Ho tzu nyen biography of mahatma gandhi

Visual art of Singapore

The visual art of Singapore, or Singaporean art, refers to all forms of visual art in or associated with Singapore throughout its history and towards the present-day. The history of Singaporean art includes the indigenous artistic traditions of the Malay Archipelago and the diverse visual practices of itinerant artists and migrants from China, the Indian subcontinent, and Europe.

Singaporean art includes the sculptural, textile, and decorative art traditions of the Malay world; portraiture, landscapes, sculpture, printmaking, and natural history drawings from the country's British colonial period; along with Nanyang style paintings, social realist art, abstract art, and photography practices emerging in the post-war period. Today, it includes the contemporary art practices of post-independence Singapore, such as performance art, conceptual art, installation art, video art, sound art, and new media art.

The emergence of modern Singaporean art, or more specifically, "the emergence of self-aware artistic expression" is often tied to the rise of art associations, art schools, and exhibitions in the 20th century, though this has since been expanded to include earlier forms of visual representation, such as from Singapore's pre-colonial periods.

Presently, the contemporary art of Singapore also circulates internationally through art biennales and other major international exhibitions. Contemporary art in Singapore tends to examine themes of "hyper-modernity and the built environment; alienation and changing social mores; post-colonial identities and multiculturalism." Across these tendencies, "the exploration of performance and the performative body" is a common running thread. Singapore carries a notable history of performance art, with the government historically having enacted a no-funding rule for that specific art form from 1994

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    No Country: Contemporary Art for South and Southeast Asia

    The first exhibition of the Guggenheim UBS MAP Global Art Initiative, No Country proposes a reevaluation of South and Southeast Asia and its countries based on its cultural relationships, influences, affinities, and negotiations. It offers a glimpse into the region’s diverse contemporary art practices, and presents the possibility of understanding its countries as greater than the contents of their political and geographical boundaries. Challenging romanticized perceptions of the region, the artworks in No Country lay bare a complex set of conditions that resulted from the rise and fall of kingdoms and empires, and which bear the historical traces of colonization and the often-traumatic birth of nations. These works explore universal themes of national identity and community, cultural knowledge, power, and faith. The exhibition’s title—drawn from the opening line of the W. B. Yeats poem “Sailing to Byzantium” (1928) that is referenced in the title of Cormac McCarthy’s 2005 novel No Country for Old Men—alludes to this transformative journey, one which eludes simple delineation.

    The Boy Who Got Tired of Posing The Boy Who Got Tired of Posing by Bani AbidiSolomon R. Guggenheim Museum and Foundation

    The visual narrative that characterizes Bani Abidi’s practice takes a historical turn in the series The Boy Who Got Tired of Posing (2006), which is made up of two photographic sequences and a video. Through these related elements, the figure of Mohammad bin Qasim, considered Pakistan’s early colonial founder in state history, is brought to life in a lighthearted and candid portrayal that provides an opportunity to reflect on the history of the South Asian nation.

    Abidi explores historical and contemporary representations of the figure of bin Qasim, and the proliferation of this narrative in state history and shared culture, through her fictional depictions of the hero in his emblematic form—wearing the

    Liliana Porter’s impressive, sometimes unsettling visual universe probes the mysteries of representation and the trials of human existence. She is fascinated by the conflicting boundaries of what we call “reality” and by our relationship to the concept of time. For 40 years, she has worked across printmaking, drawing, painting, installation, photography, video, and during the last decade, theater—always using humor as an ally in her work. Her spatial “situations,” which frequently take the form of sculptural stagings, bring together a pantheon of little flea-market-find characters—Elvis Presley, Che Guevara, Jesus, Mickey and Minnie Mouse, Pinocchio, Alice, toy soldiers, piggy banks, rubber ducks, and Benito Juárez—in sardonic confrontations that turn seemingly lightweight pieces of kitsch into expressions of philosophical heft.

    María Carolina Baulo: You’ve changed media with amazing ease over the course of your career. Does the work itself require those changes?
    Liliana Porter:     The formal solutions that I choose pretend to be coherent with the ideas that I propose. In an artwork, everything has meaning: scale, material, support, the space where things happen. A fabric stretched on a frame prepares the viewer to perceive what happens inside that space as something somehow related to art. In my work, the awareness of that mechanism is part of the content. I once said that my work is like watching a movie with the lights on because you try to surrender to the illusory space but at the same time the light keeps you aware of this other side of reality.

    MCB: You are concerned with the human condition, time, the construction of reality, and the criterion of truth. Though the forms change, the importance of the concept is constant. It is almost as if the medium acts as an excuse to address the concept.
    LP:     I learned to reflect on these issues using the tools, mechanisms, and conventions of the visual arts. It is a language that helps me to think, to take posit

    Singaporean art

    Singaporean art, or the visual art of Singapore, refers to all forms of visual art in or associated with Singapore throughout its history and towards the present-day. The history of Singaporean art includes the indigenous artistic traditions of the Malay Archipelago and the diverse visual practices of itinerant artists and migrants from China, the Indian subcontinent, and Europe.

    Singaporean art includes the sculptural, textile, and decorative art traditions of the Malay world; portraiture, landscapes, sculpture, printmaking, and natural history drawings from the country's British colonial period; along with Chinese-influenced Nanyang style paintings, social realist art, abstract art, and photography practices emerging in the post-war period. Today, it includes the contemporary art practices of post-independence Singapore, such as performance art, conceptual art, installation art, video art, sound art, and new media art. The emergence of modern Singaporean art, or more specifically, "the emergence of self-aware artistic expression" is often tied to the rise of art associations, art schools, and exhibitions in the 20th century, though this has since been expanded to include earlier forms of visual representation, such as from Singapore's historical periods.

    Presently, the contemporary art of Singapore also circulates internationally through art biennales and other major international exhibitions. Contemporary art in Singapore tends to examine themes of "hyper-modernity and the built environment; alienation and changing social mores; post-colonial identities and multiculturalism." Across these tendencies, "the exploration of performance and the performative body" is a common running thread. Singapore carries a notable history of performance art, with the government historically having enacted a no-funding rule for that specific art form from 1994 to 2003, following a controversial performance artwork at the 5th Passage art space.

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