focusing on soundscapes and digital arts. It was created based on research that demonstrates the mind’s ability to alter states through exposure to different frequencies. Not to be mistaken for the familiar, each beat/ mix was formulated based on these principles :
Elevate is a constant work in progress, a research project as we learn more about these methods in restoring balance to the inner core. Each beat is different and reception to these beats may differ from individual to individual.
For more information on binaural beats and the Elevate project, visit :
A social enterprise set up as a collaborative platform to build a community based on togetherness, sustainability and wonder. They realise projects that go against the grain to open up new possibilities and offer alternative views of the world around us in an effort to investigate and better our understanding of the nature of things.
The projects they embark on are collective efforts of the creative community bound together by similar mindsets and a common end goal. The themes and mediums they create with are vast and varied, each serving as an artwork in its own right; a reaction and reflection of our current times.
While hoping to create a self-sustainable model where social and environmental well-being are maximised in creating new products and introducing engaging experiences with their collaborators, in the process, they create a wide network of collaborators of whom they are blessed to call their community, who they constantly work with to realise new ideas, and new possibilities.
About the Artists:
Race Krehel has been living and working in Singapore for 8 years in a wide spectrum of visual arts. From creating content and executing world class events for global brands, making music videos for local acts, outfitting the biggest clubs in the region with cutting edge projection mapping and visuals or creating interactive installations, Race has been heavily involved in the SE Asian creative scene on all levels. Currently he is working at Warrior9 where he is using the latest technology to bring stories to life through the medium of Virtual Reality.
Passionate about film and its power to transform us, Warrior9 was created by a scriptwriter, a producer and a filmmaker because of a shared belief that “changing the world frame by frame” is not only possible, it is imperative.
Jean Reiki / Mind of the Cosmos
Born and raised in Singapore, DJ and producer Jean Reiki was a vinyl-collector who stumbled upon Hard Hops and Nu-Skool Breaks at the tail-end of the 90s. Her style of DJing gradually developed, resulting in a wide gamut of musical genres in her sets and cemented her a place at London’s Point Blank’s Top Female DJs and Ones To Watch for 2012. To date, Reiki has a quarterly mixshow residency on Lush 99.5 FM radio. She is also 1/3 of DatDatDat, running ad hoc nights welcoming an array of guests to crank up a heady mix of party vibes.
Music curation aside, her compositions and remixes gained notable attention with her work featured in far corners of the world, from Nick Luscombe’s Late Junction playlist on BBC Radio 3, Shiso Room on FutureMusicFM, Copenhagen’s The Lake radio, Berlin’s Not Your Girlfriend show on BLM.FM, Hyper Juice show on Japan’s Block FM, Stateside’s Gizmodo Home of The Future and San Jose Museum of Art, producers showcase on Malaysia’s Midnight Oil to local film trailer, ‘Trash Heaven’. Other work has garnered her the 3rd spot at the Creative Destruction Contest organised by the Peranakan Museum Singapore and nominations for the ‘Best Genre Bender’ category at the Asia music awards, VIMA.
Always exploring new terrain, she has collaborated with ethnic instrumentalists, SA to herald improvisation over one another’s material in Sonic Sessions Vol.1, a live performance streaming to an online audience via Stageit platform. 2016 also sees her releasing binaural beats + 3D nature and ambient music hybrid for the Elevate label by Indigoism and a Soundart EP entitled ‘Whimsy’.
If life imitates art and reality is influenced by fiction, then there’s much value in Tom Taylor’s work as a screenwriter and comic book author. The award-winning playwrightOn September 22, 2016 / By Arman Shah
If life imitates art and reality is influenced by fiction, then there’s much value in Tom Taylor’s work as a screenwriter and comic book author. The award-winning playwright has a knack for challenging the status quo – whether subconsciously or otherwise – through showcasing diversity in his choice of characters.
Here, the cheerful Australian shares with Arman Shah the excitement and challenges of working on the “All-New Wolverine” comics series – which sees the iconic male protagonist replaced by a strong and empowered female clone – after his appearance at the 2016 Singapore Toy Game and Comic Convention (STGCC).
You’re a playwright as well as a screenwriter. How did you make that transition to being a comic book author?
Well, I was a multi-award winning playwright who had plays across four continents, but I only made about AUD50 because theatre is a lot like crime in that it doesn’t pay. *laughs*
After one of my short plays won “Best Dramatic Writing” during the Short and Sweet festival, Collin Wilson – a big time comic book artist – helped me adapt it into a comic. It was about a briefcase at a train station, and that comic eventually got me a gig writing for Star Wars!
What were some of the challenges you faced writing for a different medium and audience? Were there also interesting similarities?
I think the biggest challenge was just writing for known commodities like Luke Skywalker, Han Solo, Batman, Superman, Wolverine and Iron Man.
Writing for these household names with a massive following can be intimidating. You have to make sure that you’re a fan too and can deliver what you love and what they love as well.
While there is a massive difference between writing for theatre and writing for comics, the similarity lies in remembering to entertain people; hopefully they continue to watch, read or listen to whatever you’re doing.
Who was your comic book hero growing up? Why did this character have such a profound impact on you?
For me it was Superman. That first movie came out the year I was born, and for as long as I can remember, I believed a man could fly. I basically love superheroes who inspire hope and exist just to make the world a better place, and characters like Superman and Captain America are right up there.
You’re writing the All-New Wolverine series that’s already six issues deep. What was your reaction when you found out you got the gig?
It was great! I was actually working on something else for Marvel, and when they asked if I wanted to write Wolverine instead, I immediately said yes. We actually talked a little bit when they revealed that it was going to be a new Wolverine, and it absolutely made sense to have Laura Kinney continue Logan’s legacy. The reaction from fans have been fantastic, and I’m so glad so many people are loving the new series.
The new Wolverine is a female clone of Logan’s who’s formerly known as X-23. What were some of your considerations when writing the comics to draw in new readers without alienating the older fan base?
Well, you have to make it very accessible. You’ve got to tell a story that grabs people’s attention from the start, while also not being so bogged down by continuity that they have no idea what’s happening. I also wanted a fast-paced action story that was fun as hell and had some good humour.
So, when you first meet Laura, she’s on the streets of Paris and immediately gets shot in the head. You then see a little bit of her past with her dad in a dream sequence before we rush back to the main story. The reader gets something out of it but doesn’t really know everything that’s going on, and that’s how we wanted it. We can then all go on this journey of discovery together.
There’s been a handful of other characters who have been reimagined lately. Iceman has come out as gay, and Iron Man will be a 15-year-old black girl called Riri Williams. What are some of the positive impacts that such diversity brings?
I think it’s a no-brainer that all entertainment media should reflect the actual world that we live in; It’s a really simple thing. I’ve got a TV and comic book series called The Deep which features a multiracial family; there is an asian mother, a black father and their two kids who travel the world in a submarine.
When I created the show with James Brouwer, people were asking why I decided to do that, but I didn’t even think about it; I just did it. We purposely didn’t say where they’re from so that anybody who wants to identify with them can – they’re yours to own.
But what we really need in terms of diversity is more creators; it shouldn’t just be boring old white guys telling these stories. We need everybody from every country and all walks of life to not just appear on the pages but actually tell the stories behind these pages.
