Teresa Eng | Kaleidoscope : Immigration and Modern Britain Exhibition

A new photography exhibition exploring identity and immigration in modern Britain.

A.I. Gallery. Teresa Eng, Somerset House.png

“Featuring stills and moving image, Kaleidoscope showcases the works of ten photographers born or based in Britain, many with family origins abroad including Hong Kong, India, Jamaica and Russia, and explores what it means and how it feels to live as an immigrant, or a descendent of immigrants, in Britain today. Co-curated by writer, Ekow Eshun and Creative Director, Darrell Vydelingum the exhibition forms a celebration of immigration in everyday life.

Reflecting the multiplicity of voices that together form modern Britain, the exhibition takes individual and often intensely personal experiences to encourage a wider appreciation of the nation’s multiculturalism. The significance of immigrant communities forms a key focus, particularly how they influence the country’s identity, challenged now more than ever.”

12 Jun – 08 Sep 2019 Somerset House

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Weixin Chong | Object of Desire Exhibition @ ICA SG

Artists: Dagrún Aðalsteinsdóttir, Weixin Chong, Guðlaug Mía Eyþórsdóttir, Styrmir Örn Guðmundsson, Saemundur Thor Helgason, Daniel Hui, Luca Lum, Guo-Liang Tan

Curator: Dagrún Aðalsteinsdóttir, alumna, MA Fine Arts (2016 cohort)

Object of desire brings together painting, installation, sculpture and film by eight artists from Singapore and Iceland. The works explore the affective agency of images and objects as ‘things’ which are desired, distributed and reproduced.

The title of the exhibition refers to an essay by artist Hito Steyerl titled ‘A thing like you and me’ (2010). In her essay, Steyerl explains the role of humans in the formation and operation of images. According to Steyerl, our participation in images not only blurs distinctions between subjects and objects, but also human subjectivity, which is increasingly objectified. In her essay, Steyerl describes images as fragments of the real world; things ‘like any other—a thing like you and me’.

For the exhibition, curator and MA Fine Arts alumna Dagrún Aðalsteinsdóttir invited each artist to create a work that explores the values and hierarchies associated with ‘being an object or an image’. The layout is conceived as an interdependent constellation, in which the works—as ‘object–subjects’—activate one another.

Full Description Here

Date & Time

Opening date: Fri 21 Jun 2019, 6:30pm – 8:30pm
Exhibition Period: Sat 22 Jun – Wed 24 Jul 2019
Opening Hours: 12:00pm – 7:00pm, Tue to Sun (Closed on Mon and public holidays)


Brother Joseph McNally Gallery
Institute of Contemporary Arts Singapore
LASALLE, 1 McNally Street

Teresa Eng | Aperture Portfolio Prize Shortlist

Teresa Eng,  Junction , 2016, from the series  China Dream

Teresa Eng, Junction, 2016, from the series China Dream

“This year, Aperture’s editors reviewed over 1,000 submissions during our annual Portfolio Prize competition. With a goal to identity contemporary trends in photography and highlight artists whose work deserves greater recognition, we are thrilled to announce this year’s five finalists for the 2019 Aperture Portfolio Prize.

Teresa Eng
Jack Latham
Mark McKnight
Zora J. Murff
Guanyu Xu

We are delighted to welcome these five finalists to our ranks of illustrious past winners and finalists, joining such artists as Ka-Man Tse, Natalie Krick, Eli Durst, Drew Nikonowicz, Amy Elkins, LaToya Ruby Frazier, Alexander Gronsky, Sarah Palmer, Louie Palu, Bryan Schutmaat, and many others. Our challenge is to now select one winner and four honorable mentions from this impressive group of finalists. The winning artist will be published in Aperture magazine, receive a $3,000 cash prize, and present an exhibition in New York.

The winner of the 2019 Aperture Portfolio Prize will be announced on Friday, April 19, and the finalists portfolios and statements will be featured on Aperture Online.”

