The Leuven Town Hall is located in Leuven,Belgium, and is a landmark building building on that city's Grote Markt (Main Market) square, across from the monumental St.Peter's Church. Built in a Brabantine Gothic style between 1448 and 1469, it is famous for its ornate architecture, crafted in lace-like detail. It has three main stories, lined with pointed Gothic windows on the three sides visible from the Markt. Above is a gallery parapet, behind which rises a steep roof studded with four tiers of dormers. At the angles of the roof are octagonal turrets pierced with slits allowing for the passage of light.
Statues in canopied niches are distributed all over the building. The corbels supporting the statues are carved with Bibilical scenes in high relief. While the niches and corbels are original with the building, the 236 statues themselves are relatively recent, dating from after 1850. Those of the first floor represent personages of importance in the local history of the city; those of the second, patron saints and symbolic figures; those of the third, the Counts of Leuven and Dukes of Brabant from various ages.
The main façade has an entrance staircase, and two portals in the center, above which are figures of Saint Peter and Madonna and Child, the former in compliment to the patron of the church opposite.
The interior accommodates an interesting collection of artwork, including sculptures by Constatin and Jef Lambeaux. Inside can also be seen the portraits of the Leuven mayors since 1794.
Construction of the Town hall started in 1439 at the site of an existing Town hall. The first architect was Sulpitius Van Vorst, who died before the project was completed. He got succeeded by Jans Keldermann II, whose death in 1445 ended the first construction campaign. The project was resumed again in 1448 under Matheus de Layens and in 1469, the building was complete.
Showing posts with label Visual Arts. Show all posts
Showing posts with label Visual Arts. Show all posts
A CELEBRATION OF SINGAPORE’S PERANAKAN CULTURE BABA HOUSE CHARITY TOUR
In conjunction with the Singapore Sun Festival 2009, Baba House will be organising special guided tours led by living treasure ‘Bibik’ GT Lye in his creative persona as the archetypal Peranakan matriarch. The tours lasts one hour and visitors will be served tea and delicious nyonya cakes.*
Baba House is Singapore’s first Straits Chinese heritage home which has been restored to its former glory circa 1920s. The interactive guided tours will showcase Peranakan culture within an old-world domestic setting. As participants explore this three-storey architectural icon, moving from the main hall to the inner family hall with its open air well, and exploring the private bedrooms and spaces on the second and third floors, they will discover the history of the house, the symbolism behind the ornate antique furnishings, and find out about traditional Peranakan customs.
Through the entertaining anecdotes narrated by Bibik GT Lye, the house comes alive as a living heritage home, and participants get the rare opportunity to touch and enjoy the antique artefacts and furniture in the house.
The tour concludes with a fine art photography exhibition by Chris Yap, held on the third floor of the Baba House. This area has been converted into a gallery space dedicated to exhibitions on Peranakan themes. Here, artist and photographer Chris Yap explores what it means to be Peranakan in our contemporary world by juxtaposing elements commonly associated with Peranakan culture against daily life and experiences.
Baba House is Singapore’s first Straits Chinese heritage home which has been restored to its former glory circa 1920s. The interactive guided tours will showcase Peranakan culture within an old-world domestic setting. As participants explore this three-storey architectural icon, moving from the main hall to the inner family hall with its open air well, and exploring the private bedrooms and spaces on the second and third floors, they will discover the history of the house, the symbolism behind the ornate antique furnishings, and find out about traditional Peranakan customs.
Through the entertaining anecdotes narrated by Bibik GT Lye, the house comes alive as a living heritage home, and participants get the rare opportunity to touch and enjoy the antique artefacts and furniture in the house.
The tour concludes with a fine art photography exhibition by Chris Yap, held on the third floor of the Baba House. This area has been converted into a gallery space dedicated to exhibitions on Peranakan themes. Here, artist and photographer Chris Yap explores what it means to be Peranakan in our contemporary world by juxtaposing elements commonly associated with Peranakan culture against daily life and experiences.