You’re working with artist David Lopez on the All-New Wolverine. What’s the collaboration process like? Do you have any say in how the visuals turn out?
Yeah, sort of. He would send me thumbnails and we’d go through them a bit. He designed a lot of the everyday wear and how she looks, and we really wanted her to look powerful and muscular, like she can actually kick someone’s ass. She’s the clone of Wolverine, so she shouldn’t be this tall and thin thing, and I think David nailed it.
You recently attended STGCC. Why is this platform important for comics fans in Singapore in your opinion?
I don’t think it’s important just for fans; it’s important for creators too. A lot of the time, we’re locked away behind our computers, and we forget there’s a big wide world outside where people are actually reading our work.
So, it’s great for fans to be able to meet creators and just have a quick one-on-one conversation and maybe say “Hey, I really like what you’re doing”. It’s nice to hear that because it sorts of re-energises you and reaffirms that someone does like your work and it’s not just you! *laughs*
Do you have any words for fans of your work in Singapore?
I’d just like to say thank you to them because it’s been incredible seeing the numbers they turn up in for my signings. I love all the support I’ve had for everything from The Deep to Wolverine. There are some really hardcore fans here, and it’s so good to see the enthusiasm; it’s been a lot of fun.
Biker clan meets biker clan. If you didn’t know any better, you’d think it was going to culminate into a fight scene as part of a film plot.On September 20, 2016 / By Jamie Lee
Biker clan meets biker clan. If you didn’t know any better, you’d think it was going to culminate into a fight scene as part of a film plot.
Fortunately, it’s no stereotypical Hollywood movie — though what we’re talking about will undoubtedly be picturesque.
The Distinguished Gentleman’s Ride (DGR), a motorcycle event bringing together different clans from the riding community, is actually a charity event that not only combats the often-negative stereotype of men on motorcycles, but also raises awareness and funds on men’s health issues.
It was founded by Mark Hawwa of Sydney Cafe Racers in 2012, and bikers all over the world, including Singapore, came together to dress dapper and ride for good. This year’s DGR in Singapore (to be held on Sunday, 25 September, at 2PM) will be hosted by Motorwerks, and will focus on Suicide Prevention.
We spoke to Team Motorwerks to learn more about this year’s DGR.
What was it like to gather like-minded individuals to come together and ride?
The Distinguished Gentleman’s Ride is probably one of the few events that brings everyone in riding community — from sport bikers to tourers and off-roaders — together. It’s great that a common cause can bring motorcyclists together; everyone’s willing to have a good time! Last year, DGR raised over USD2.3M for prostate cancer research, and encouraged many to take responsibility for their health, and get checked or seek support.
This year, you guys are focusing on Suicide Prevention. What should we know about suicide?
We lost a fellow ride host to depression, and The Distinguished Gentleman’s Ride decided that more should be done about this health issue. Suicide is the biggest killer of men aged 20 to 39 and 75% of all suicides are male. 510,000 men die from suicide each year – that’s one per minute.
What’s the gentlemanly (or womanly) way to approach the topic?
The kind way to approach the topic is to take note of your tone, and to ensure that you are doing it with a genuine heart. Be patient, and make an effort in helping them feel comfortable, so that they may open up to you. A no-no is to shrug it off when you see someone in need.
Why do you think men are holding back how they feel?
We are in no place to comment on why men hold back. Perhaps it’s the societal norm for both boys and men to take the heat “like a man”, though this varies from person to person and it is not right to generalise. Reaching out to someone in need is the first step to showing compassion, which can positively impact many lives.
What does it mean to be a gentlemen?
“Manners Maketh Man” – William Horman, adapted by Harry Hart in Kingsman: The Secret Service (2014).
Gentlemen are respectful of everything around them, and dressing dapper gives the image of a working class man, which for many years has been the appearance that relates to decency.
What should a first-time participant wear?
A first-time participant can get as creative as they want, as long as they appear as a gentleman or a genteel lady. Most participants show up in full suits – despite Singapore’s climate and humidity.
For the safety of the ride, the start and end locations of The Distinguished Gentleman’s Ride will not be released. Participants of the event can gain access to this knowledge upon registration on the Gentleman’s Ride website.
Salvador Dali, the man most famous for his melting clocks, has undoubtedly awed the likes of art students around the world since his works were published. While we’veOn September 13, 2016 / By The Rainbow-Monger
Salvador Dali, the man most famous for his melting clocks, has undoubtedly awed the likes of art students around the world since his works were published. While we’ve had to learn about him and his paintings in art history lessons, history has never really focused on the wonderful relationship he had with his publisher, Pierre Argillet, and the friendship between them. As such, when the world lost this renowned painter in 1989, it is doubtful that most would wonder about his publisher and what became of him.
As an artist and an avid collector of Futurist, Dadaist and Surrealist works, Argillet had counted Marcel Duchamp and Jean Arp among his acquaintances, but it was only with Dali that a long and fruitful collaboration had developed. Since Dali and Argillet met in the 1940s, they have both produced nearly 200 etchings together over a 30-year period before parting ways in the mid-1970s. This is not to say, however, that they parted on a bad note, as they remained friends until Dali had breathed his last.
During their 30 years of collaboration, the duo had produced a unique anthology of works, which will be featured in Singapore’s REDSEA Gallery from 11 September to 5 October 2016, titled Salvador Dali & Pierre Argillet: Thirty years of collaboration. This exhibition will showcase a selection of Dali’s etchings and drawings, alongside porcelain works and tapestries previously unseen in Singapore, as well as the first ever public display of two original copper plates. All works from the Pierre Argillet Collection have been authenticated and signed by Dali, and will be available for viewing and acquisition during the exhibition period.
In this exhibition, Dali’s open-mindedness and innate ability to embrace a plethora of topics and themes are demonstrated in his etchings and drawings, which address different topics, from religion to eroticism. Although this collection has made its way to multiple museums around the world, it claims permanent residence at the Museum of Surrealism, Château de Vaux-le-Pénil, Melun, France and Dali’s Teatro-Museo in Figueres, Spain.
Although both Dali and Argillet are no longer alive, we have managed to get hold of Christine Argillet, the daughter of Pierre Argillet, to tell us more about Dali and his inspirations. Christine spent much of her childhood in the presence of Salvador Dali, and experienced his receptivity and broad-mindedness first-hand. While we are not able to provide a full documentary of Dali’s thought process. Christine has provided invaluable insights into the collaboration between her father and Dali, and the works they produced together as she chats with us in a short interview below.
What do you think prompted Dali in 1967, to choose Mao’s poems instead of his portrait to represent the East?
It was May 1968, and we were in Paris, France, in the middle of what we called a “mini- revolution”. The revolt had been initially inspired by the Chinese “cultural revolution”, starting with universities and then spreading to factories. Dali was in Paris at the time. My father had found, in one of our numerous bookstores, the Poems of Mao Zedong next to the Red Book, and had brought it to Dali as a surprise. Amazed by the poems, Dali decided to illustrate 8 of them. The interest of Dali was to find a “correspondence” between Eastern vision and symbols, and Western surreal vision in describing universal concepts like freedom, the strive for wealth, democracy, etc. These correspondences are visible with “The 100 Flowers” and the “River of Plenty” illustrations.
Do you think the tumultuous period of 1968 (e.g. Vietnam War, Bobby Kennedy and Martin Luther King assassinations) had a bearing on Dali’s interpretation of the Hippies series? How so?