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Lin Zhipeng (No.223) | The Walther Collection (Germany)

lin zhipeng 223 | Exhibition, A.I Gallery, The Walkther Collection, Germany .jpg

“The Walther Collection is pleased to present Then and Now: Life and Dreams Revisited, an exhibition that extends the Collection's ongoing survey of Chinese photography since 2017. Curated by Christopher Philips in 2018, Life and Dreams: Contemporary Chinese Photography and Media Art was the first extensive exhibition of works by Chinese artists represented in the collection…

…A radical departure in both time and subject matter, a selection of works by Lin Zhipeng—known under the pseudonym 223—explosively portrays contemporary Chinese youth in a special exhibition on the upper floor of the White Cube, curated by Simon Baker. Born in 1979 in Guangdong province, 223 has become a representative figure in contemporary Chinese photography for works that offer a uniquely personal and intimate view of a youth subculture, including queer love and sexuality—standing in stark contrast to imposed conservative cultural values and standards.”

Read full Press Release

Elizabeth Gabrielle Lee | Something Curated

The Best of Photo London

“Elizabeth Gabrielle Lee’s practice includes photography, text and installation. Navigating the intricacies that arise out of history and memory, themes of displacement and nostalgia weave in and out of her storytelling whilst working upon central human issues such as belonging and loss. Drawing from the politics of identity, ethnography, and linguistics, her work is an attempt to re-examine the structures of recall and perception. Lee also runs XING, an online collective shedding light on the trailblazing lives of East and Southeast Asian women today.”

Full Article Here

Bunga pisang (banana flower)  by Elizabeth Gabrielle Lee

Bunga pisang (banana flower) by Elizabeth Gabrielle Lee

Sarah Choo Jing | ALC VideoArt Festival

ALC VideoArt Festival, Sarah Choo Jing, A.I Gallery .jpg

ALC videort festival is born with the purpose of promoting video creation as a social cultural wealth and to give visibility to artists who work in this medium from all around the world.

Exhibited work:

Wear You All Night, 2017, Duration 4'38

Tuesday May 14 2019 from 18:30h to 21:30h

Full Program Here

Herman Rahman | The Guardian

'Brooklyn gangs and a glimpse behind North Korea’s closed regime are just two of the highlights of this year’s Photo London festival.'

Photo London is at Somerset House London, 16-19 May 2019

We Travelled in Moonlight, 2018

From the series Han, by Herman Rahman, which traces the history of North Korea, relying largely on archival imagery and found text

Photograph: © The artist, courtesy A.I. Gallery/Herman Rahman

Read full article here.

Sarah Choo Jing | DAZED

Singapore and the realities of growing a new contemporary art scene

by Sarah Choo Jing

by Sarah Choo Jing

Photographer Sarah Choo’s work was shown at a talk with Audrey Yeo, S.E.A Focus Project Director during Singapore Art Week. Choo explains that her images centre on social alienation and isolation by employing themes such as the “gaze of the flaneur, voyeurism, and the uncanny”. Over email, she reveals a positivity about Singapore’s developing interest in the arts. “Art appreciation is definitely on the rise,” she writes. “It’s encouraging to know that we do have a generation of young collectors, taking on an active role in the art community. The creative scene is a small, tight fraternity, but extremely diverse and vibrant. There is no doubt that our contemporary artists are pushing boundaries and consistently challenging the status quo.” She states that Singaporean artists are forward-thinking but they also see the importance in embracing the artistic traditions of the country’s past: “These circumstances create for complex art-making and reception in a relatively young nation.”

Choo also applauds the government’s support for art’s future in Singapore. “Compared to our counterparts in the world, I do see significant support from the Singapore government in recent years,” she explains. This, she adds, has come in the form of opportunities to participate in exhibitions and showcases both locally and internationally. However, she notes that it is not just the government’s responsibility but that Singapore’s society at large which needs to elevate the importance of creative work in relation to its economy. “Young artists need time and space to experiment, fail, learn and develop,” she explains. “We need to embrace failure and uncertainty – these take time. That is how we build sustainable, complex ecosystems for the creative arts to thrive.”

Read full article here.

Haffendi Anuar | Beers London

Haffendi Anuar & Nadia Waheed: For The Few And The Many

“For the Few and the Many, presents the paintings of Pakistani-born, Saudi-American artist Nadia Waheed with a sculptural presentation by Malaysian sculptor Haffendi Anuar.

Saudi-born, Pakistani-American artist Nadia Waheed has lived in places such as Islamabad, Paris, Sydney, Cairo, and the USA. In fact, she hasn’t lived in the same place for longer than four years. As such, the notion of displacement, vulnerability and identity has undoubtedly woven itself into her paintings. She states that the figures in her paintings are herself - but also others: "The women are [versions of] me, but also others. They’re two women, but also one woman...women contain multitudes", she states. 