Sat 10 - Sun 11 October 10 am & 3 pm, Baba House
ASIAN CIVILISATIONS MUSEUM – WHERE ASIAN CULTURES COME ALIVE
Housed in the grand Empress Place Building, the Asian Civilisations Museum (ACM) features more than 1,500 artefacts displayed over 14,000 square metres of gallery space. The museum’s growing collection traces the cultural roots of Singaporeans through its focus on Southeast Asia, South Asia, China and the Islamic world of West Asia. At every turn, Asia’s history and stories – from magnificent palaces and places of worship to humble villages – all come to life with the help of friendly virtual guides and multimedia features. Children and adults alike will enjoy getting hands on in ACM’s Explor’Asian Zones, interactive spaces within the galleries. Visitors can soak up the atmosphere of a noisy Chinese teahouse or relax in a West Asian tent as they practice calligraphy. Begin a journey of discovery at the Asian Civilisations Museum – Where Asian Cultures Come Alive!
Fri 2 - Mon 12 October Various times, Asian Civilisations Museum
EARTH AND WATER
MAPPING ART IN SOUTHEAST ASIA
Southeast Asia comprises two broad geographical regions – the Mainland and the Archipelago. The former refers to Laos, Vietnam, Thailand, Cambodia, Myanmar and Peninsular Malaysia. The latter is made up of the island arcs and archipelagos of the Philippines, Indonesia, Brunei, Singapore and West Malaysia. The diverse region of Southeast Asia is home to approximately 500 million people. The history and society of Southeast Asia has been shaped by a confluence of geographical, historical and cultural forces. With exhibits drawn from the Singapore Art Museum’s permanent collection, the theme of 'Earth and Water' conjoins two of the basic elements of life with the Mainland and the Archipelago. These works by the region's best known artists offer multiple manifestations of life, society and traditions in Southeast Asia.
19 April 2009 to 28 March 2010 10am - 7pm (Mon - Sun), 10am - 9pm (Fri), Singapore Art Museum
A SINGAPORE TALE OR TWO
PAINTING WORKSHOP BY DIANA FRANCIS
Plunge into the vibrant and colorful world of Diana Francis, and let your creative juices flow in these two fun-filled workshops sessions! Inspired by her experiences and travels through Asia, Diana applies a playful finesse to her artworks through the media of oil, where the subject is executed with vibrant colour, and the extensive use of knife to capture texture and depth for her paintings. “I hope to evoke in my paintings an emotional connection with the viewer so that they can relate to this country’s unique history. The roots and the soul of Singapore, for us not to forget this not so distant past.”
“The streets and their fivefoot ways, the trades and the people that primarily built this nation. For us not to forget Singapore’s unique originality”
DIANA FRANCIS
Glimpse into Singapore’s past both architecturally and culturally through oil painted perspectives of Singapore by Diana Francis, whilst author Dr. Julian Davidson (author ofOne For The Road, An Eastern Port and The Black and White House), also presenter of TV’s Site and Sound, tells Singapore Tales from his family memoirs and excerpts of his books. Be taken through stage one of your composition with Diana Francis, from the application of the paints to the finished piece, as you interpret your own Singapore Story, get inspired and produce your very own ‘masterpiece’! Indulge in fine wines and canapés in the stunning surrounds of the Singapore Art Museum and be inspired. You may wish to add one of Diana Francis’ prints to your personal collection as they will be on sale. Dr. Julian Davidson’s books will also be on sale and he will conduct a book signing session.
Painting blocks and acrylic paints will be provided.
DATE:
Friday 2 October & Friday 9 October • 7pm – 9pm
VENUE:
Singapore Art Museum, 71 Bras Basah Road, Singapore
Art Boot Camp for young kids
Aside from uncovering and developing each child's creative talents in a fun way, Art Boot Camp will also guide each child along on developing important lifelong skills like deep listening and act towards building up his/her confidence levels.
One important aspect of the Art Boot Camp approach to learning is the documentation process that is ongoing throughout the child's stay with the camp. Art Boot Camp employs a form of documentation that is both dynamic and stimulating. It engages children, teachers and parents in looking at how children are thinking and representing the ideas they are exploring.
This process of documentation will reveal the surprising complexity of children's thinking while also revealing the relationships between and among children and teachers, and between the children and the materials they are using.
Art Boot Camp will awaken each child's sense of wonder about everything under the sun, and is perfect for kids from 3 to 12 years old, when the windows of learning are wide open.