In 1969, when my father came back from India with dozens of rolls of pictures on the country and on the Hippies traveling mostly barefoot toward the Himalayas, Dali became eager to put a parallel between Eastern and Western philosophical quests. Dali wanted to be universally understood; he wanted to be a kind of Leonardo da Vinci of the XXth century. The late 60s was a time where anti-war and anti-racism spread as a response to violent scenes (e.g. Vietnam War, Bobby Kennedy and Martin Luther King assassinations), and a philosophical and peaceful counterpart was led by the Hippy movement whose motto was “Love and Peace”, following the non-violent attitude of Gandhi. Dali would see a parallel between Hippies going to India and pilgrims of the Middle-Ages on their way to Santiago of Compostella and Jerusalem. You see this with “Santiago of Compostella”, “Woman with Cushion” and “The Sacred Cow”.
Do you see Dali’s surreal approach and works being relevant to the young of today? Which modern artist, do you think, resemble Dali’s approach to art?
I am surprised to see how young crowds, all over the world, are fascinated by Dali’s free attitude and humorous spirit. Many artists have been inspired by Dali’s unconventional attitude and I think that not only Andy Warhol, but people like Ai Weiwei and Combas, have at a moment or another followed this path.
Would 3D printing be one way for the modern artist to replicate surrealistic artwork? For instance, would something like a 3D printed “Tree in Cross” Jewelry, inspired by Dalí, catch on?
Dali had already experienced holograms and 3D painting in the 70s. Any new tool is a possibility for an artist, but it is the idea that is probably more contemporary than the tool.
If Dali were to be commissioned for a work in Singapore, what do you think he would choose to depict, especially in modern Singapore today?
Probably the verticality of this extraordinary city would have inspired him and led to other experiences.
SALVADOR DALI & PIERRE ARGILLET:
THIRTY YEARS OF COLLABORATION
11 September – 5 October 2016
Block 9, Dempsey Road
Website | Tel: (65) 6732 6711
Public Guided Tours
Saturday 17, 24 Sep & 1 Oct @ 2 – 3pm
First-timers and die-hard French foodies alike can enjoy the best of French cuisine during La Semaine Franҫaise, with up to 25 restaurants across the city offering week-long diningOn September 6, 2016 / By Nookmag
First-timers and die-hard French foodies alike can enjoy the best of French cuisine during La Semaine Franҫaise, with up to 25 restaurants across the city offering week-long dining deals of exquisite food and wine.
Supported by The French Ministry of Agriculture, Sopexa and DiningCity, La Semaine Franҫaise is a showcase of French classic and fusion gastronomy, making it accessible to everyone in Singapore to discover and savour the cuisine that has not only contributed significantly to western cuisines but is part of the UNESCO’s list of the world’s “intangible cultural heritage”.
“Singapore is famous for having one of the most diverse food scenes in the region; so it is no surprise that there would be some fantastic restaurants offering the best quality French classical and fusion cuisine within the city. With La Semaine Franҫaise, we want to not only bring these restaurant treasures to light but also highlight why French food and wine remains so popular in the world,” said Gregoire Debré, Sopexa’s Regional Manager Asean – Taiwan
From a succulent foie gras to a crisp glass of Chablis, it will be an unforgettable week of exquisite French flavours. Among the restaurant’s offering exclusively crafted lunch (SGD40++) and dinner (SGD58++) set menus from 10 to 17 September are Absinthe, Oso Grill, OCF, Lewin Terrace, Saveur and more. Completing the French experience, diners can also enjoy a complimentary glass of French Red or White wine when they order the lunch or dinner set menu.
The full list of participating restaurants can be found here.
The Singapore Art Museum (SAM) has announced the names of a further 12 artists who are participating in the Singapore Biennale 2016, one of Asia’s most exciting contemporary visualOn September 1, 2016 / By Nookmag
The Singapore Art Museum (SAM) has announced the names of a further 12 artists who are participating in the Singapore Biennale 2016, one of Asia’s most exciting contemporary visual art exhibitions. Titled An Atlas of Mirrors, this edition will draw on diverse artistic viewpoints that trace the migratory and intertwining relationships within the region, and reflect on shared histories and current realities with East and South Asia.
The shortlist comprises established and emerging artists based in or from Singapore, China, Hong Kong, India, Indonesia, Japan, Malaysia, Philippines, Sri Lanka, Thailand and Vietnam. The Singapore Biennale will held from 27 October 2016 to 26 February 2017.
The artists were shortlisted based on their past works and art practices, and were selected in relation to the title and themes of An Atlas of Mirrors. The artists will present either existing works, curatorially selected for their resonance with core themes in the Biennale, or specially created new commissions.
The eleven participating artists are Ade Darmawan from Indonesia, Hemali Bhuta from India, Bui Cong Khanh from Vietnam, Chia Chuyia from Malaysia, Deng Guoyuan from China, Patricia Eustaquio from the Philippines, Sakarin Krue-On from Thailand, MAP Office from Hong Kong, Pala Pothupitiye from Sri Lanka, Melissa Tan from Singapore and Harumi Yukutake from Japan.
On the whole, there will be more than 50 artists that will be presented at the Biennale, ten of whom have already been announced in January this year – namely Ahmad Fuad Osman from Malaysia, Martha Atienza from the Philippines, Rathin Barman from India, Fyerool Darma from Singapore, Han Sai Por from Singapore, Nguyen Phuong Linh from Vietnam, Qiu Zhijie from China, Araya Rasdjarmrearnsook from Thailand, Titarubi from Indonesia and Tun Win Aung and Wah Nu from Myanmar.
The shortlisted artists announced so far were invited with deliberation and discussions by the curatorial team, comprising the Biennale’s Creative Director Dr. Susie Lingham, SAM Curators Ms. Tan Siuli, Ms. Joyce Toh, Mr. Louis Ho, Ms. Andrea Fam and Mr. John Tung, as well as four Associate Curators who have been invited by SAM to work collaboratively together. The four Associate Curators are Ms. Suman Gopinath from Bangalore, India, Mr. Michael Lee from Singapore, Ms. Nur Hanim Khairuddin from Ipoh, Malaysia, and Ms. Xiang Liping from Shanghai, China.
Affiliate Projects to engage with the local visual arts community
The Singapore Biennale 2016’s Affliate Projects are organised and developed by other art institutions in dialogue with the curatorial team. These projects respond closely to the title of An Atlas of Mirrors, the first of which are exhibitions by DECK and Institute of Contemporary Arts Singapore, LASALLE College of the Arts.
DECK, an independent art space dedicated to the art of photography in Singapore and Southeast Asia, will present two exhibitions: The Natural History of an Island by Robert Zhao Renhui and Hanging Heavy On My Eyes by Ang Song Nian. Both artists will explore how humans have altered, manipulated and intervened into landscapes and ‘natural’ spaces.
The world precedes the eye, presented by the ICA Singapore, will be curated by Ms. Bala Starr, Ms. Silke Schmickl and Ms. Melanie Pocock. The exhibition will feature works by artists based in Asia, responding to the overarching question of how we picture the world and ourselves, through a material examination of contemporary art practice in Asia.
Complementing The world precedes the eye is a solo project presentation, Black-hut by Boedi Widjaja, that will bring together architecture, modernism, memory and place.
