By: Khoo Yi Feng Edited by: Wee Min Er Contemporary artists in Southeast Asia express themselves through the dynamic and versatile avenue of art. Such intriguing forms of expression calls for attention as it impresses others, and has become a force that cannot be repressed. Looking at Little India and Kampong Glam below, I know that Singapore is not an exception to this phenomenon in the region. Step out of Little India MRT station, you will see colourful buffaloes greeting you (Cattleland, Eunice Lim, 2015). Walk along Kerbau Road and you will find an awkwardly displayed web made of raffia string resembling hammocks. These installations are part of the Little India Art Walk, courtesy of the Singapore Art Week 2015. Being a contemporary art lover, I always enthused over the intent rather than the content of such displays. My curiosity took me to a chat with a surveyor from the Singapore Tourism Board (STB) who was on-site. Her sharing illuminated the contours of how the state can use contemporary art as a means to achieve its aims. She asked, "What is the first thing that comes to your mind when you think of Little India?" I fumbled with my words, throwing up good descriptives, due in part to the fact that the surveyor is an Indian. She stopped me midway through my "praise-singing", and simply said, "2013 Little India riot". Suddenly it all made sense. The state has a vested interest in changing perceptions of this heritage area through contemporary art. In the process of rebranding and managing the public's perception, contemporary art was ingenuously, covertly and conveniently used as a tool. Stepping into the Malay Heritage Centre (MHC) in Kampong Glam, you see some exhibits (flying garbage bags) sticking out like sore thumbs amidst the landscape of this beautiful Istana. Exploring further, you will see MHC housing contemporary arts installations like the "Budi Daya" and those courtesy of the Singapore Art Week 2015. MHC's special exhibition "Budi Daya" is especially worth mentioning for it explores "Budaya" (culture) from the Malay perspective but goes beyond to explore the enactment of "Budi" (Sanskrit for intellect or wisdom) in emotions, behaviour, sight, communities and cognition via the artefacts. This focus on "Budi Daya", the bridging of both traditional and contemporary parts of Malay culture and ideals, is reminiscent of the struggle against the trope of underdevelopment that pursue the Malays. The artefacts highlight a conscious intention to reinterpret Malay culture, identity and ethnicity amidst the push for development. Notably, the artists showcased their influences from popular culture. For example, Malaysian artist Tintoy Chuo featured characters like Sangkalang Vedeh (Darth Vader), Si P Long (C-3PO) amidst mytical characters of the Wayang Kulit repertoire in “Peperangan Bintang” translated directly into Star Wars (look to picture on the left). It is almost as if the iconic Star Wars characters from the West are interacting with the archetypes drawn from Javanese mythology. What a conversation it will have been! In “Pasar Kumandhang”, Indonesian artist Dani Iswardana Wibowo planted mythical Javanese characters into contemporary landscapes replete with popular and desirable consumer items. He presented his art in a scroll reminiscent of Wayang Beber, a traditional Javanese art form (look to the picture on the left). In doing so, I find that the art pieces furthers highlight the uneasy negotiations between traditions and modern forces, which the artists will have faced in making sense of the present and what is to come. Contemporary art is able to provide social commentaries that document feelings of past hurt, life in the present and aspirations for the future. My walks down Little India and Kampong Glam has reminded me to be conscious of the intent of artists and more importantly those of the sponsors, the state and relevant actors even while enjoying the rich content in contemporary art, for artists do not work in vacuum. Learning more about the social worlds of the artists through their art makes for a lifelong hobby. What do you make of the use of contemporary art in Singapore? Where else in Southeast Asia have you seen contemporary art being used by the state?
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CategoriesAll AGM Alumni Dinner Bbq Event Film Intercultural Relations Relationships Screening Semester SEP Singapore Society Student Contribution Summer School Tidbits Welcome Tea Archives
July 2015
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