In a similar vein the works of Malaysian sculptor Haffendi Anuar speak to a similar notion of identity in flux - although his concern is less about the 'self' and more about the external environment. Like Waheed, Anuar has lived in London, Rhode Island, and China, and this desire to comprehend one's place in the world has - for Anuar - manifested in the form of the piloti. Pilotis are structural columns made to lift a building from the ground, and/or above water. As such, they function duplicitously: by both providing the connection to a foundation but also by offering a detachment from said foundation. In the same instance, both artists are talking about singularity - and multiplicity. “

Read full press release here

18 May 2019 – 22 Jun 2019

Opening Times:

Tues-Fri: 10-6
Sat: 11-5

Sarah Choo Jing | The Unsettled Dust Asian Short Film Festival

The permutable phenomenon of the everyday life is usually inherited from the natives of the contemporary past as they attempted to change their “current” situation for a better future. While encompassing many contradictions and conflicts through its evolution, there is also the flexibility and space for one to seek out a lifestyle that conforms to his/her needs, be it as an individual or as a community. The emergence of the everyday life can therefore be viewed as a kind of landscape – a spectacle that evokes contemplation. Shifting the focus to the contemporary life in Asia, it is apparent that the landscape of the everyday life has been shaped by modernisation, capitalism and postmodernism as a response to globalisation, and at the same time, it also reflects the regional living gestures brought about by anti-globalisation.

The festival will feature short films that narrate first-person accounts of various personal, regional and cultural phenomena occurring within Asian life, while presenting the social mentality that has been engendered by globalisation and rapid economic development. By portraying different fragments of the social landscape brought about by the inevitable aforementioned issues, a variety of observations such as cultural shifts, localisation and segregation of social classes, can be made. Consequently, the festival attempts to seek out the possibilities of a varied regional dialogue exchange, which might offer a more intimate and comprehensive experience of the Asian perspective. Paramount to the festival’s content lies the numerous simplified interpretations and representations that bring to the fore the daily lives of commoners under the influence of globalisation and westernisation, offering a unique spectacle that is distinct from Orientalism.

Read more about the festival here

The Asian Short Film Festival held at the VT Artsalon, Taipei; curated by Nien-Ting Chen & Jaxton Su.

Elizabeth Gabrielle Lee | Royal College of Art Lecture

Women Artists and a Brave New Art World

  • The 2009 Venice Biennale edition featured 43% women; in 2013, it dropped to 26%. In 2015, it was 33%, and in 2017 was 35%.  No major international exhibition of contemporary art has achieved gender parity. (ARTnewsArtsy)  

  • Women working across arts professions make almost $20,000 less per year than men. (Artsy)

  • Women in the arts are found not to experience the “motherhood penalty” which in other industries results in a loss or stagnant income after children. But men in the arts do experience the “marriage premium,”—an increase in pay for married men of roughly $7,200 per year that neither women nor single men experience. Men working in the arts also receive an income bump when they become fathers. (Artsy)

  • ArtReview’s 2018 Power 100 list of the “most influential people in the contemporary art world” was 40% women—though this is an improvement from 2017 (38%) and 2016 (32%). (Art Review)

XING is a collective of artists. It was founded by Elizabeth Gabrielle Lee in 2017 and exists as a domain of possibilities shedding light on the trailblazing lives of East and Southeast Asian women today. XING champions the vagabonds, challenges hegemony, and celebrates a oneness through image and prose. The inaugural volume of XING (2017) explores the current landscape of women in China, Japan, Korea and Taiwan. An introductory text is written by Clara Lee. The photo series & publication has been featured in Dazed, Riposte, i-D Magazine amongst others.

Herman Rahman | British Journal of Photography

Tracing the collective history of North Korea

Théâtre de la Cruauté (trans. Theatre of Cruelty) | Series: Han

Théâtre de la Cruauté (trans. Theatre of Cruelty) | Series: Han

Using a combination of original shots, archival imagery, and found text, Herman Rahman traces the limits of both a secretive state and photography

“There is a term to describe the cultural ache that Koreans go through: Han. A complex intermingling of historical, collective and personal sorrow, acceptance of a bitter present, and a hope of a better future.” Introduced to the term by a North Korean defector, Herman Rahman decided to adopt it as the framing concept for his project of the same name.

