French artist Sébastien Marc (AKA Colorz) will be holding an exhibition in Singapore at Cyril Kongo’s studio located at The Mill 03-03 this Saturday, 13 May 2023. The eclectic urban artist has over 25 years of experience and his works are found across the major cities like Paris, New York, Hong Kong and Tokyo.
“Le Purple” 2023
The exhibition, “Urban Domain” showcases Colorz’s unique artistic style that is known to be expressive yet controlled. Just like his longtime friend and fellow street artist Cyril Kongo, Colorz takes inspiration from the city’s streets. For Colorz, the streets of New York, Paris and many more are where sub-cultures are born and its rich social mores are encapsulated in his artworks. Acquainted with a host of mediums like canvas, aluminium and Plexiglass, the artist’s own brand of abstraction calls to mind great artists like Jackson Pollock and Gerhard Richter.
“Mon Amour” 2023 “Jam Session” 2023 Looking at his body of work, it is clear that the canvases are heavily textured in the sense that it is a combination of different elements taken from his personal experiences. The colours, layers and strokes are like a kaleidoscope — seemingly distinct yet harmoniously compatible. “Mon Bonbon” 2023 “Urban Domain” is organised by Canvas & Cloth and enquires can be directed to Karen Rubenstein Lorato: [email protected];
There is a contradiction in art. It is a form of expression yet it is being pigeonholed into set categories and even nationalities. Such is the case for contemporary abstract ink art; those from the West see this art form as originating in China. However, China does not classify contemporary abstract ink art as Chinese or Western because this painting style deviates from the mainstream of ink painting.
This is an ongoing conversation and the through line of “Black / White Quotes”, an art exhibition which features the collaborative efforts of artists Zhang Zhao Hui and Hélène Le Chatelier. This coming together is a showcase where oriental aesthetics meets contemporary abstract art, and visitors are encouraged to ponder and interact with the works of art.
In this infinite journey of exploration, both artists have chosen to express themselves in colours of black, white, grey and others. The colour black carries with it various meanings and associations; more often it has the connotation of being bold and symbolises traditionality.
On the other hand, white is the culmination of all chromatic colours and is often thought to represent purity or a new start and endeavour. While grey, the mix of black and white, stands for the inherent ambiguity in this world.
Nothing is strictly dichotomous, and the “mixture” of these two hues encapsulates the ephemeral and constant transformation of objects, thoughts, and the self in the light and shadow of time.
Zhang Zhaohui sees traditional Chinese ink painting’s agility and adaptable brushwork as a potential focal point in contemporary art. He adeptly reconciles seeming contradictions of eternity and ephemerality, tradition and modernity in his artwork by skillfully employing fluid lines that constantly transform.
Through this artistic approach, Zhang simplifies and clarifies the complexities of reality such as international politics and socio-economic issues more palatable for understanding by making them accessible for everyday use. His works are even compared to principles of optics and atomic physics, particularly the periodic structure produced by light waves or photons during filtered movement, which aligns with Zhang’s unique ink rhythm.
In comparison, Hélène Le Chatelier’s artwork delves into the intriguing interplay between memory, social context, and intimate spaces. Through her inked human landscapes, paper works, and abstract landscapes, she explores the body as both a physical and metaphorical landscape, challenging conventional notions of representation and reality.
Her art invites viewers to rue retrospectively, prompting questions about the boundaries between inner and outer spaces and the complex relationships among memory, emotion, and our physical environment.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
With a career spanning over six decades, photographer James Barnor is a renowned figure in the history of photography. The Ghanian creative’s lenses have witnessed and immortalised important societal events. In his home country, Ghana, his studio in Accra was where black and white portraits were taken against the backdrop of a nation preparing to claim its sovereignty.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
Besides being a portraitist, Barnor was a photojournalist and photographed prominent figures such as Kwame Nkrumah, Ghana’s first leader following its independence; Princess Marina, Duchess of Kent; and Vice-President Richard Nixon among others. In the 1960s, Barnor relocated to London, where he pursued future studies in photography and settled down, and during this period, he was also contributing to Drum magazine. His contribution to the magazine helped to reconceive the standard for the delicate representation of Black beauty, grace and style.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
At 93, he’s still young at heart and is involved in photography. For the new exhibition of Saint Laurent Rive Droite stores in Paris and Los Angeles, creative director Anthony Vaccarello invites Barnor to showcase a selection of photographs with the support of Galerie Clémentine de La Féronnière.