The aims of this programme is designed with 3-4 year olds in mind. It aims to stimulate the imagination of young, inquisitive and uninhibited minds, facilitate their creative energy and instill in each child a spirit of learning through selected creative activities that cater for various developmental stages for this age group.
From Castles to Dungeons... carriages to sports cars, mystical landscapes, still life compositions or abstract interpretations; every child will get to create his/her innumerable own models and paintings according to his/her perspective. Children will also learn about and delve into a myriad of exciting concept, just like that of the centre of gravity,perspective and colour theory - just to name a few. All facilitated in an environment filled with an infectious light-hearted spirit of fun. Troughout the year, different environments and their components will be both brought into and re-created in the workspace at Art Boot Camp, allowing children to create, explore, discover, and perhaps rekindle!
This is fundamentally a good concept in training our young to appreciate art from young, putting their creative juices at a tender age to good use. By exposing children to art forms at a young age through fun, we might just be able to identify young talented gems that the Singapore Arts Scene can polish with time, contributing to a more vibrant and energetic arts scene altogether.
One important aspect of the Art Boot Camp approach to learning is the documentation process that is ongoing throughout the child's stay with the camp. Art Boot Camp employs a form of documentation that is both dynamic and stimulating. It engages children, teachers and parents in looking at how children are thinking and representing the ideas they are exploring.
This process of documentation will reveal the surprising complexity of children's thinking while also revealing the relationships between and among children and teachers, and between the children and the materials they are using.
Art Boot Camp will awaken each child's sense of wonder about everything under the sun, and is perfect for kids from 3 to 12 years old, when the windows of learning are wide open.
The aims of this programme is designed with 3-4 year olds in mind. It aims to stimulate the imagination of young, inquisitive and uninhibited minds, facilitate their creative energy and instill in each child a spirit of learning through selected creative activities that cater for various developmental stages for this age group.
From Castles to Dungeons... carriages to sports cars, mystical landscapes, still life compositions or abstract interpretations; every child will get to create his/her innumerable own models and paintings according to his/her perspective. Children will also learn about and delve into a myriad of exciting concept, just like that of the centre of gravity,perspective and colour theory - just to name a few. All facilitated in an environment filled with an infectious light-hearted spirit of fun. Troughout the year, different environments and their components will be both brought into and re-created in the workspace at Art Boot Camp, allowing children to create, explore, discover, and perhaps rekindle!
This is fundamentally a good concept in training our young to appreciate art from young, putting their creative juices at a tender age to good use. By exposing children to art forms at a young age through fun, we might just be able to identify young talented gems that the Singapore Arts Scene can polish with time, contributing to a more vibrant and energetic arts scene altogether.
Jendela (Visual Arts Space)
The only dedicated exhibition space at Esplanade, Jendela, a 216 sq m gallery which featres dramatic views of Marina Bay. It is located at Level 2 and hosts full scale shows that are often integrated with other events at the centre. Its distinctive curved shape gallery has louvered windows that is unique to its architecture. Artists explores this uniqueness, sometimes, making their works site-specific to the space. This space showcases works by local and regional collectievs, as well as international artworkds of prestige and precedence in the contemporary arts scene.
The Esplanade, standing as one of Singapore's proud contribution to the local art scene, home to Jendela acts as a platform of recognition and incentive for local artists to veer towards showcasing their art pieces, aligning in accordance with the platform's theme which in this case is the site Jendela itself. Jendela encourages exploration and acts as a medium for local and international artists for interaction, allowing for the expression of their creativity voices.
The Esplanade, standing as one of Singapore's proud contribution to the local art scene, home to Jendela acts as a platform of recognition and incentive for local artists to veer towards showcasing their art pieces, aligning in accordance with the platform's theme which in this case is the site Jendela itself. Jendela encourages exploration and acts as a medium for local and international artists for interaction, allowing for the expression of their creativity voices.
The Substation
Programmes and events at The Substation are diverse, ranging from traditional dance to contemporary dance and theatre; from established visual artists holding exhibitions to new, young poets holding readings; from gigs featuring local rock bands to regional conferences on arts and culture; from international film festivals to screenings of works by first-time filmmakers.