Han traces the collective history of the notoriously closed regime of the Democratic People’s Republic of North Korea, relying largely on archival imagery and found text to probe at the borders of a near-impenetrable subject. The work is an interrogation, not only of the secrecy of the North Korean state, but also of the nature of photography itself.

The impetus for the project came from the 24-year-old’s reflections on image-sharing, and the way that pictures can circulate internationally without restriction – in most of the world. “Where in the world does this image-reliant, postmodernist network we have created for ourselves not reach into? North Korea,” Rahman concluded.

A series of images of binoculars shot on a trip to the Korean Demilitarised Zone, the strip of land between North and South Korea, became a personal turning point. “Binoculars are known as a tool for sight and clarity, but there is no sense of clarity when it comes to North Korea because we have not constructed that sort of narrative yet,” he says. “We don’t see much, and we don’t know much.”

Rahman decided against entering North Korea to take photographs, though, as he didn’t want to sumbit to the strict control image-making is put under there. “The spectator, the tourist, then becomes an actor within the laws of the state,” he says.

Rahman, who recently graduated from the London College of Communication, continues in the tradition of research-led, conceptual image-making which makes heavy use of text, citing Taryn Simon, Alfredo Jaar and two years spent assisting Broomberg & Chanarin as formative influences. “Most of the artists that I’m drawn towards are politically affiliated,” he insists. “They are investigating structures and modes of power, and power’s ability to inflict violence and suffering on a large scale.”

Having grown up in conservative Singapore, Rahman realised that the DPRK presented him with an opportunity to experiment with ways of visualising freedom and its curtailment. Despite its inherent difficulties and already extensive scope, the work is ongoing: “This might all be futile, but if not for the betterment of my own self- understanding, perhaps people might leave seeing the work having learned something.”

Full Article: https://www.bjp-online.com/2018/08/herman-rahman/

Fiona Struengmann | ArtPress

I Was Lying in the Woods and Was Searching for the Sun ,. 2017, 70 x 140 cm. Colour pencil and needle drawings on paper

I Was Lying in the Woods and Was Searching for the Sun,. 2017, 70 x 140 cm. Colour pencil and needle drawings on paper

Practising photography and drawing, Fiona Struengmann is not simply content to collect amateur images. In order to give them new life, the young German artist isn’t slow to rework them, or even destroy them.

‘Take it all, or leave it all behind.’This is how Fiona Struengmann, fortuitously coming across an old lady at a flea market, acquired an archive of some 7,000 photographs.

Amassed over the last fifty years, the collect or had only one requirement in exchange for the gift of these thousands of amateur snapshots: to pass them on in their entirety. The German artist, born in 1986, then found her-self exhuming pictures from shoe boxes and family albums dating from early 20th-century Germany. Fiona Struengmann interprets this experience as an immersion into both the history of photography and the history of those men and women she refers to as ‘the first citizen photographers: the first generation who documented their environment and their daily life in the world with the help of this medium.’They consist of ‘moments people wanted to document and keep as a silent memory,’ she explains. Fashioning this material into a personal work infused with poetry, the series Just LikeYou, But Diferent is ‘a conversation from the past held in the present. The question asked is where we come from and what shaped us to form what we are today.’

A graduate in art and photography from Par-sons New School of Design in New York, Fiona Struengmann admits to having been somewhat lost, exploring various directions after graduation. She found herself collabor-ating on the feature film Red Knot (2014), shot on a research ship bound for Antarctica. On board, she was encouraged to experi-ment and began to draw and photograph continuously. She made her first large-format drawings, South Pole, methodically pricking tiny holes in a simple sheet of white paper. Landscapes in relief began to take shape, nu-anced by subtle shades of grey. She also produced the series of photographic land-scapes titled Articulated Silence. In the artist’s own words: ‘The trip was like a colour I had never seen before and gave me a better understanding of the correlation to our nat-ural world.’

Fiona Struengmann’s artistic practice is therefore twofold. Drawing is the draft of mental images that she translates onto paper and photography is envisaged as a means of transmitting a story based on ma-terials and places. Emphasizing in particular photography’s materiality, this German artist’s practice focuses on the unique char-acter of the medium rather than its repro-ducibility. This is seen in her two series, Needleview and Dialogue, produced using a pinhole camera she made herself. She explains her approach: ‘I had a vision in my head. I wanted to translate the idea of seeing only through a tiny little needle pin-hole. … As it was so much more about an emotion, a feeling to translate onto paper. You start seeing differently. It is all about the light, shapes and the contrast of objects.’ By means of a camera, a pen or a needle, the experimental research carried out by the artist is guided by the exploration of a reality capable of transporting viewers to an elsewhere.