These images, in black and white and colours, serve as symbols of a vivid and fascinating Afro-modernism and offer an unexpected window into a strikingly contemporary and beautiful visual world. About 20 photographs will be exhibited in either of the Saint Laurent Droite locations such as “RUM MODEL”, “LONDON, C.1965-1966” or “DRUM COVER GIRL ERLIN IBRECK”, “KILBURN, LONDON,1966”. A catalogue of the exhibition will be available in the stores as well.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
In addition to the exhibition, Barnor will be joined by fellow photographer Campbell Addy, and they will discuss various topics. From the former’s first steps into photography, his take on fashion imaging, his approach to black and white versus colour film, and the importance of passing knowledge to future generations, the duo’s conversation can be watched below.
https://youtu.be/outW8g__Jtw
Like Barnor, Addy is a Ghanaian-born British photographer. Addy, born in 1999, acknowledged James as his moral and artistic role model. Their connection is mutually enriching, and a beautiful example of the generational dialogue Barnor so poetically describes.
Argentinian artist Marcelo Martin Burgos now lives and works between Buenos Aires and Madrid. He has been practising sculpture for some thirty years, while also pursuing a career as a filmmaker. He finds his equilibrium through this alternation between immobility and movement, solitary work and teamwork, gesture and speech.
His artistic world is deeply rooted in childhood. The artist spent his early years in an orphanage where his father was the director and he was in contact with the children who lived there, who were also his friends. He remembers: “The place was on a hill, surrounded by trees but far from idyllic; it was eternally overcast by a heavy atmosphere of sadness. I’ve always remembered those kids with admiration. The way they would seek refuge in fantasy. The same way I found solace in art when just a few years later I lost my own father. Those children were the most resilient and brave of all the people I have met in my life.” Marcelo Martin Burgos continues to be fascinated by the imagination of children, which “helps them to make sense of the enormous, mysterious and overwhelming world they are thrown into.”
Polycephalous by Marcelo Martin Burgos. Bronze sculpture, 2017.
To rekindle the power of that imagination and to recapture the joy and freedom he felt in creating as a child, the artist has spent years shedding the academic baggage he received as an art student. A path which is not as easy as it seems: “it takes years to “unlearn” an education in the Fine Arts. The hand and the eyes are trained in a certain tradition, we are taught art history, we learn to imitate. Even worse, we are taught art is a struggle, and that to be a good artist means to cut an ear or drink oneself to death. I spent years trying to be a “serious” artist, I grew tired and bored. Until one day I stumbled upon some chalk drawings a kid had made on the floor of a park, and it struck me. Like a Proust’s Madelaine moment, I went back to the years I would draw just to amuse myself or to escape a reality that was too difficult to comprehend for a child. I had a voice, but for years I was trained to ignore it, to dismiss it.”
Dragoness by Marcelo Martin Burgos. Bronze sculpture, 2022.
His sculptures are crafted in bronze, a noble metal that he values for its versatility and above all, for its golden, mirror-like appearance once it is polished. Long before the invention of glass, the Etruscans were already using polished bronze to create mirrors. The reflective aspect of his creations is a way of inviting his viewers into his works and transforming his sculptures into sensory cues that trigger a memory. “My aim is to elicit images and feelings that will take those who observe my art back to the most creative, awe-inspiring, and frightening time of their lives: the golden age of childhood.”
Winged Demon by Marcelo Martin Burgos. Bronze sculpture, 2017.
This “golden age” is interpreted literally in his sculptures, which resemble statuettes in gold, a material traditionally associated with spirituality and the sacred. This dimension is particularly evident in his latest series, entitled “Monsters.” Although they evoke the spontaneity of children’s drawings, the pieces in this series are also reminiscent of the votive statues of ancient civilisations, which were meant to provide protection and comfort. The art of Marcelo Martin Burgos draws from multiple sources: manga and pop culture, dinosaurs, Toltec and African art. This power of evocation is precisely what gives his sculptures their capacity to resonate in everyone who views them: the sculptures become the means of escape into the memories, the dreams and the meanderings of our inner world.
Menschenfresser by Marcelo Martin Burgos. Bronze sculpture, 2017.
Marcelo Martin Burgos does not worry about the common critique expressed by viewers of contemporary art: “A kid could have done that”. “I would like them to know that that is the greatest compliment that you could ever give an artist, especially me”.
Argentinian artist Marcelo Martin Burgos now lives and works between Buenos Aires and Madrid. He has been practising sculpture for some thirty years, while also pursuing a career as a filmmaker. He finds his equilibrium through this alternation between immobility and movement, solitary work and teamwork, gesture and speech.
