This article was cross-posted on the Hanoi Grapevine.
‘We Are Asia’ was the title of the 4th edition of Art Stage. Of the many art fairs mushrooming all over Asia, Art Stage Singapore has probably chosen the most glamorous venue: Marina Bay Sands. Yet the 4th edition of this fair tried to counteract the elitism that the artworld sometimes lounges in.
Art Stage attempted to bridge the gap between high-brow collectors and the general public. For a commercial art fair, it offered more tours than many museums. Art stage organisers planned a strong educational programme to attract a middle class audience that might otherwise shy away from all the glitz and price tags with lots of zeros.
Many of the scheduled tours focused on the regional platforms, as they termed 8 mini-exhibitions on Southeast Asia, India, China, Taiwan, Japan, Korea, Australia and Central Asia. Commissioned to specialist curators, the platforms were a commercial venture (all the works were for sale) but with a clear aim to highlight regional characteristics of the art from each area.
The platforms served also as a welcome respite from the aisles of eye-catching but barren works that populate art fairs: quirky sculptures, embroidered canvases, Manga style figures, gloss and glitter. Below is a selection of the more intellectually captivating artworks from these platforms.
From China, artist Qiu Zhijie presents a multi-artist project on fantasy sculptures, and this ink drawing: The Politics of Laughing (detail), 2013, 145 x 220 cm. Take a moment to read some locations and wonder at the real places you would give each name to.
Korean photographer Seung-Woo Back has done an analogue remix in Utopia, a wall-to-wall photograph framed in strips. Each strip was developed in a different country, which explains the colour variations. The cityscape of monolithic, sterile buildings is of North Korea. The cold colours and lack of people add a fearsome tint to the massive skyscrapers.
The Australian Platform was the weakest, with inconsistent topics, quality and approaches. The only remarkable piece was this video installation called Syria. This timely piece by Lebanese-Australian Khaled Sabsabi is a remix of Damascus footage cut to move in neverending islamic patterns.
From the Philippines, Mark Justiniani recreates traditional wooden boats, inventing a low-tech way to create optical illusions of baffling perspective and depth.
Singaporean artist Donna Ong uses hand cut pictures from old books in her commissioned furniture lightboxes titled And We Were Like Those Who Dream. Patient handcrafting gives the objects a magical appearance that is really heart warming. The pieces work as little treasure troves, like Orhan Pamuk’s memorabilia in the Museum of Innocence.
Taiwanese artist Tu Wei-Cheng supports in vintage furniture his optical illusions. The Emperor’s Chest is the story of how forgotten Victorian toys and other antique devices become alive again in cabinets and dressing tables. Like in The Nutcracker, once the toys are alive, they become real. The people are contemporary dancers in a multilayered cityscape, a theatre of the absurd.
FX Harsono, from Indonesia, authored one of the most powerful artworks in the whole fair. He also uses furniture, but combines multiple message channels in the installation: from the artist’s own poetry, to LED light displays, to book covers. The Raining Bed splashes political commentary in a direct, clever and visually evocative way. The books asleep on the bed have titles like ‘The Smug General’, ‘The Rise and fall of the Great Powers’, or ‘The History of Malaysia’. The poem scrolling on the wall can be read in Indonesian and English. It says ‘In my sleep I entangled the past, at the tip of the pen history is predicted, at the tip of the gun history is deceived, at the end of the fountain history washed away.’
Another exciting piece uses old books from the artist’s personal childhood library. Crammed with nostalgia, Haslin Ismail’s Book Land is an imaginative jungle of landscapes, adventurous people and mysterious territories waiting for a reader to discover them. The artwork appears to be a carved and folded homage to the pleasure of literature. The Malay artist, however, confesses that he hates reading, but is in awe of the power of books to fill the mind with stories and knowledge. By making books more tactile and sculptural, he controls the worry experienced by reticent readers.
Soe Naing, from Myanmar, locked himself in a large glass box, inside which he hung daily sketches. In reference to the censorship that has vetoed so much art in his country, the viewer can barely see the sketches, as the glass is painted black. The artist, from the inside, scratches away at the black paint, from which squinting onlookers try to see the drawings. The piece is called Intermission on Stage, and it does what it says.
The Southeast Asian platform was the largest and richest, not surprisingly since the hosting country is at the heart of the vivacious region. What was surprising was the lack of Vietnamese artists. It would be very difficult to curate a representative show that included every country, and token presences would be detrimental, but one has to wonder why no Vietnamese artist made it to the final selection.
However, Cuc gallery from Hanoi was the first Vietnamese gallery to participate in Art Stage. The booth featured abstracts by Nguyen Trung and Duong Thuy Lieu and figure paintings by Do Hoang Tuong and Ly Tran Quynh Giang.
Another Vietnamese artist, Nguyen The Dung, is represented by Hong Kong based AP gallery.
Mylyn Nguyen is an Australian artist of Vietnamese heritage. She filled the Brenda May gallery booth with environmental concerns, buzzing around in an installation of minute paper bees, some with micro houses on their backs.
Photography had a strong presence across many of the booths in Art Stage. Photographs with manipulated, collaged or threaded interventions are testament of the medium’s evolution in the Fine Art sphere, and amongst art buyers in Asia.
In all, the fair was a successful event for the participants, and a welcome art experience for the general public. It was not packed with striking new discoveries, but it offered sufficient new ideas to keep regular art fair goers on their toes. And the mission to engage a wider audience with thematic tours is something more in the art establishment should consider doing.