While The Substation is open to all kinds of arts and cultural practices, it has a preference for work that challenges and explores. It is also committed to encouraging a diversity of voices in Singapore arts and culture, and in providing support for young, emerging artists and arts groups.
Events as The Substation are of three types :
While The Substation is open to all kinds of arts and cultural practices, it has a preference for work that challenges and explores. It is also committed to encouraging a diversity of voices in Singapore arts and culture, and in providing support for young, emerging artists and arts groups.
Events as The Substation are of three types :
- shows presented and organised by The Substation
- shows co-presented by The Substation in partnership with other artists or arts groups and;
- shows presented by independent artists or arts groups, who rent our facilities for their activities
Sub-space : The Visual Arts Programme of The Substation
This visual arts programme encourages open-minded inquiry and critical engagement between artists and audiences. Sub_space is a provocation, a platform, a process.
An example of The Substation's showcase :
Latitudes in Transit in sync with the Women in Arts Festival 2010
7th January - 21st January at The Substation Gallery
Co-organised by Singapore Council of Women's Organisations (SCWO) and The Substation, in Partnership with the Embassy of Mexico.
"Latitudes in Transit" celebrates the diverse expressions of womanhood. All the artists live their own realities and face and process them through art. The 15 pieces by female artists from Mexico will feature pop art, realism, abstract and other forms of paintings.
Singapore Arts Festival 2009: outreach programme engaging audiences at every level
Singapore Arts Festival 2009: Outreach Programme
Engaging Audiences at Every Level
15 May – 14 June 2009
The Singapore Arts Festival 2009 announced today details of its month-long outreach programme as part of the Festival’s broad and inclusive programme, ranging from popular classics to contemporary creations. Featuring more than 400 free performances and 1,255 artists, the Festival’s 2009 outreach line-up features an extensive list of high quality, free and ticketed outdoor performances island-wide, bringing the arts to the doorsteps of Singapore audiences.
Said Mr Lee Suan Hiang, Chief Executive Officer, National Arts Council (NAC), “The Singapore Arts Festival's Outreach Programme is designed to reach out to the whole spectrum of the Singapore population. This year we have 420 diverse and high quality performances which are accessible and enjoyable to both regular Festival goers and first timers alike. To achieve these objectives, we are working with 18 strategic partners to stage shows in 32 interesting venues in different parts of Singapore, from ‘heartland’ locales to new iconic places like the Marina Barrage for this year’s Festival opening. We want to make it easy for Singaporeans and visitors to enjoy the arts by bringing the arts to where we live, work and play.”
Notably, the Singapore Arts Festival 2009 sees the introduction of a new impetus under the banner of Fest Connect, an extension of the Festival’s existing arts education and audience development initiative designed to foster greater understanding of the Festival’s performances, artists, and festival-making amongst schools, arts communities and the public. Through Fest Connect, the Festival is offering a series of public engagement activities to connect with arts practitioners and the public earlier, beginning six weeks prior to the start of the Festival. Eleven Arts Education Programmes (AEPs) were developed in partnership with leading arts organisations such as the Singapore Drama Educators Association, Drama Box, Singapore Lyric Opera, MOVING ARTS and The Triqnaqi, in conjunction with eight Festival productions, namely The Cherry Orchard, Long Life, Electra, Sutra, Seven Boards of Tricks, H3, Terima Kost and The Magic Flute – Impempe Yomlingo. To date, organisers have received 23 AEP bookings from 13 schools that will reach an estimated 4,300 students.
Said Ms Goh Ching Lee, Director for Singapore Arts Festival and Senior Director for Performing Arts, NAC, "The Festival remains true to its character to push boundaries in arts creation and appreciation, we continue to offer different opportunities and experiences for audiences to enjoy and be inspired by the arts. A special opportunity created this year is FEST CONNECT, an integrated platform towards raising awareness, appreciation, and dialogue amongst students, the arts community, and the general public. Its key aim is to deepen and widen students’ knowledge of the arts and of homegrown and international arts-makers, while enhancing the public's understanding of the arts creation and festival-making processes.”
