Highlights from Art Stage Singapore

1. Kristin McIver, Is this love?, neon, 52 x 52cm, James Makin Gallery

2. Highlights from ART STAGE SINGAPORE 2014
Lorenzo Rudolf, Founder and Fair Director in his catalogue introduction to the 4th edition of Art Stage Singapore, cites
the necessity of bridging the gap between “the lifestyle and social aspects of art fairs” and “introducing a new art fair
model”. His solution: introducing “an innovative fair format that aims to reconnect the art market and academia – the
country and regional Platforms”.
On the night of the vernissage however, the “social” aspect was in full swing behind Entang Wiharso’s “Crush Me #2”, a
6 metre long bronze gateway of sorts, barring the entry to the VIP Lounge. Clearly the rather expensive ($30 per glass)
champagne was flowing!
Entang Wiharso, “Crusk Me #2”, 2013, Bronze, thread, pigment, light bulbs, electrical cable, steel. 340 x 650 x 90cm,
edition of 2 (executed in graphite) + AP (executed in bronze), Platform: South-East Asia, Arndt
As part of the South-East Asia platform, Wiharso’s work was just one of the many ‘entries’ by Berlin and Singapore-based
dealer, Matthias Arndt.
Included in the same region’s Platform, was FX Harsono’s “The Raining Bed”, again represented by Arndt. A
biographically-infused work, utilising a traditional Peranakan bed, Harsono laments the “disconcerting situation of
minorities and the socially underprivileged against the backdrop of Indonesia’s own history and political development”.
Simulated rain cascades down within the canopy against a LED running Indonesian text, all ensconced within a darkened
enclave. Apparently the ‘rain’ was intended to imbue a sense of “choking humidity and a cold breeze” but I just liked the
echoic sound of it competing with the ambient noise of the venue.
FX Harsono, “The Raining Bed”, 2013
Wooden bed, stainless steel, pump machine
water, ceramics, fabric and Light Emitting
Diode (LED) running text,
200 x 250 x 200cm,
Platform: South East Asia, Arndt
Jitash Kallat, “Circadian Rhyme – 4”, 2012-2013
Paint, resin, aluminium, steel, 24 figurines each approx.. 30 to 38cm
high, 91 x 38 x 457cm (plinth dimension)
Platform: India, Arndt

3. Represented by Arndt, Jitash Kallat’s “Circadian Rhyme – 4”, a reduced scale figurative work harnessed the Indian
platform with its central position within the booth. There were more works by artists represented by Arndt, punctuating
the fair format, but he was obviously busy at his booth on opening night, selling out Phillipines-based artist, Jigger Cruz’s
“Dialectic Disruptions”, a collection of heavily impasto, oil on wood and canvas paintings. Many delighted smiles from
his staff were discerned as they gleefully advised the enquiring traffic.
Hiroshi Senju
“Waterfall”, 2011
natural pigments on Japanese
mulberry paper
227.3 x 162cm
Sundaram Tagore Gallery
Booth A5
Jane Lee
“Subtract”, 2013
acrylic paint and heavy gel on mixed material base
120 x 120 x 5cm
Sundaram Tagore Gallery
Booth A5
More smiles and enthusiasm was emanating from the Sundaram Tagore Gallery’s booth: as they waxed lyrical about the
sublime works by Japanese/USA-based artist, Hiroshi Senju, to a notable collector. Did I hear correctly that the Emperor
of Japan owned one? Utilising natural pigments on Japanese mulberry paper, the impressive scale of these works (227.3
high by 162cm wide) rendered one quite speechless.
Also on display at the booth was the work of Singaporean artist, Jane Lee, an artist best known for her “inventive
techniques and innovative use of materials”. Indeed, her luscious paintings were enticingly tactile and were only resisted
out of due respect and Fair decorum. Lee’s “50 Faces” had also been installed on a 10 metre long wall, towards the
entrance of the Fair, as part of the South-East Asia Platform. The intention of these small scale (approx.. 20 x 20cm each)
paintings was to “incorporate viewers’ faces into the work in order to add an element of interaction”. I just wanted to
touch them!
The gallery’s Singapore base at Gillman Barracks was also exhibiting a solo show by Jane Lee. This was no coincidence
and certainly a clever strategy; pique the interest of fair visitors with a feature work at the booth, and encourage a visit to
the formal gallery space. A number of galleries either followed suit or were afforded the same opportunity with the careful
placement of numerous invites in their booths.
Pearl Lam Galleries’ purposeful and “carefully chosen” selection of artists at their booth was “in dialogue” with the official
opening of their new Singapore space at Gillman Barracks on the Friday night. The group show curated by Philip Dodd,
“the acclaimed British arts writer and broadcaster”, entitled “WHERE DOES IT ALL BEGIN? Contemporary Abstract
Art in Asia and the West” featured works by Zhu Jinshi, Pat Steir, Christine Ay Tjoe, Su Xiaobai and Peter Peri.
A beautifully designed space in keeping with its other branches in Shanghai and Hong Kong, the premise of the exhibition
to provide “a unique opportunity to see major artists from the USA and China, Europe and Indonesia, side by side, all
exploring and revealing the power of abstract art today” was certainly achieved.