The Singapore Biennale 2016 will be anchored at the Singapore Art Museum on Bras Basah Road and Queen Street. Taking place from 27 October 2016 to 26 February 2017, the four-month long international contemporary art exhibition is organised by SAM and commissioned by the National Arts Council of Singapore.
Contemplative and soft-spoken, Nathan Yong comes across as very un-boastful when he talks about his accomplishments and contributions to the local design community. Yet, the furniture designer isOn August 24, 2016 / By Arman Shah
Contemplative and soft-spoken, Nathan Yong comes across as very un-boastful when he talks about his accomplishments and contributions to the local design community. Yet, the furniture designer is a considerable trailblazer when it comes to putting Singapore on the world map, thanks primarily to one of his earliest creations, the “Breakstool”. Now that 10 years have passed since he had launched that masterpiece, Nathan sits with Arman Shah to discuss the evolution of his original design in conjunction with Singapore’s 51st birthday.
How did you get started in furniture design?
I studied industrial design at Temasek Polytechnic, and when I graduated in 1991, I already had my mind set on becoming a furniture designer. When you’re young, however, nobody cares when you share your designs with the big bosses of well-known furniture companies.
I knew that I had to start my own company, but I needed to have an understanding of the business side of it. So, I applied for jobs specialising in different areas of the retail trade. I worked as a salesman, merchandiser and also a buyer who travelled to many Southeast Asian countries to check out trade shows and see how things were being made in factories.
When I eventually opened my first shop called “Air Division” in 1999, I already knew what was required of me to run my own business. I was designing my own furniture and retailing them in Singapore for 10 years before I left in 2009.
How did “Breakstool” help catapult you into the international design scene 10 years ago?
Breakstool was developed in 2006 and I was selling it locally through “Air Division” for about six months. I eventually told myself that I needed to sell my work beyond Singapore shores and got around to doing a trade show that year.
That was when I got to meet the people from Ligne Roset who picked up three of my original designs, including the “Breakstool”. It was a pretty big deal for me when I sold my design rights and had them bring my work outside of Singapore for the very first time. Designing for such a top-notch furniture company that’s based in France had always been my dream since I was a student at age 17.
What first inspired you to design “Breakstool”?
I remember waking up at 4am one morning and having this idea of doing a series of plywood chairs. It was a very fun and simple idea that’s based on comfort, functionality and aesthetics. Singapore didn’t have three-dimensional moulding technology back then, so I wanted to come up with an affordable and low-tech solution that puts a smile on your face. Design is universal, and I think Ligne Roset saw my thought process in the “Breakstool” when they bought the design rights from me.
What challenges did you face when producing the “Breakstool”?
The process was quite simple actually. Once you’ve curved the piece of plywood into the desired shape, you jot down the proportions in your technical drawing and relay the information to the technicians at the factory.
Of course, it is only to be expected that you go back and forth with the people at the manufacturing site; you want the piece to look a certain way but the technicians say it cannot be executed as such. I guess the main challenge was coming up with the right proportion so that the stool doesn’t look too chunky yet not too fragile that it breaks.
To celebrate 10 years of the “Breakstool”, you are launching an updated version of the original called the “Breakchair”. How has the design evolved after the last decade?
It’s basically the same stool that now comes with a backrest. Its evolution from a stool to a chair is still based on the same old concept of simplicity and pragmatism. This time, however, figuring out a way to incorporate the backrest into the original design was the main challenge.
From the first instance, I knew that the backrest had to be moulded for the purpose of structural stability. There’s also a slot in the original design that’s actually a crack from when the plywood was bent into shape. I intend to use this slot to hold the frame and secure the backrest.
What made this chair design the perfect one to commemorate National Day?
Well, the theme for National Day this year is “Going Forward”. So, to celebrate a decade of the “Breakstool”, I thought it would be interesting to explore its evolution, and turning it into a chair seemed quite befitting.
Singapore is 51 this year. How has the local design scene evolved from when you first started out?
When I started out in 1999, people didn’t understand what design can bring in terms of generating businesses, contributing to culture or just benefitting mankind generally. My peers and I were really just pushing for the development of different kinds of design in our own ways back then. We didn’t have an environment where we can just approach a shop to exhibit our designs. People will just tell us to go away.
I think people have a far more vested interest in local designers now. There are so many companies that want to work with designers to create content, so that’s a much healthier environment. At the same time, I’m worried that these privileges make the younger designers less hungry. Maybe they’re just concerned about what they want to do and get a little egoistic because of all these great opportunities. So, there’s always a flip side to things.
What are your hopes and wishes for Singapore as she turns yet another year older?
I really wish that the people of Singapore will be far more appreciative of the things around them. I don’t want to sound corny, but it can even be the trees and the river. People have to slow down and appreciate our environment more. As we become a richer country, I also hope that people become more cultured and treasure things that are well made. It doesn’t have to be expensive; it doesn’t have to be branded. I hope design plays a part in educating people and making them more away of the finer things in life.
Exclusively available at Gallery & Co.and GRAFUNKT for a limited time only, the Breakstool in Oak and Walnut is priced at SGD480, while the Breakchair retails at SGD650. A showcase featuring both designs will be on display at Gallery & Co. from 3 August to 3 September 2016.
World’s End is an art and design initiative that functions as both online store and art gallery. It is in our intention to share our perspective and interestOn August 19, 2016 / By Nookmag
World’s End is an art and design initiative that functions as both online store and art gallery. It is in our intention to share our perspective and interest in the art and design culture via its relation to commerce, community, creation, and communication.
We asked Glyn Smyth (IRE), Sarah Sheil (IRE), Riandy Karuniawan (IDN), Morrg (IDN), Jesse Schaller (USA) and KILAS (SG) to create a print with a Goddess of their choosing. Below are some of the pieces that emerged, along with the artists’ reflections.
After the positive reception of our first series “Mythos” and our love of myths and fables, we chose the theme of Goddesses. To us the Goddess represents the balance of life and death, the complexity of love, manipulation of the elements; these are some of the celestial facets the artists were able to represent in their work. Her power goes beyond the physical beauty and permeates the depths of what is to be a woman in control. We wanted the artists show the Goddess not only as a benevolent mother but someone elusive to the viewer – someone who cannot be possessed.
“Goddess Brig an Irish/Celtic Goddess of many things but would primarily be associated with fire. She is also associated with the pagan festival Imbolc pronounced EEMolc which is held on Feb 2nd, it was later Christianised to St.Brigid’s day. In the Pagan calendar Imbolc marked the end of Winter and beginning of Spring.
This piece focuses on her relationship with the element of fire and the festival of Imbolc. She is breaking through the darkness of winter, pouring forth with light and fire and bringing with her spring, warmth and new life.”
Totok Kerot by Morrg
“During a recent trip to a rural village in Indonesia I came upon a tale of a Hindu orcish being that the villagers were afraid to speak of, the legend was of how a jilted Princess was turned to stone and to this day remains trapped where she was transformed. Totok Kerot used to be a Princess from Lodaya who fell in love with Jayabaya, a King from Kediri, Java. However, the proud King shunned the Princess, unable to handle the rejection she waged a war between their Kingdoms but lost the battle. As punishment, she was cursed to be a ‘dvarapala rakshesi’, a demonic temple guardian till the end of time.