His artistic world is deeply rooted in childhood. The artist spent his early years in an orphanage where his father was the director and he was in contact with the children who lived there, who were also his friends. He remembers: “The place was on a hill, surrounded by trees but far from idyllic; it was eternally overcast by a heavy atmosphere of sadness. I’ve always remembered those kids with admiration. The way they would seek refuge in fantasy. The same way I found solace in art when just a few years later I lost my own father. Those children were the most resilient and brave of all the people I have met in my life.” Marcelo Martin Burgos continues to be fascinated by the imagination of children, which “helps them to make sense of the enormous, mysterious and overwhelming world they are thrown into.”
Polycephalous by Marcelo Martin Burgos. Bronze sculpture, 2017.
To rekindle the power of that imagination and to recapture the joy and freedom he felt in creating as a child, the artist has spent years shedding the academic baggage he received as an art student. A path which is not as easy as it seems: “it takes years to “unlearn” an education in the Fine Arts. The hand and the eyes are trained in a certain tradition, we are taught art history, we learn to imitate. Even worse, we are taught art is a struggle, and that to be a good artist means to cut an ear or drink oneself to death. I spent years trying to be a “serious” artist, I grew tired and bored. Until one day I stumbled upon some chalk drawings a kid had made on the floor of a park, and it struck me. Like a Proust’s Madelaine moment, I went back to the years I would draw just to amuse myself or to escape a reality that was too difficult to comprehend for a child. I had a voice, but for years I was trained to ignore it, to dismiss it.”
Dragoness by Marcelo Martin Burgos. Bronze sculpture, 2022.
His sculptures are crafted in bronze, a noble metal that he values for its versatility and above all, for its golden, mirror-like appearance once it is polished. Long before the invention of glass, the Etruscans were already using polished bronze to create mirrors. The reflective aspect of his creations is a way of inviting his viewers into his works and transforming his sculptures into sensory cues that trigger a memory. “My aim is to elicit images and feelings that will take those who observe my art back to the most creative, awe-inspiring, and frightening time of their lives: the golden age of childhood.”
Winged Demon by Marcelo Martin Burgos. Bronze sculpture, 2017.
This “golden age” is interpreted literally in his sculptures, which resemble statuettes in gold, a material traditionally associated with spirituality and the sacred. This dimension is particularly evident in his latest series, entitled “Monsters.” Although they evoke the spontaneity of children’s drawings, the pieces in this series are also reminiscent of the votive statues of ancient civilisations, which were meant to provide protection and comfort. The art of Marcelo Martin Burgos draws from multiple sources: manga and pop culture, dinosaurs, Toltec and African art. This power of evocation is precisely what gives his sculptures their capacity to resonate in everyone who views them: the sculptures become the means of escape into the memories, the dreams and the meanderings of our inner world.
Menschenfresser by Marcelo Martin Burgos. Bronze sculpture, 2017.
Marcelo Martin Burgos does not worry about the common critique expressed by viewers of contemporary art: “A kid could have done that”. “I would like them to know that that is the greatest compliment that you could ever give an artist, especially me”.
To mark the inaugural Art Basel Paris +, Saint Laurent’s Anthony Vaccarello has invited artist Elladj Lincy Deloumeaus to exhibit a series of specially commissioned artworks at the brand’s Rive Droite stores in Paris and Los Angeles. About 30 artworks will be shown in Paris, and two unique and large pieces in the Los Angeles store. The exhibition will run from 18 October 2022.
Exploring the relationship between people and imaginaries, the artist takes an open and vibrant approach to his artworks. Deloumeaus focuses on Afro-Caribbean images that depict “everyday life, mythologies, iconography, beliefs, and religious heritage” as stated in the press release. His pictorial narratives are a recount of his personal experiences and an examination of the pluralist world he inhabits.
Visitors to the exhibition will find a mixture of still life and painting series where the common thread is the use of the colour black. To the artist, the colour holds symbolic meanings of creation and destruction. In Afro-Caribbean and Indian communities, black is also the divine colour.
His creative endeavours take the form of an initiatory trip, the reappropriation of one’s past self that has to reconcile with its own shadow before discovering its own light. The transition towards enlightenment calls for the realisation of the illusory through understanding oneself.
This exhibition is a collaboration between Saint Laurent and Cècile Fakhoury Gallery. With an emphasis on promoting contemporary art across the African continent, the gallery cultivates awareness, creativity and diversity. Many of the artists that are represented by the gallery have the ability to break down geographical barriers and connect with their audience through the common language of art.