4. Zhu Jinshi
“Yellow Yulan Magnolia Spread
on the Floor”,
Jason Martin
“Obregón”
With a shuttle service being offered from the Marina Bay Sands to Gillman Barracks on the Friday evening, a seemingly
endless supply of champagne on offer, and the added cache of suitably notable ‘art personalities’, the advertised “Night
Out” was sure to be a success.
Whilst there seemed to be something of a proliferation of installation based work at the Fair, now and then one could
discern the ‘familiarity’ of ‘worthwhile’ 2D work. Aside from the painting (and not all of it was necessarily ‘good’) some of
the photography was noteworthy.
Lalla Essaydi
“Bullets Revisited #15”, 2012
Chromogenic print, Ed’n:15
152.4 x 121.9cm
Kashya Hildebrand
Booth B23
Gohar Dashit
“Today’s Life and War #5”, 2008
inkjet print, edition: 7
70 x 105cm
Officine Dell’Immagine
Booth C9
Gallerist, Kashya Hildebrand (London) extended the kind of attention one can only but delight in when visiting a booth:
an overwhelming enthusiasm and clearly, excellent knowledge of Lalla Essaydi, a Moroccan born, New York based
photographic artist. As studies or reflections on the nature of Arab women, within an Islamic culture, Essaydi’s work is
nothing less than ‘labour-intensive’ and furtively pointed. In “Bullets Revisited #15” (on display), Essaydi erected a
backdrop and flooring made entirely of thousands and thousands of bullets. She has then meticulously tattooed the model
inclusive of her costume, with a henna-based calligraphic text. One wonders where the bullets were sourced from!
Not to take anything away from the integrity of this artist’s practice, but at USD$25K per work, like Hildebrand, I would
be enthusiastic too!
A more ‘demure’ presence was experienced at the booth of Officine Dell’Immagine, a Milan-based gallery, where an
elegant and well conceived representation of 3 artists’ works were on display. Notably striking were the photographic
inkjet prints of Iranian artsit, Gohar Dashti. Her experiences of the 8 year Iran-Iraq war have been articulated via a
bastardised tableau setting, with the additional discarded wartime props scatted across the landscape. Quietly powerful
works.

5. Probably some of the best painting I saw was from the Australian contingent; yes, it may well sound biased or even
parochial, but there really was a very high standard of professionalism inherent to the Australian collection of booths. It’s
a challenge to select just one Australian painter (as I enjoyed meeting with several), but Kevin Chin at Dianne Tanzer +
Projects was a stand-out. He’s young, fresh-faced and is doubtless destined for a very bright future. Andrew Gaynor,
recently appointed Gallery Manager, was very happy to discuss Kevin’s work, and clearly even more delighted to advise
that one of the works had sold to a Hong Kong collector.
Kevin Chin, “Pass By”, 2013, oil on linen
Whilst the Australian booths were well conceived, although I, like some of the gallerists, were a bit disappointed with their
positioning (towards the back of the Fair and opposite the Magazines – the latter being generally the least visited area by
the punters), the Platform for Australia was a lacklustre affair. Aaron Seeto’s premise of apparently a “snapshot into
varied concerns and interests” was exactly what one would expect with an ‘instamatic’. This was a pity because Juz
Kitson’s extraordinary sculptural installation, “Changing Skin” was deserved of a far superior position and installation.
Instead, her fragile, immaculate work was positioned on the sharp end of the corner of Platform.
Seemingly Paul Greenaway, the gallerist representing Kitson, and director of GAGPROJECTS, was undaunted, as he
extolled the highlights and significant achievements of a very young 26 year old Kitson, including her forthcoming ‘survey’
show @ MONA later this year. With a selling price of approx.. AUD$52K it was cause for something of a preliminary
champagne when I caught up with Greenaway at Gillman Barracks later in the week: a Hong Kong collector was “very
interested” in the work. I have no doubt. Here’s cheers!
Juz Kitson
“Changing Skin” (detail), 2013
Jingdezhen porcelain & mixed media
580 x 5 x 140cm (overall installation)
Juz Kitson
“Changing Skin” (detail), 2013
Jingdezhen porcelain & mixed media
580 x 5 x 140cm (overall installation)