In my work I’ve depicted Totok Kerot revealing in her fiendish form surrounded by a crew of likebodied accomplices.”
Morrígan by Glyn Smyth
“Being Irish, I decided to choose one of the many Goddesses native to this small island the mighty Morrígan, meaning ‘phantom queen’. Like many Celtic deities she exists in a myriad of forms being seen as both a trinity and singular in nature.
Here I depict her in her common role as a war Goddess prior to her metamorphosis into the ‘Badb Catha’ (Battle Raven).”
Izanami by Riandy Karuniawan
Izanami is the creator of life and death. Together with her partner Izanagi, they created life on Earth. She gave birth to many Gods and Goddesses, but died during the birth of HiNoKagutsuchi, the God of Fire. Her body was burned and moved to the realm of death, Yomi. Since that time she became the ruler of Yomi.
Creation and death are intertwined. Similarly, good and bad, beautiful and ugly, heaven and hell, so for me this Izanami figure is a symbol of harmony and balance. As a child growing up in Indonesia, mythology and mystique are a vital part of everyday life. The belief that the existence of supernatural beings from other dimensions living in harmony with human beings is generally accepted.
“I’ve tried to combine these two elements (the mystical and Japanese pop culture). My version of Izanami is not living in the realm of death, but in the middle between the realm of life and death. I tried to create this middle realm. With graphic elements such as points, lines and areas I tried to form a two-dimensional paper area into the multidimensional space. Spaces that blends with Izanami’s harmony.”
The silkscreen prints are made in Oakland, California by Monolith Press. They are available on the World’s End website.
From 1 August, the Red Dot Design Museum Singapore will showcase a new collection of the latest product design works from this year’s Red Dot Award: Product Design. Exhibition: TodayOn August 18, 2016 / By Nookmag
From 1 August, the Red Dot Design Museum Singapore will showcase a new collection of the latest product design works from this year’s Red Dot Award: Product Design. Exhibition: Today will be open to public until 30 November 2016.
The new collection of design products showcases refined technology, improved combination of materials and increased emphasis on users’ comfort and convenience. Brilliant designs create utmost conveniences to individuals immersed in busy lifestyles. The belief that design makes a difference in daily life motivates innovation. The annual Red Dot Award: Product Design honour brilliant designs that are creative, yet practical and user-friendly.
A panel of 41 international experts selected the Red Dots from a total 5,200 entries from 57 countries this year. The contemporary collection consists of a selection of the winners showcasing an array of product designs from international brands the like of Apple, Google, IKEA, Plantronics and Nokia. Each product design exhibit is presented with the name of the design team and manufacturer, a description highlighting its design attributes and a statement from the jury.
Notable exhibits in this new collection includes the Iriver AK T1, a sound system which delivers precise sound transmission and enhances quality of sound reproduction. The design of the sound system prevents overlapping of frequency and minimises internal and external vibrations. Visitors can experiment the various functions of the product and experience the sound system at the museum.
Another exhibit is the ESYLUX Prana+ office floor light, which combines superior lighting and intelligent control technology including high-tech sensor. The floor light is capable of creating different light intensities that benefit human well-being and increase levels of concentration. The patented, extendable foot allows the lamp to be used at desks with sides extending to the floor.
Every year, international expert panels of Red Dot jury decide which product designs, communication designs and design concepts will be on display at the museum. They test, discuss and assess the innovative design quality based on stringent design criteria. The jury will ultimately decide which designs have earned the Red Dot seal of quality, thus a place in the museum.
Red Dot Design Museum
28 Maxwell Road
Red Dot traffic
#02-15 Singapore 069120
Seamlessly blending the old with the new, The TENG Ensemble has done wonders to redefine classical music through complex recompositions of familiar tunes. With the release of theirOn August 11, 2016 / By Arman Shah
Seamlessly blending the old with the new, The TENG Ensemble has done wonders to redefine classical music through complex recompositions of familiar tunes. With the release of their sophomore effort “Stories from an Island City” and concert at the Esplanade fast approaching, the outfit’s artistic director Samuel Wong shares with Arman Shah the importance of celebrating Singapore’s heritage through reinvention.
How did The TENG Ensemble first come together to make music?
We started as a collective that aspired to raise awareness of Chinese music. In 2004, we won the First Prize in the National Chinese Music Competition which is organised biennially by the National Arts Council. Following that, a few of us decided to stay within the ensemble to provide for the creation and development of projects in Chinese music.
Since then, we’ve went on a nationwide tour and performed at public venues like The Arts House, the National University of Singapore, Singapore Management University and the National Museum during the Singapore Night Festival.
How has your sound evolved over the years?
Inspired by music of our time and from our past, we’ve gotten deeper in touch with our Singaporean heritage and have evolved from a mere Chinese instrumental ensemble to that of an intercultural ensemble. Now, we merge popular styles with classical techniques, and are constantly looking to rework, innovate, update and redefine traditional music.
We are currently working on the canon of folk songs, children’s rhymes and lullabies that are commonly heard in Singapore. Taking inspiration from these pieces, we deconstructed them, modernised them and made them sound completely new, yet retained the warmth of familiarity.
Why is it so important for you guys to celebrate Singapore through your music?
We pride ourselves as being a Singaporean music company, creating Singaporean work by Singaporeans for Singaporeans. With Singapore being a multicultural society that boasts a richly diverse heritage, the stories that we wanted to tell and the works that we wanted to write came quite naturally to us. The different cultures in our society are central to our country’s success, beliefs and value systems, and as such, important for us to showcase.
Most members of The TENG Ensemble are also music educators and we find that amongst the young, while most have a musical memory of these songs, they are starting to forget them. As such, we hope to introduce these songs back to the modern day and to reinvent material from our heritage to make them relevant for contemporary society.
How has social media helped create awareness of your music?
Social media platforms have become a common ground for people to meet and mingle, share their thoughts and ideas, discover new things and find an outlet to express or be at ease with themselves. This is important to consider when we want our music, which is created to be both complex and accessible, to reach an untapped audience for the arts.
Putting our work online also helps us reach an audience beyond Singapore, which in turn enables us to tour in the future, knowing that people out there have heard our music or watched our videos online, and would hence want to watch our live shows. In this sense, music videos that we publish online are both a platform to showcase our work and a marketing tool.
Considering the complexities of stitching together different musical elements, describe your process of creating a song.
As artistic director, I work closely with our composer Chow Jun Yi and arranger Huang Peh Linde. The process starts with me conceptualising and charting the direction for the pieces. Jun Yi then writes the pieces before passing them over to Peh Linde to arrange the accompanying orchestration, which includes the electronics and soundscapes for each piece.
For example, when we were recomposing Singapore’s heritage songs for “Stories from an Island City”, we wanted to make sure that people recognise the original melody but appreciate them in a new way.
I gave Jun Yi a list of songs that would make sense conceptually when put together, and his main challenge was to “modernise” the existing melodies to fit our era. Peh Linde then spent some time analysing his requirements and brought his treatments to reality.
You will be releasing your second album “Stories from an Island City” on the night of your concert at the Esplanade. What can we expect from it, and how does it differ from your debut effort?
We wanted to create a set of musical works that spoke about Singapore’s heritage. They are meant to be accessible yet encompass various underlying themes about urban life in Singapore. We also wanted them to have an educational component and resonate with most Singaporeans. We hope that they can give an insight into our musical past to help us make greater sense of our present.