Under Fest Connect, the public can attend a series of free engagement activities such as Festival Chats at the library@esplanade, or attend Festival Forums at The Substation to get a behind-the-scenes look at the Festival’s performances and lend a deeper experience in better arts appreciation. The National Library Board will be extending its Mobile Library initiative to support the Festival’s effort by making literature and audio-visual materials related to the Festival and its programmes available at performing venues and selected schools which have booked Fest Connect AEPs for public loan on the spot. Five public libraries – library@esplanade, Central Lending Library, Cheng San Community Library, Bishan Community Library and Toa Payoh Community Library – will also feature dedicated booths to display and stock materials relevant to the Festival.
In addition to the mainstay post-show dialogues conducted by the Festival for various ticketed performances, the Festival also presents a special post-matinee showcase, taking place after the H3 matinee on 20 May. Audiences at this special matinee performance showcase comprise primarily of students, and will be treated to an informative post-show dialogue conducted by The Triqnaqi, as well as an exciting exhibition battle between H3 performers and local break dancers. This unique showcase aims to enhance the young audience’s appreciation of artistic and cultural exchange. Ticketed workshops conducted by some of the artists will also be available for public participation.
Spectacular! Spectacular! - Coming to a location near you
True to its objectives of bringing the arts to a wider audience, this year’s Festival outreach programme will see the arts permeate the heartlands such as Toa Payoh, Ang Mo Kio, Bedok, Yishun and Tampines, as well as various iconic spots about the city. The three-day Festival Opening, Hélios II, presented by La Compagnie Malabar (France), is a free event staged at the Marina Barrage featuring a titanic insect 24 metres long and nine metres high at the swaying rhythm of electronic compositions, surrounded by circus artists in aerial acts and live musicians, juxtaposed against a backdrop of shadows and lights. The Closing Celebrations takes to the open field at Yishun Central 1, with Crackers?, by U.K. artists The World Famous. Not for the faint hearted, Crackers? harnesses the beauty of fire and fireworks in presenting a spectacular symphony of light and sound.
Special events such as RED (Stalker Theatre Company, Australia), The Diamond (The Dream Engine, U.K.) and Transports Exceptionnels (Compagnie Beau Geste, France) are also scheduled to whet the appetites of arts lovers. Additionally, the Festival features a broad range of outreach events for a wide range of arts palettes, age and demographics, ranging from the Arts On The Move and Family Funfest to Asian Showcase. The Festival will be working with the Esplanade, PUB, NEA, URA, SMRT, SBS Transit, Singapore Street Festival, Central Singapore Community Development Council and other partners to bring the arts to the wider community.
Entertainment where you least expect it
Arts on the Move is set to liven up the streets with an onslaught of dance, music and visual arts performances. Taking to various locations in the heartlands, shopping malls and food centres along Orchard Road, and even in the MRT, the programme features both local and international acts to inspire and engage Singaporeans from all walks of lives. From 16 May to 7 June, Arts on the Move closes the gap between the arts and the public with quirky and fun performances such as Baby Charli (Association de Malfaiteurs, France), Mono the Monkey (Electric-Circus, Netherlands) and Spaced Out Tourists (Sticky Planet Network, Australia), The Agency (The DCP, Beligum) and The Glittering Bestiary (La Compagnie Malabar, France). From the local scene, a new theatre company Scissors Paper Stone started by Chermaine Ang will present the interactive Three Blind Mice and Moving Arts will invite audiences to participate in their UarrangeMe. Arts on the Move is co-presented by the University of Western Australia in partnership with PSB Academy. Arts Where We Eat makes a return on weekdays to entertain lunchtime office workers and families, bringing a whole new meaning to the lunchtime experience.
Fun with the family
Taking place over three days on the last weekend of May at the Toa Payoh HDB Hub, The Big Game , the first of four shows under Family Funfest, by the Polyglot Puppet Theatre (Australia), extends a space where children and adults play together in teams. The Big Game combines sport, art and spectator interaction to bring out the passion and excitement rarely seen in theatre. More interaction ensues with the penultimate, Sienta la Cabeza from Spain, where the stage is transformed into a hairdressing salon for audience members. Hodman Dodmanott and Sally Forth by The Flying Buttresses (UK) will delight with a pair of wee, wonderful and world famous wanderers in Singapore! The entire family can also come as their favourite story book character, dressed in their most creative costumes and stand to win prizes in Be Spotted and Win.