Paris has been in the spotlight recently as more art exhibitions and fairs are being held in the “City of Light”. Apart from Saint Laurent, other luxury houses like Louis Vuitton, Hermès, Guerlain and Lalique are also participating in the art fair and so far the reception has been encouraging. The Art Basel Paris+ replaces the former FIAC contemporary art fair and is held at the Grand Palais Éphémère temporary structure, which is just around the Eiffel Tower.
“Plastiglomerate” is the name for an unnatural stone that appeared in the south of the island of Hawaii, made up of volcanic rock, sand, shell debris and plastic. Some scientists have identified this rock as a marker of the Anthropocene, a new geological epoch characterised by the irreversible impact of human activity on the planet.
The evidence of this era can be found all around us, from deforested areas to illegal dumps and quarries. These sombre sites provide Romain Langlois with the inspiration for his sculptures: an abandoned beam on a demolition site, a tree trunk found in a wasteland, a chunk of stone used to block off a road… a plethora of “objects” torn from nature and discarded after use.
The artist appropriates this “cultural sediment”, transforms it, and presents it to us in a museum or exhibition space, as if to say: “And now, what do you see?”
Like a true alchemist, he has transmuted the ordinary into something extraordinary. The rock that sits before you is not stone: it’s bronze. That tree trunk is not wood but calcite, created by crystallising calcium carbonate, a process that has been mastered by just a handful of artisans. The resemblance is striking, but the artist does not restrict himself to this trompe l’oeil effect.
His rocks are broken apart to reveal their contents — a radiant liquid resembling magma— while the rafter seems to be lifting itself into a vertical position, with folds forming on its surface much like human skin. The inert materials seem to come alive before your eyes, exposing their latent life force.
“La Belle endormie” (Sleeping Beauty), by Romain Langlois.
According to the artist, “everything is alive, everything is in motion, everything is in a process of transformation. There is life below the surface, just waiting to be unleashed. Through my sculptures, I am able to tap into this innate force and reveal it to the world.” Romain Langlois has drawn on this intuition of an ubiquitous life throughout his career as a sculptor.
The 43-year-old French artist is entirely self-taught, driven by passion, a thirst for knowledge, and a desire to make his own way and become one of the great names in this art. For 12 years, surrounded by anatomy references, he sculpted human faces and bodies, striving to master each technique according to his own high standards. From white bronze to bismuth, crystal, silver and stone, the artist has tried his hand at a whole range of materials, gaining an intimate knowledge of every medium. “Working with a material is the only way to truly understand it,” he explains, “the touch of your hands creates a unique bond.”
In the world of contemporary art, where concepts take precedence over execution and where know-how and craftsmanship are often considered secondary, Romain Langlois chose to put materials at the very heart of his artistic approach. Although he has moved away from depictions of people, his work continues to explore the human condition from an environmental angle, scrutinising humanity’s profound impact on our surroundings.
His sculptures capture a nameless truth about life itself: something that binds us to the wood and the rocks, and raises questions about the place we occupy in this natural order.
“Countainer” by Romain Langlois.
Born in Saint-Etienne (France) in 1977, Romain Langlois turned to sculpture after completing his design studies and spending several years working in an architecture firm. His works have been exhibited at the Museum of Modern and Contemporary Art in Saint-Etienne and at the MAD in Paris. They are also found in several prestigious private collections.
Malaysian artist Chok Yue Zan is back with another solo exhibition with Art Porters, titled “Throughout”, the art showcase centres on the idea of nature’s transitory nature. This idea is reflected in the array of artworks that Chok has painted. One would be able to view a “remarkable collection of mystical and ethereal paintings, reminiscent of lush greenery and littoral landscapes”.
Since the start of his career, Chok has made landscapes of forests and oceans his forte. His admiration for nature stemmed from his upbringing in Borneo, Sabah. From an early age and growing up under the care of his grandparents, the artist enjoyed being outdoors and affectionately calls the place “paradise”. Chok recalls his time being filled with “happiness and joyful moments”, and he tries to encapsulate this in his artworks.
However, in this series of paintings for “Throughout”, Chok recalls the images he has in mind from his younger days at the different stages and transposes it through different colours. Each piece illustrates a different story that harkens back to his life experience at that particular time and its links to his memories. To him, memories are how people’s original stories are spun and each experience is unique. Through art as the medium of expression, Chok welcomes viewers to learn more about him albeit in a more abstract way — colours, styles and even brush strokes.
Just like how life is filled with a myriad of different emotions, the exhibition is what the artist calls a “voyage full of joy and sorrow, reminiscing life and death.” Chok’s raw emotions are on full display through his body of works and he invites viewers to join him in this retrospective journey.