The second album will feature all the songs from the concert and one bonus track. This is a big difference from our first album, in which we featured original compositions and explored different genres of contemporary music. The first album was a confluence of our musical influences, while “Stories from an Island City” is where we look into what shaped our musical identities.
What surprises do you have in store for us at your upcoming concert at the Esplanade?
This will be the first time that we are holding a full-fledged collaboration with artists from other disciplines to create a multi-sensory experience. The multimedia projections will give viewers something to watch and visually experience the stories we want to tell, while the dance performances will break the fixed spatial dimension of a straight up musical concert.
The audience will also notice how differently we intend to use our instruments. For example, our singer, who is a Baroque countertenor, will sing in Mandarin and Malay when he would traditionally sing in English or Italian. Another example is our pipa, which will be used to imitate sounds of the Indian tanpura in the piece “Storm War” that’s inspired by Munnaeru Vaalibaa.
What does holding a concert on such a grand scale mean to you on a personal level?
We’ve actually partnered with the Esplanade to present shows at the Recital Studio twice; once in 2012 and once in 2013. Both were sold out shows, so the Esplanade decided that we should venture into a bigger space, which is the Concert Hall. We are both thrilled and a little anxious to be playing in a much bigger space, and to a much bigger audience!
That said, we feel like we have really come a long way and we are always surprised by how much we can stretch our capabilities. We are happy that the Esplanade wants to see us evolve and have invited us to be on one of their most prestigious stages, and we are excited to really surprise our fans with “Stories from an Island City”.
Stories from an Island City will be presented live by the Teng Ensemble tomorrow, 12 August, at the Esplanade Concert Hall.
The Singapore International Festival of Arts (SIFA) is happy to announce the finalised programme for this year’s Festival that will run from 11 August to 17 September, whichOn August 11, 2016 / By Nookmag
The Singapore International Festival of Arts (SIFA) is happy to announce the finalised programme for this year’s Festival that will run from 11 August to 17 September, which will once again include SIFA Shares.
SIFA Shares is a programme that is designed to increase dialogue between artists and audiences, and will be offered free of charge to increase accessibility. There are six programmes in SIFA Shares: two films, two talks, one exhibition and one demonstration. It will include artists from Brazil, Switzerland, Japan and Australia.
Curated by Festival Director, Ong Keng Sen, the series of events will provide greater relevance to the productions at SIFA and allow the audience to dig deeper into the context and issues presented at this year’s Festival around the theme of Potentialities.
For example, SIFA will be screening two films: The Moscow Trials and Hate Radio that highlights Director Milo Rau’s previous works. Rau staged a counter-event in response to the controversial sentencing of punk activists Pussy Riot, but the three-day trial was stormed by the Russian authorities. The Moscow Trials documents this live event that occurred in Moscow. Hate Radio is a theatre project that focused on the role of the broadcasting station Radio Télévision Libre des Mille Collines (RTLMC) in generating racial hatred during Rwanda’s 1994 genocide. The production examines how racism functions and attempts to provide some context in a reconstructed backdrop. Dramaturg Stefan Bläske of the International Institute of Political Murder’s (IIPM) will trace the arc of Swiss theatre and film director Milo Rau, in an engaging discussion titled A Talk by Stefan Bläske: The New Artistic Trajectories of Milo Rau/IIPM.
Based on a ritual exchange of gifts among inhabitants of the Trobriand Islands in Papua New Guinea, The Kula Ring is an art exhibition, initiated by the Goethe-Institut Singapore and curated by Alfons Hug which first opened at the Kultursymposium Weimar 2016. It premieres in Asia at the Singapore International Festival of Arts, with an added performative component in collaboration with Festival Director Ong Keng Sen.
Kabuki Demonstration: The Art of the Onnagata will featurekabuki actor Kazutaro Nakamura, who plays Richard III in Sandaime Richard. Nakamura will share fascinating insights into this iconic traditional Japanese art form, onnagata, where male actors play women’s roles in Japanese kabuki theatre.
In Conversation with Ron Arad, will also provide the public a chance to get up close and personal with world-renowned London-based architect, artist and designer. Join the award- winning artist for an enlightening session about art in public spaces.
For more details on the Festival, please visit the SIFA website.
No skate park in Singapore has withstood the test of time quite like Somerset has. Ever since the National Youth Council (NYC) launched the sports facility in 2006,On August 5, 2016 / By Arman Shah
No skate park in Singapore has withstood the test of time quite like Somerset has. Ever since the National Youth Council (NYC) launched the sports facility in 2006, it has served as a congregation point for skateboarders, BMX riders and aggressive inline skaters who yearn for that mad surge of adrenaline rush. With the passing of a decade, Irwan Idris has decided to pay tribute to this iconic landmark through his short film “NS23” (titled after the subway code for Somerset MRT Station). Arman Shah sits down with the veteran skateboarder to discuss his culturally important documentary.
You’ve been skating since you were about 15. How did you get into the sport?
16 years ago, a classmate of mine brought a skateboarding magazine to school. I was instantly very curious about the things that I saw, and I listened as he told me about all these famous skateboarders who were featured in the magazine. Ever since then, I would borrow my brother’s board and ask him to teach me what he knew.
Eventually, I fell in love with skateboarding and even ditched football for it. I was in the Under 15 team for Tanjong Pagar, but I would not attend training just to go skate. At that point, I found skating to be much more fun than football because I did not have to be part of a team – I could just be on my own and do my own thing.
How has being a skater changed your life?
I was a chubby kid back then – I’m still quite chubby now – but I’ve lost a lot of weight ever since I started skating. I might not be like other boys who can do all kinds of crazy tricks, but I’ve proven to myself that big boys can skate. I’ve put in my best and I’m still progressing.
Being a skater has also taught me a lot about respect. Some of the older boys don’t want to hang out with the younger kids simply because they’re older, but I don’t believe in that. I have to respect what they are doing because the younger generation will be the ones to bring the local skateboarding scene to the next level.
What motivated you to make “NS23”?
I guess I just wanted to create exposure for the skateboarding scene in Singapore. We as skaters have not really been properly portrayed on the proper channels. I wanted people to understand that skating isn’t about a bunch of kids who make a nuisance in society.
When I got the inspiration to make a short film about Somerset, I thought that this idea might just work. It’s also mutually-benefiting – a filmmaker will never get known without the skaters, and the skaters will never get known without the filmmaker.
Why is Somerset such an iconic place for skaters in Singapore?
Somerset is by far the longest maintained skate park in Singapore – it’s been around for 10 years! Before it was even opened to the public, my friends and I had actually climbed in to check it out *laughs*. But seriously, ever since the NYC Skate Park – that’s where *SCAPE is right now – was torn down, I think Somerset has been the best place to skate because it’s nearest to everyone. The Xtreme Skate Park is great, but those living in the north and west find it troublesome to travel all the way to the East Coast. Somerset is also near Orchard Road, so you can shop, eat or simply take a break after a day of skating.
“NS23” is your first short film. What challenges did you face making it?
It took about 6 months to make because the filming and editing process was not easy. For filming, my crew and I would attach a boom mic and fisheye lens to a DSLR camera before mounting it on a metal cage. I would then follow the skaters around on a skateboard to shoot them as they do their tricks. The end result might look amateurish, but it takes years of experience to not make the clips look shaky. The editing process was also a bit tedious because I had to piece everything together and do colour corrections here and there.