Engaging the senses
Lovers of the visual arts can look to four visual arts exhibitions. What do you want to be, Strange·R? – a Festival installation (A project by [+O] in collaboration with Oforzero with the participation of Strangers and Friends) which will take place at Raffles City (Outdoors) along North Bridge Road, Reminiscient (The Observatory), to engage the senses and be entertained will take place at LASALLE College of the Arts. Eight Singapore artists will explore the questions of representation at Found & Lost (Osage Singapore) while TransportAsian (Singapore Art Museum) will present an Asian photography exhibition centered on the themes of ‘transport’ and ‘Asia’.
Drawing on Asia’s rich cultural heritage
A staple on the Festival outreach calendar is the Asian Showcase. Gentarasa 2009: Bapak Borek Anak Cerdik! focuses on a time travel journey by four teenage boys into the past to discover and appreciate Malay Culture. A fast-paced light hearted comedy drama science fiction, Gentarasa 2009 combines pre-recorded visual acts with live on-stage acting. SEIS Dance presents the Saman Traditional Dance, also known as the "Dance of a Thousand Hands," Aceh’s most popular traditional dance. The Pasar Theatre in Chinatown provides a throw back to the fifties with a programme of cross talk, evergreens, Chinese opera and the traditional arts.
In addition, the outreach programme features associated events with the Esplanade and the Singapore Street Festival; and CLAP! (Community Life Arts Programme) organised by the Central Singapore Community Development Council.
The Singapore Arts Festival 2009, organised by NAC, will feature seven new commissions, which include two world premieres and one Asian premiere co-commissioned with international partners, and five other Asian premieres. The Festival will see a broad and inclusive programme ranging from premier classics to contemporary creations, while it continues its strategic role as a global connector in the international festival circuit, and a national platform for the people to engage in the arts.
National Arts Council of Singapore launches Int'l Arts Residency
The National Arts Council (NAC) has unveiled recently its third initiative under the third phase of the Renaissance City Plan, the International Arts Residency.
Under this scheme, the performing, visual and literary arts sectors will benefit from $2 million in funding over five years, to support Singapore arts practitioners'participation in prestigious residencies overseas on the one hand, and the development of hosting entities for international residencies located in Singapore, on the other.
"Many Singapore arts practitioners have the talent and are ready to make their mark internationally but lack the opportunities on the world stage. The International Arts Residency provides this critical boost by opening doors for Singapore artists to prestigious residencies where they can immerse in new spaces, widen their horizons and gain new insights into arts-making. In these world-class environments, they will have ample opportunities to be exposed to and connect with the best in their fields from around the world. This Initiative will also facilitate international residency in Singapore. This will add to Singapore's attractiveness as a magnet for talent and a crucible for creativity and cross-cultural exchanges.",said Mr Lee Suan Hiang, Chief Executive Officer of NAC.
Overseas Residencies
NAC, in consultation with its resource panellists and industry practitioners, will identify and establish partnerships with prestigious international residency providers and invite Singapore artists to apply to the joint residency initiatives organised overseas.
Singapore artists can aspire to undertake some of the best residency programmes overseas, such as stints at the well-known studio complex, Cité Internationale des Arts in Paris, facilitated under the Singapore-France cultural agreement signed in January 2009.
Visual artists can also apply for residencies at prestigious centres like Germany's Künstlerhaus Bethanien international studio programme and Japan's Arts Initiative Tokyo. Residencies for writers include centres like the University of Iowa International Writer-in-Residence programme in the United States and the Arvon Foundation in the United Kingdom.
In performing arts, residencies for playwrights and theatre directors include the Royal Court International Residency for Emerging Playwrights in the United Kingdom and Italy's annual LaMaMa International Symposium for Directors.
The National Arts Council (NAC) has unveiled recently its third initiative under the third phase of the Renaissance City Plan, the International Arts Residency.
Under this scheme, the performing, visual and literary arts sectors will benefit from $2 million in funding over five years, to support Singapore arts practitioners'participation in prestigious residencies overseas on the one hand, and the development of hosting entities for international residencies located in Singapore, on the other.