Ongoing from now to 8 July, artist BODHI (Ho Chung Kwang) is staging an exhibition with Singapore’s Gallery 1819 as part of its showcase called, “Sonata Allegro”. Artworks from his Astrochemistry Series will be on display and it aims to feature BODHI’s interests in EDM. Using psychoacoustic methods where different moods and themes from a specific music track get portrayed in the form of visuals, BODHI translates the unique soundwaves into cover art or visualizer art.
Ahead, we speak with BODHI to learn more about how he connects his passion for music and the creation of artworks.
You were born in 2000 in Penang, Malaysia. Tell us about your first steps as an artist?
Thank you for the opportunity for me to share my works with your readers. I was born in Penang, Georgetown, Malaysia. I was a hyperactive child growing up, and my parents put me in art tuition in hopes that I could sit still. That did not stop me from being hyperactive, but eventually, I started to like drawing as a hobby.
Where did your nickname “BODHI” come from?
The word “BODHI” came from a longer word “Bodhicara”, which means enlightenment in the Pali language. This name was given to me by a Sri Lankan monk whose temple my parents used to visit. And because I was born on Vesak day, on the lunar calendar, the monk gave me this nickname. It grew with my family, and my parents started to address me as BODHI.
Your large-scale paintings combine oil and spray paints with your signature drawings. How would you describe your style?
“Double-edged Hominoidea”. Image: BODHI
I usually paint in popular sizes that look good for most homes and commercial spaces. For this current series, I used acrylic as the medium. I did a bit of oil back when I was studying at Nanyang Academy of Fine Arts, but it didn’t stay long once I was exposed to acrylic. I felt that acrylic was more suitable for me.
I think my works are surrealist but dissimilar to the post-war surrealism art movement. It’s a style that mixes one or few fragmented figurative subject matters into an image while adding abstract patterns to conjure a single painting, thus making it feel and look surreal.
To add on, I’m very much influenced and inspired by a few artists. The first would be Chayanin Kwangkaew, a painter in Thailand, and the second artist would be the French Duo, TelmoMiel. Both are surrealist artists in their domain.
Another thing that influenced me was the idea of flatness. I was influenced by Japanese artist, Takashi Murakami, not for his colours and graphic art style, but mostly because he was one of the pioneers and one of the most prominent artists in the super flat art movement.
What type of art materials do you usually work with?
The art materials that I work with are brushes, acrylic paint, and canvases. We are seeing more contemporary artists and emerging artists mixing different materials and mediums to present interesting artworks to the audience. I would say I’m a traditionalist, though my works are not traditional.
I feel that to be an artist, it is important to have technical skills besides creativity, so I admire people who display strong technical skills in their artworks. For now, I’m a traditionalist because I follow the path of wanting to have good technical skills.
Amongst your interests are DJing and Beatboxing, how is music deeply influencing your art?
“Haven, Narcotics & Moonwalkers”. Image: BODHI
I was interested in music long ago before I started doing music engineering and beatboxing. I have deeper appreciation for music now because of the technical difficulties that I’ve experienced, doing all the different DJing stuff and beatboxing, but the reason why I like music that much and how it influenced my art is how I did not become a musical artist.
For now, I become a visual artist like a painter, and I can still take what has a big influence on me, like music and implement it into art, so that’s how music has influenced me.
Adding on to that, I feel music is very important. It has a significant effect on a person’s emotional side because of its nature. Music doesn’t need lyrics or even context but it possess the ability to pass through the logical part of the brain and influence our psyche.
So when I look at an artwork, I don’t read too much into its meanings. Just like expressionism or impressionism, you don’t need to understand the context and still be influenced by the colours and all the emotions that the painting can evoke. Much like how music is able to convey similar feelings, the process is unstoppable unless you cover your ears or eyes.
Religion is also influencing your view of the world and your art. Tell us more there?
For now, religion isn’t part of me as an artist or in any of my artwork. Maybe in the distant future I might be influenced to incorporate it into my artworks, either visually as an aesthetic or contextually. We won’t know!
What emotions do you hope the viewers experience when looking at your art?
“And may I be Somnolent of Plenished”. Image: BODHI
I would like viewers to experience my own interpretation of the music’s essence and not just the likeness and state of mind that I am when making the work.
What has been your latest project and what is planned for you across 2022?
I am curating for The Fluxus House and participating in a couple of different exhibitions with the aim to bring awareness to BODHI as an artistic brand. These exhibitions are mostly promotional exhibitions to relaunch me as an artist and a house curator.
What can art lovers and collectors expect to see from you at your current exhibition staged at Gallery 1819 in Singapore?