Why was it important for you to also interview expats in your film?
I wanted to know the perception of a non-local. If you interview a Singaporean, he may say the nicest things about Somerset, but a foreigner – like (one of the interviewees) Daniel who’s lived in eight countries his whole life – will give a different kind of feedback. They are part of the skating culture so their opinions matter as well.
You brought up the territorial culture at Somerset Skate Park in your film. Does it still exist in this day and age?
There isn’t much of it anymore, but back then – say between 2006 and 2008 – yes. If I remember correctly, there were a couple of fights between the skaters and the BMX riders. You have to understand that Somerset was a new park back then, and everybody – the skateboarders, BMX riders and aggressive inline skaters – went down there to do their thing. The park couldn’t contain all of us, and that led to the territorial culture.
I took a two-year break from skating when that culture surfaced. I didn’t like it; I wasn’t brought up to be territorial. I was still schooling then so I had to concentrate more on my studies anyways. When I went back to skating, I realised that the culture had discontinued because the first generation of skaters had moved on. They were either working full-time or got married and started a family. Now, there is a bunch of younger kids who just want to skate, have fun and learn new tricks.
How is the new generation of skaters different from yours?
The kids we see here are getting younger and younger, and I think that social media has played a very huge role in that. During my time, we only had access to VCR tapes, so we’d keep on watching the same videos over and over again. Today, skate videos are at your fingertips. Kids can go onto YouTube or Vimeo and say that they want to learn this trick or that trick. Out of the bunch of them, maybe one or two will be at the competition level. Who knows? One day, they can take over the current people who are representing Singapore like Farris Rahman or Firdaus Rahman.
What do you have to say to people who think that skateboarding promotes juvenile delinquency?
Skateboarding was never meant to be a delinquent sport. In the film, there are scenes where boys are pulling down their pants and being rowdy, but that’s just us being young and having harmless fun. There’s actually this very funny video of Jack Black telling a skater that he’ll walk around the park naked – and he actually did! When an actor does it, you call him a rock star, but when a random skater does it, you call him a juvenile delinquent? Yes, we can be loud, but we’re not judgemental, so I hope that people will not judge us too.
How would you like the local skating scene to change over the next three to five years?
It’s been 10 years since Somerset Skate Park was opened, and most of the stuff here needs to be changed. We’ve had to turn over and fix some of the things here ourselves. I hope that the government has the budget to turn Somerset into a different kind of street park, like a street plaza, which is designed to mimic an urban environment.
Any advice for those who, regardless of skill level, want to come down to Somerset to skate but are just too shy or intimidated?
Just come down to the park with a positive mindset to skate. Some of the skaters here – or anywhere in the world for that matter – might not talk to you at first, but if you present yourselves well and approach them, they will open up to you and even teach you a few things. From there, friendships can be created.
Skating is one of the best sports that you can get into; you get exercise, you get that mad adrenaline rush, and you get the creativity drawn out of you. It’s not just a hobby; it’s a culture. Once you get that bug inside of you, that’s it – there’s no way of stopping you.
For the first time, select Museum Label products will be available at Times Bookstore at Waterway Point, including the following highlights. These products are now available at more locations,On August 3, 2016 / By Nookmag
For the first time, select Museum Label products will be available at Times Bookstore at Waterway Point, including the following highlights. These products are now available at more locations, including Times Bookstore at Waterway Point from 1 August 2016.
Singapore’s first National Day Stamp Pin
This stamp issue, available for SGD4, commemorates Singapore’s first National Day on 3 June 1960 and her first anniversary of Singapore as a self-governing state of the British Colony.
This historical milestone marked a new beginning for Singapore. For the first time, the words “State of Singapore” was used and printed on Singapore’s postage stamps. The central theme of the stamps is the State Flag of Singapore which was adopted by resolution of the Singapore Legislative Assembly in November 1959.
The State Flag, which became the National Flag when Singapore gained independence on 9 August 1965, consists of features that bear unique symbolic meanings. The Red stands for universal brotherhood and equality of the people. The White colour symbolises pervading and everlasting purity and virtue. The crescent moon represents a young nation on the ascendant, and the five stars depict Singapore’s ideals of democracy, peace, progress, justice and equality.
The State Flag, together with the State Crest and the National Anthem, was unveiled on 3 December 1959 at the installation of the new Head of State, the Yang di-Pertuan Negara, Mr Yusof Ishak.
National Day Tote Bag
It is common to see Singaporeans carrying the official tote bags given out at National Day parades. These bags commemorating various National Day Parades are varied in design and form over the years.
This National Day Tote Bag, SGD23, pays tribute to this phenomenon by celebrating and reminding us the very day of our Nation’s independence on 9th August 1965. This tote design also references Singapore’s independence day with the iconic Chinese almanac calendar, a fact that many Singaporeans may not remember.
Singlish Perpetual Calendar
The lunar calendar is a symbolic household item among Singaporean Chinese households, commonly used as a guide for auspicious dates for local rituals.
The Singlish Perpetual Calendar, SGD18, is a modern interpretation of this archaic item, which provides a daily prediction to one’s day in Singlish.
Singlish Poetry Magnet
Singapore’s unique colloquial language, affectionately known as Singlish, draws substantial linguistic similarities and influences from English, Malaya, Hokkien, Teochew and Cantonese. Although often viewed negatively as incorrect use of English, it is one of the most authentic and genuine facets of Singapore. This magnet allows both local and foreign visitors to piece and create their own humorous Singlish poems for SGD28.
Little India – the cultural precinct that’s noted for its architecture, heritage and colours; it’s among the busiest streets in Singapore. Amidst the hustle and bustle, flashing lightsOn July 23, 2016 / By Sarah Oh
Little India – the cultural precinct that’s noted for its architecture, heritage and colours; it’s among the busiest streets in Singapore. Amidst the hustle and bustle, flashing lights and strong, dusky spices, there’s a story waiting to be unravelled at an unassuming white building, which houses Singai Tamil Sangam, a Tamil volunteer organisation for the past nine years.
On 1 July, we embarked on a sensory journey of discovery through the perspectives of a distressed mother, nature and one hundred sons embroiled in the Kurushetra war.
It is here, where the first instalment of the PANCHA series kicked off. It is also here, where the company bids its farewell with their maiden performance, before setting foot in Lavender Street.
Murmurs in the Wind is inspired by the story of a grieving mother who lost her sons to war. Gandhari, a woman from the Mahabharatha, chose to forgo her sight when she was betrothed to a man who’s born blind. With Vaayu, the Lord of the Wind, as her eyes, she awaits news of her hundred sons, fighting at the front lines of a war.
The dance depicts the tale of love, courage and grief, which gives each archetype the room to explore their respective character through expounding current issues such as war, persecution, etc.
The work opened with Gandhari’s three remaining sons preparing for war on the night of the 17th. The Kaurava brothers have been fighting for almost three weeks and it was painful watching their 97 brothers fall. And so, the disheartened brothers prepared themselves for the final gruelling day of war, while Vaayu kept vigil. True enough, the war closed in on these warriors who, one by one, collapsed in defeat and exhaustion.