"Many Singapore arts practitioners have the talent and are ready to make their mark internationally but lack the opportunities on the world stage. The International Arts Residency provides this critical boost by opening doors for Singapore artists to prestigious residencies where they can immerse in new spaces, widen their horizons and gain new insights into arts-making. In these world-class environments, they will have ample opportunities to be exposed to and connect with the best in their fields from around the world. This Initiative will also facilitate international residency in Singapore. This will add to Singapore's attractiveness as a magnet for talent and a crucible for creativity and cross-cultural exchanges.",said Mr Lee Suan Hiang, Chief Executive Officer of NAC.
Overseas Residencies
NAC, in consultation with its resource panellists and industry practitioners, will identify and establish partnerships with prestigious international residency providers and invite Singapore artists to apply to the joint residency initiatives organised overseas.
Singapore artists can aspire to undertake some of the best residency programmes overseas, such as stints at the well-known studio complex, Cité Internationale des Arts in Paris, facilitated under the Singapore-France cultural agreement signed in January 2009.
Visual artists can also apply for residencies at prestigious centres like Germany's Künstlerhaus Bethanien international studio programme and Japan's Arts Initiative Tokyo. Residencies for writers include centres like the University of Iowa International Writer-in-Residence programme in the United States and the Arvon Foundation in the United Kingdom.
In performing arts, residencies for playwrights and theatre directors include the Royal Court International Residency for Emerging Playwrights in the United Kingdom and Italy's annual LaMaMa International Symposium for Directors.
From www.nac.gov.sg
| Speech by RADM (NS) Lui Tuck Yew at the 2009 Arts Supporter Award Ceremony | |
| | |
| SPEECH BY MR LUI TUCK YEW, ACTING MINISTER FOR INFORMATION, COMMUNICATIONS Mr Edmund Cheng, Chairman of National Arts Council, Our Esteemed Partners Ladies and Gentlemen Overview for Arts sponsorship in 2008 I am pleased to be here tonight on this happy occasion to celebrate and honour the 187 Arts Supporters for your generous contributions to the arts in 2008. In a year of economic challenges, your generous contribution of $3.7 million, in cash and in kind, has supported more than 40 beneficiaries. It also enabled the arts scene to remain buoyant with a 10 per cent increase in the number of arts activities in 2008. Arts Supporter Award 2 Arts and culture play an important role in our society, enriching our lives, strengthening our sense of belonging and the fabric of our society. Our vision for the arts and culture scene in 3 Donations, in all forms and amounts, not only benefit the arts community, but more importantly, create an opportunity for organisations and individuals, like yourselves, to embrace greater ownership of the arts in Singapore. When the first awards were given in 2001, there were 135 recipients who contributed $2.7 million. Since then, our pool of arts supporters has grown steadily, with a 37 per cent increase. 4 Tonight, we recognise 146 organisations and 41 individuals who have contributed generously to the arts with the Arts Supporter Award. We are pleased to note that more individuals have stepped forward to give to the arts, and this is complemented by steady contributions from foundations, community organisations and businesses. Notably, eighty-two recipients are first-time donors. It is encouraging to see more local companies embracing arts partnership to help raise their corporate profiles and complement their branding initiatives. 5 In 2008, our arts supporters contributed mainly in three areas: enlivening the arts scene through their support for festivals, productions and exhibitions; outright donations to arts groups and institutions; and developing talents through scholarships and bursaries. I am glad to know that your support was extended across all art forms, to professional arts companies and community groups, traditional arts and contemporary practices. New Initiatives 6 The arts scene in Conclusion 7 On behalf of the Council and the arts community, I would like to offer my gratitude and appreciation to all the recipients this evening. I look forward to your continued support and contributions to help us grow a more vibrant arts sector. Thank you and have a pleasant evening. | |
New Museum, School Song Show Rise of Local Art: Singapore Buzz
By Adam Majendie
Aug. 14 (Bloomberg) -- The Singapore Art Museum, a converted school, opens a new wing dedicated to contemporary art this week in a building across the street, also a former school. The opening exhibition will be about school.