Excitement and energy! I’m probably the youngest artist in the lot to have this opportunity and showcase my works at the gallery. A shout out to art lovers and collectors out there: I hope to bring new and refreshing works to your existing collection and support emerging artists like myself.
Are you also looking at creating your own NFTs?
Not at this juncture. I’ve sold NFT in the past, but I would like to establish myself as BODHI before I get ahead to do collaboration in the NFT space.
You now live in Singapore, what is your favourite memory of Penang?
Me visiting Georgetown Festival! You get to watch theatre shows, music performances and a lot of different exhibitions and art-related activities. They are mostly held at Penang’s UNESCO heritage sites, which I fondly remember visiting with my family and friends.
It is quite different from Singapore Art Week, where there are more performances and free street performances such as dances, theatre and music than just visual arts.
If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?
My Mentor and artist, Mr Choy Kim Hong. He taught me in kindergarten, in art tuition and through high school. He encouraged me to switch from Commerce to Arts, and under his tutelage, I continued my studies in art at NAFA. He greatly inspires me to continue my studies in the Arts and become a full-time artist. Without him, I may not be where I am today, having this opportunity to share my journey with you.
Wars, famines and civil unrest are some of the reasons why people are displaced from their motherland and take refuge in other countries. To honour the sacrifices of refugees around the globe, the United Nations has designated 20 June as World Refugee Day. More than just a stark reminder of the atrocities these people face, this is a day where strength, courage and tenacity are celebrated in the teeth of persecution and harm.
Embodying these traits is Chuu Wai Nyein, an artist who has fled her home country in Myanmar after the February 2021 military coup. She was involved in a peaceful protest through her artistic group, “Write for Right” in Yangon, which later caused her to be exiled. The artworks Chuu Wai Nyein created proved to be too controversial, and her family had to leave the country for their safety.
After leaving Myanmar, the artist travelled to Kyiv, Ukraine, and decided to settle in the new country. Being in a different country provided Chuu Wai Nyein with fresh perspectives on how to create more unique artworks that are an amalgamation of cultures of Myanmar and Ukraine. The central idea theme of the female identity remains to be the focal point of Chuu Wai Nyein’s paintings. To her, the artworks are created against an awareness of the many ways society controls and scrutinises women more than men. Furthermore, it also chronicles the ways women fought to resist this unjust treatment and how the culture has grown to become intolerant of such prejudices.
To fully grasp the intention of Chuu Wai Nyein’s body of works, one has to look at her artwork as a whole and peel off the many layers before laying naked the hidden meanings the artist wishes to put forth. The artworks, which often depict women who look to be in their 20s, are seen to be carefree and sexy. It is as though these women are smirking at the viewers for holding archaic views. Moreover, to drive the point that society needs to move on from these traditional notions, some of her paintings even show women with their legs spread and showing their underwear.
Chuu Wai Nyein’s artistic foray does not just stop at paintings. She has also ventured into other mediums such as traditional fabrics and even performances — all to show her solidarity with the plight of women worldwide.
For more information about Intersection Gallery, click here.
Image: Alex Webb, Magnum Photos for Saint Laurent by Anthony Vaccarello.
The connection between fashion and photography is one of the most documented. Clothes and images have been a conduit for self-expression and each aims to tell a story. For Saint Laurent’s seventh instalment of its SELF project, creative director Anthony Vaccarello invited a group of high-profile artists to lens the brand’s personality and spirit through their own imagery styles.
Simultaneously, Saint Laurent has organised exhibitions to showcase the artists’ works across six major cities like Paris, London, New York, Tokyo, Seoul and Shanghai. The artists involved in the SELF 07 project are Harry Gruyeart, Olivia Arther, Alex Webb, along with Magnum guest photographers Takashi Homma, Daesung Lee and Birdhead. With the aim to intangibly connect the world, the common thread that unites these different photos is the reverence for human intimacy, the natural world and the urban landscape.
Ahead are the six selected works from the talented photographers and what inspired them.
Image: Harry Gruyaert, Magnum Photos for Saint Laurent by Anthony Vaccarello.
“I have always been fascinated by airports. They are places that concentrate everything that usually catches my eye as a photographer: the interplay of light, transparency and reflections, the effects of superimpositions that create a loss of reference points and give this very strong impression of being between two worlds. And then, there are the signs — arrows, numbers, letters — that mark out the frame. I have always liked the vocabulary of signage. When I was invited by Anthony Vaccarello to participate in SELF 07 for Saint Laurent, I immediately thought it would be interesting to shoot in this setting and to associate these images with some of the ones I had done before and which are gathered in the book Last Call.”