Conflicted and torn, Vaayu had to deliver the tragic news of the Kauravas’ deaths to their worried mother, Gandhari. Dain Nova Saputra portrayed this role with aplomb, as each routine was punctuated with forceful power and fragility at the same time.
As we moved to the main hall of the building, an air of melancholy, derived from Alberto Wileo’s dim lighting and Kailin Yong’s melodies, greeted us. Shahrin Johrin showed us the cry of anguish, pain and loss of an emotionally fragile mother, as she confronted God in desolation. She recalled memories of playing with her children but was jolted in shock when reality struck her.
As Vaayu appeared to bring news of her final three sons, Gandhari collapsed in despair and fear. Finally, the souls of the children came back to look for their grieving mother, and sought solace in her touch for the final time.
Singapore Toy, Game & Comic Convention (STGCC) 2016 has just unveiled its second wave of renowned pop culture personalities such as the legendary Haruhiko Mikimoto, graphic novelist EmmaOn July 20, 2016 / By Nookmag
Singapore Toy, Game & Comic Convention (STGCC) 2016 has just unveiled its second wave of renowned pop culture personalities such as the legendary Haruhiko Mikimoto, graphic novelist Emma Rios, Marvel Tsum Tsum writer Jacob Chabot and fan-favourite artist, Sakimichan. Once again, STGCC exhilarates fans with its diverse east and west offerings!
Immerse in the fantastical realm of comics
Revered as one of the best characters designers of his time, Haruhiko Mikimoto is among the most respected and beloved illustrator, character designer and manga artist from Japan. Mikimoto has created iconic anime characters for the titles like The Super Dimension Fortress Macross, Macross 7, Gunbusters, Mobile Suit Gundam 0800: War in the Pocket and the recent hit Kabaneri of the Iron Fortress.
Digital artist Sakimichan charmed thousands of fans worldwide with her breathtaking fantasy art of characters from popular games, movies and anime. She is also extremely popular for her unique interpretation of classic anthropomorphic cartoon characters. Rarely participating in conventions, Sakimichan will be making her first ever Asian appearance here at STGCC 2016.
A well-received graphic novelist known for her surreal artwork and thought-provoking stories, Emma Rios has been working on comics full-time since 2007. Having illustrated for Boom! Studios (Hexed) and Marvel (Doctor Strange, Amazing Spiderman), she returned to creator-owned productions in 2013, thanks to Image Comics. She has just published I.D., her first solo graphic novel, and currently co-edits the Island magazine with Brandon Graham.
Hwei Lin is further proof that regional comic book artists can make it big on the international scene too. Together, Emma Rios and Hwei Lim will present their collaborative work, Mirror: The Mountain (published by Image Comics), making its global debut exclusively at STGCC 2016. The first arc of a story about the mage-scientists of The Synchronia and the sentient animals of Irzah colony, the comic ponders upon existential questions. Mirror’s thoughtful story and breezy, beautiful art is a magical combination that will take your breath away.
Even prior to the official announcement, fans have been eagerly anticipating Stephanie Hans’ arrival in STGCC. The enigmatic and ethereal style of the French illustrator has garnered her hordes of followers around the world. Working mostly for Marvel as a cover and interior artist, Hans has lent her magic touch on covers of Storm, Journey into Mystery, Angela, Thor, Black Widow, Guardians of the Galaxy, and many more.
Jacob Chabot brings his colourful, funny and sometimes slapstick brand of comics for the first time to STGCC 2016! An Eisner Award-nominated and New York Times bestselling cartoonist, Chabot is the writer for the brand new Marvel Tsum Tsum miniseries, and is well-known for his work on all-ages comics like Plants vs Zombies, Hello Kitty and his creator-owned series, The Mighty Skullboy Army. Tying in with his appearance, a Marvel Tsum Tsum #1 STGCC variant has been specially commissioned for sale. It is available for purchase on the STGCC website.
Party at STGCC in AKIBA style!
Recognising the passion of Japanese pop culture fans, STGCC 2016 will be featuring the first ever AKIBA POP STAGE. Presenting popular culture that is celebrated in Akihabara Tokyo, STGCC 2016 will showcase indies idol units, namely GuildStars from Akiba Guild, Road of Alice, Rie Yunohara and Rio Hiiragi. Joining the idol units on stage will be Sae Tsukiyama and Tracy (Amateras Records), representing the doujin culture from Akihabara. Together with nomico and Masayoshi Minoshima (Alstroemeria Records) who were included in the first guest announcement, fans can expect energetic performances by the artistes and experience the party in true Akiba style!
“We are honoured to have several noteworthy female artists grace our event this year. Stephanie Hans, Emma Rios, Hwei Lin and sakimichan show that “girl power” is as strong as ever in the modern comic industry. These trailblazers have broken down barriers for women in the industry. We hope that local pop culture fans can witness the intricate art that these women are capable of.”, said Lin Koh, Assistant Project Director, Pop Culture Cluster, Reed Exhibitions Singapore.
It’s all about family fun at STGCC 2016!
Kids Cosplay Parade will also make its return after its popular debut last year. Children aged from 5 to 12 years old are welcomed to dress up as their favourite superhero, villain or princess. The parade will be held on Sunday, 11 September 2016. First 20 participants will receive goodie bags, so sign up now! More details can be found on the Kids Cosplay Parade.
Gallery & Co., in collaboration with Rice Creative and Marou Faiseurs de Chocolat from Vietnam, has launched a series of exclusive chocolate bars with packaging inspired by theOn July 13, 2016 / By Nookmag
Gallery & Co., in collaboration with Rice Creative and Marou Faiseurs de Chocolat from Vietnam, has launched a series of exclusive chocolate bars with packaging inspired by the architectural elements of the National Gallery Singapore. A three-pack collection of artisanal chocolates, each bar is packaged in wrappers that are meticulously crafted using the traditional Vietnamese technique of Dong Ho printing. The Marou & Co. Chocolates collaboration aims to merge craft with rich heritage and contemporary design.
Says Mr Kola Luu, Director of Partnership Development at National Gallery Singapore, “This ‘delectable’ project is indeed a perfect marriage between the art and heritage of our Gallery and the creative ingenuity of Rice Creative and Marou Chocolate in Vietnam. These artisanal chocolates – from its bespoke ingredients to its locally-sourced design packaging – is a reflection of what we embody and represent in our collection – Southeast Asia.
We are excited to be offering this three-pack chocolate set, which is currently sold exclusively at our museum store Gallery & Co., as part of our growing range of specially curated gifts and products that visitors can take home, appreciate and enjoy.”
Dong Ho printing is a traditional folk art that is exclusive to a small village in the north of Vietnam. Incorporated into the Marou Chocolate collection for National Gallery Singapore, the hand-printed wrappers are intended to blend heritage with contemporary design. Showcasing the art form in conjunction with the launch, the Marou Chocolate and Rice Creative teams will be presenting a showcase and short video dedicated to this distinctively Vietnamese craft. Alongside a rare series of prints, Gallery & Co. visitors will get to go on a visual journey discovering Dong Ho printing through a display of materials, tools and processes.
Dong Ho printing showcase
7 – 31 July 2016
Sunday to Thursday | 10am – 7pm
Friday & Saturday | 10am – 10pm
The Marou & Co. chocolates trio pack is now available at Gallery & Co. at the retail price of SGD29.90.