Dear Dr Yaacob Ibrahim, The Venice Biennale is unequivocally the most highly visible and important international stage for contemporary artists at work today. Since 2001, the Singapore Pavilion at the…
Over the past few months, pedestrians in Singapore may have stumbled upon one or more curious round stickers pasted above buttons at traffic lights, featuring captions that include instructions to…
A lady, groomed and elegantly dressed, is walking in the middle of a city square reminiscent of an old Shanghai. Her face is inscrutable, vacillating between vacancy and quiet anticipation.…
In a decrepit housing estate in a remote corner of Singapore, something is unravelling. Of the denizens enclosed in their private dwellings, some are waiting, others, still absorbed in their revelries.…
Space and process are the two curatorial strands running through the third Singapore Biennale. Conceived around the idea of “Open House” by artistic director Matthew Ngui and curators Russell Storer…
Once the overloaded buzzword of postcolonial discourse, “identity” has of late collapsed into platitude. But at the same time, any attempts at pronouncing identity politics as passé are often readily…
“Eyeball Massage” is the fittingly uncanny title of the Pipilotti Rist retrospective currently running at Hayward Gallery, London. Ostensibly, it points to the overblown sensuality of the works of the…
R: The idea was really to have someone who hasn’t really been personally involved in the history of the Substation at all. And coincidentally, I’m the same age as the…
P: The problem here is that people are unduly afraid of discourse. What we really need here is not to avoid discourse but to allow it to happen in a safe…
D: I would propose looking at the history of the Substation in terms of three different decades. The first would be the nineties, defined by a strong, ground-up, DIY spirit, when…
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