Olivia Arther
Image: Olivia Arthur, Magnum Photos for Saint Laurent by Anthony Vaccarello.
“So not so” is a series that explores the human relationship with our bodies, our own physicality and the importance of touch and connection. Working with Anthony Vaccarello’s creations for Saint Laurent SELF 07, with movements, interactions, and play, I looked to show the way we touch, connect, and relate to each other. An exploration of the physical world in natural and unnatural forms is also key for me in showing the limits of our physicality.
Our virtual worlds have grown to become a genuine reality and as technology creeps we need to remind ourselves of the hard feeling of a hand on a wall or the clatter of pebbles falling over each other. Incorporating elements of make-believe and play, the real sometimes becomes surreal. And as bodies and heads blend in and out of the spaces around them, it is also intended to serve as a reminder of both our strength and fragility.”
Image: Alex Webb, Magnum Photos for Saint Laurent by Anthony Vaccarello.
“City streets are alive with vibrant colour, bold geometry, layers of light and movement, and rich diversity. They are the dynamic meeting places where the many worlds of the city cross paths, often in surprising and surreal ways. As a street photographer, I’ve long been drawn to the brilliant colour, searing light, and intensity of life that I first encountered in the streets of Latin America and the Caribbean.
So when I was asked by Anthony Vaccarello to photograph Los Angeles in the spirit of Saint Laurent for SELF 07, I immediately thought of three culturally-rich downtown neighbourhoods — the Pinata District, the Flower District, and the Fashion District — whose deep shadows, brightly painted walls, and vibrant streets are reminiscent of Mexico, where I’ve often wandered. This exhibition brings together my new work from the streets of Los Angeles in conversation with my past work from Latin America and the Caribbean.”
Takashi Homma
Image: Takashi Homma, Magnum Photos guest photographer for Saint Laurent by Anthony Vaccarello.
“The City and Fashion. We live in a huge city called Tokyo. We, dressed in clothes, live and act in the environment of Tokyo. Our actions are in fact constrained and guided by the pressure of the city of Tokyo. I used the camera obscura technique to capture and exhibit the Tokyo environment that surrounds us. The city and fashion are always in a one-to-one relationship. I was pleased to have the opportunity to participate in Saint Laurent’s SELF 07 curated by Anthony Vaccarello.”
Daesung Lee
Image: Daesung Lee, Magnum Photos guest photographer for Saint Laurent by Anthony Vaccarello.
“Spring 2020 was surreal but real. The whole world stopped. No one could easily describe such a feeling in words. Ironically, nature revived and came back to us once we stopped being indoors. Nature gave us back all the forgotten senses. The sky was so blue, more than ever, birds were singing so loudly out of my apartment window and the leaves of the trees in the streets were greener than ever. It was such a surreal experience. Since then, I no longer see the world in the same way. In the meantime, I often had to escape to an imaginary nature in my mind to stand the uncertain future. It was a strange spring. I attempted to visualise that strange experience during lockdown.
An imaginary nature, that you can only see in your inner self, that you can only feel in your own senses. We all lived in our own universe during that time. The SELF project was a unique, exciting, and challenging opportunity to explore and express my inner self in visuality. I hope you can also find yourself in these images. I especially thank Saint Laurent and Anthony Vaccarello, artistic director, and curator of the SELF 07 project for his constant support to artistic freedom of expression and creativity.”
Birdhead
Image: Birdhead, Magnum Photos guest photographer for Saint Laurent by Anthony Vaccarello
“This collaboration is based on the format of photographic matrix — the signature style in “Birdhead World”. Inspired by the harmonic and symbiosis relationship between species that exists in nature, the work exhibits the tangible connection between photographs. The overall contour lines up the cityscape, clothing, and body with natural elements like clouds, trees, and stones. This outline combined with the structure of different light and shade blocks, creates a smooth and free sense of integration, just like the gesture of the cursive script in Chinese calligraphy. Each photograph consists of the work that is the original photograph taken in analog, without any cropping or reframing.
Additionally, through the SELF 07 project curated by Anthony Vaccarello, Birdhead adopted inverted negative photographic prints in their work for the first time. The characteristics of Saint Laurent’s SELF project provide a high degree of freedom, allowing artists to transcend boundaries and explore the possible new resonance of art and fashion in each special era from different perspectives.”
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Auspiciously, as the ASEAN celebrates its 50th year of existence, an ambitious art exhibition has launched to highlight the region’s diversity. Entitled “SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now”, the exhibition is hosted by the National Art Center and the Mori Art Museum, located in Roppongi, Tokyo’s art-forward neighbourhood.