While editing the vernacular photographs of the Just Like You, But Different series, Fiona Struengmann’s attention was involun-tarily drawn to the silhouettes, gestures and landscapes often seen in the background: motifs, unconsciously familiar to the artist, but drowned in an overloaded environment. ‘A photograph is a memory of a lived experi-ence, but if it also allows you to become something else, it opens up a conversation and evokes emotions … It becomes a new way of seeing,’ the artist explains. For this specific project, everything took place in the darkroom where Struengmann experi-mented with various technical processes and chemical solutions allowing her to iso-late elements from the images. In concrete terms, this meant protecting the elements to be preserved or on the contrary, dissolv-ing other parts of the image. ‘It is almost like the normal darkroom process in reverse, which I found very beautiful as a metaphor,’ she says. From these ‘silent memories’ only fragments then remain: the joined hands of women, bodies without faces, the subtle outline of silhouettes. Each motif, isolated and individualized, converges the gaze, be-coming the work’s focal point. Occasionally the artist adds material, partially drawing on the image with a needle and oil paint. The slope of a mountain landscape is adorned with splinters of yellow, while a young boy, walking in the forest discovers a cloud tinged with red.

These photographs, which come from the past, have an aesthetic force all the more vivid because the image that was originally taken for primarily personal reasons, is lib-erated. Not only does Fiona Struengmann give a new readability to these amateur im-ages but she also provides them with the po-tential for a new use. By manip-ulating—altering, rubbing out and erasing some of what they contain—she provides them with a second life. Similar and yet other, these photographs reappear in new spheres.

Full Article In French and English Here

Translation: Emma Lingwood

Haffendi Anuar | Richard Koh Fine Art Exhibition



Richard Koh Fine Art (RKFA – SG) is pleased to announce Haffendi Anuar first solo exhibition in Singapore, Midday Stanza, scheduled to run from 23 Jan – 16 Feb 2019 at Richard Koh Fine Art (Singapore) Blk 47 Malan Road, 01-26 Gillman Barrack, Singapore 109444. The artist will be showing an installation, consisting a diverse language of objects and materials, from wall sculptures to floor pieces that resemble architectural fragments. This show is an extension of Anuar’s 3-month residency programme at Acme Studios, London, in 2018. The residency is a programme under Khazanah Residency programme (KAAR), and initiative by Khazanah Nasional Berhad.

In Anuar’s latest body of work, the artist creates a surrogate landscape within the gallery space. A landscape that is in a way a reflection of the artist’s capital city, Kuala Lumpur, with its distinctive urban fabric, vernacular architecture and seductive “shiny image” within localized popular culture. In this exhibition, Anuar looks at the city in a different perspective, viewing at how the structures and monuments around the city centre suggest a sense of position and prestige, as well as reflecting on the political paradigm shift of late.

Midday Stanza acts as a metaphorical cityscape which is a composite of bits and pieces of the city, from its shimmering exteriors to interiors. Its aesthetics could be reinterpreted into a sculptural language of power and seduction. The installation consists of a diverse language of objects and materials, from sculptures that cling to walls and inspired by the human vertebrae, to floor pieces that resemble architectural fragments. Anuar invites the audience to explore and understand the work experientially, by navigating their body in the gallery space in relation to the objects, similar to a tourist discovering a novel setting. Within this exploration, the audience is confronted with an image and a tactile quality simultaneously, and the combination of both creates unique ways of reading. In addition, traditional support structures such as frames and pedestals are activated as dynamic components of the installation, alluding to the luxury apartments found in upscale districts and architectural profiles.

Anuar’s practice is renowned for its fluidity as it is constantly responding to the times and context of locality. As Malaysia experiences sweeping changes – politically and socially – Anuar reacts to the new value system and freedom of expression that has arisen. The artist states, “What I hope is that this work would represent this moment of uncertainty and hope in Malaysia and with Kuala Lumpur being the centre of the country, it is in a way, serves as her ‘heart’, and in this shifting times, the heart should be the most sensitive to changing sentiments.