“SUNSHOWER” is a culmination of field work spanning two years by a curating team of 14. Hundreds of gallery and studio visits, interviews and consultation with experts were conducted to select 180 pieces from 86 multi-generational artists. Eleven are Malaysians, including notable names like photomedia creator and film producer Yee I-Lann and veteran Wong Hoy Cheong. Visitors can expect to see large-scale installations and interactive pieces address post-colonial democracy, identity and how, despite periods of economic volatility in the region, Southeast Asian art has seen the much needed benefits of prosperity trickle into its scene.
“SUNSHOWER” will be staged simultaneously, from July 5 through October 23, 2017 at the National Art Center and the Mori Art Museum.
No stranger to the vibrant and quirky world of art, it’s only fitting that Yayoi Kusama’s upcoming exhibition at the National Gallery Singapore is entitled ‘Yayoi Kusama: Life is the Heart of a Rainbow’. The exhibition of one of the world’s most influential artists in the 21st century, this retrospective is the first to see a congregation of Kusama’s works in Southeast Asia. Opening from June 9 to September 3, the exhibition invites audiences into the multi-dimension world of Kusama’s creative vision.
A champion of the Avant-Garde, Kusama is lauded for her signature polka-dotted artworks —especially on pumpkin motifs — as well as her breathtaking Infinity Room installations. Having worked with designers such as Marc Jacobs and luxury brand Louis Vuitton, Kusama’s works continuously inspire other art forms. The exhibition will feature over 120 of her works, which include interactive spaces, installations, sculptures and paintings. Amongst these are new pieces that have never been exhibited prior. Leading up to ‘Yayoi Kusama: Life is the Heart of a Rainbow’, one of her interactive installations ‘The Obliteration Room’ has been installed in the National Gallery Singapore as part of the inagural Children’s Biennale.
The main exhibition will take place in the Gallery’s Singtel Special Exhibition Gallery. An exploration of the influence of international artists such as Kusama, the exhibition will highlight how her works were able to reach across geographical boundaries to touch the lives of people all over the world. It will also look into the personal challenges Kusama faced, and how she overcame them to impact the art world.
Other than the main retrospective, the exhibition will extend across to workshops and programmes for all ages. These include a Curatorial Rountable for a discussion on the impact and influence on Yayaoi Kusama’s works. If you are up for creating your very own Yayoi Kusama inspired piece, sign up for Sunday Studio: Marbled Patterns. These marbling workshops are available at the Keppel Centre for Art Education at various timeslots.
A collaboration between the National Gallery Singapore and Queensland Art Gallery, Gallery of Modern Art, ‘Yayoi Kusama: Life is the Heart of a Rainbow’ will take place from June 9 to September 3. Opening hours are from 10am-7pm from Sundays to Thursdays and 10am-10pm from Fridays to Saturdays. Prices are $15 for Singaporeans and Permanent Residents and $25 for foreigners. Children enter free.
For the first time ever, car manufacturer Mazda has opened a museum outside of its home country, Japan. The museum, dubbed Mazda Classic – Automobil Museum Frey, is a joint project between Mazda Germany and the Frey family, owners of a German Mazda dealership, Auto Frey. Located in the university town of Ausburg, Germany, the museum houses vintage Mazdas from the company’s vast collection.
The museum is housed in a refurbished, converted train depot dating from 1897 in Angsburg, Bavaria. Officially opening this week, the centerpiece exhibit will be 45 classic Mazdas including a 1967 Cosmo Sport, a 1969 Luce R130, a 1966 Familia 1000 coupé, a 1976 Mazda 616 and a mid-engined AZ-1 sportscar from 1992.
Each of the vehicles on display comes from the Frey’s personal collection and many were restored personally by family members. Collecting Mazdas became a huge household passion and led to Patriarch Walter and his sons Markus and Joachim travelling the world in search of new rare finds. In fact, the collection currently runs to 120 vehicles, meaning that the display will be constantly refreshed and rotated so that regular visitors will always see something new.
“Uniquely impressive, the first Mazda museum outside Japan represents a dream come true for the Frey family to share with the public its one-of-a-kind collection of vintage Mazdas from around the world,” said Mazda Motor Corporation Executive Vice President Akira Marumoto.
“Everyone at Mazda headquarters is very proud that the Freys are a part of our organization and have created something so extraordinary,” Marumoto said.
The Mazda Classic – Automobile Museum Frey is open from Tuesday to Sunday, from 10am to 6pm.