The new section, called 8Q sam -- the name derived from the address, 8 Queen's Street -- promises all the things associated with avant-garde contemporary art: multidisciplinary, interactive, community-orientated performance, new media. Many of these have been the hallmark of a Singaporean group called the Artists Village, which set up in an old chicken farm 20 years ago and then spent much of its life being evicted from one building after another and living on the fringe of Singapore's art community.
Now, the Artists Village has a retrospective in the main galleries of the Singapore Art Museum and the nation's young stars have the inaugural show at 8Q. Even in Singapore, home-grown contemporary artists have hit the mainstream.
``I've always been particularly concerned about the growth of contemporary art in Singapore,'' said Jane Ittogi, the museum's newly appointed chairwoman, at a preview yesterday. She said that contemporary art is a ``reflection of what we are. We want to see what the fruit of our political and commercial labor is.''
It's not hard to see why members of the Artists Village didn't fit Singapore's clean image of the past. Vincent Leow's 1993 work ``Artist's Urine (Bottle)'' followed a performance in which he urinated into a cup and drank the contents. The 25 samples subsequently bottled for sale (one of which is on display), bear the phrase ``Product of Singapore'' on the label.
By Adam Majendie
Aug. 14 (Bloomberg) -- The Singapore Art Museum, a converted school, opens a new wing dedicated to contemporary art this week in a building across the street, also a former school. The opening exhibition will be about school.
The new section, called 8Q sam -- the name derived from the address, 8 Queen's Street -- promises all the things associated with avant-garde contemporary art: multidisciplinary, interactive, community-orientated performance, new media. Many of these have been the hallmark of a Singaporean group called the Artists Village, which set up in an old chicken farm 20 years ago and then spent much of its life being evicted from one building after another and living on the fringe of Singapore's art community.
Now, the Artists Village has a retrospective in the main galleries of the Singapore Art Museum and the nation's young stars have the inaugural show at 8Q. Even in Singapore, home-grown contemporary artists have hit the mainstream.
``I've always been particularly concerned about the growth of contemporary art in Singapore,'' said Jane Ittogi, the museum's newly appointed chairwoman, at a preview yesterday. She said that contemporary art is a ``reflection of what we are. We want to see what the fruit of our political and commercial labor is.''
It's not hard to see why members of the Artists Village didn't fit Singapore's clean image of the past. Vincent Leow's 1993 work ``Artist's Urine (Bottle)'' followed a performance in which he urinated into a cup and drank the contents. The 25 samples subsequently bottled for sale (one of which is on display), bear the phrase ``Product of Singapore'' on the label.
Ancient Chinese Architecture History
From Primitive Society to the Han Dynasty, the technique on timber structure buildings were gradually improved and perfected. Builders had mastered earth ramming skills. They also knew how to fire tiles and build with stones.
Architecture technology developed significantly during the Wei, Jin, Southern and Northern Dynasties.
The output and quality of the bricks and tiles are improved, as well as the techniques on timber structure. Many Buddhist architectures are built then.
During the Sui and Tang Dynasties, the application of bricks had become more popular. Advance had been made in baking glazes. The proportion of the building components fell into a fixed pattern.
The Song Dynasty period was an important time for ancient Chinese architecture. Great improvement had been made during that period. The scale of the buildings in the Song Dynasty is generally smaller than that in the Tang Dynasty. However, they were more beautiful, gorgeous and are rich in diversity. There are many kinds of buildings in complicated models, such as palace, pavilion, multistory buildings and terraces.
During the Yuan Dynasty many Tibetan Buddhist temples and Islamic mosques were built. The architectural arts of Tibetan Buddhism and Moslem had influenced all over the nation.
Ancient architecture building reached its zenith during China two last imperial dynasties-Ming and Qing Dynasties. The production of the bricks had greatly increased. The quality and quantity of glaze tiles had exceeded any past dynasties. The official buildings were highly standardized.
Features of Ancient Chinese Architecture
Flexible Structure
The ancient buildings use wood as chief material. And the components are mainly columns, beams, and purlins, which are connected by tenons and mortises. As a result, the wooden structure is quite flexible. There is also a unique design only found in China named Dougong (a system of brackets inserted between the top of a column and a crossbeam), which is one of the most important character in ancient Chinese architecture.
Wonderful and Elegant Appearance
The ancient Chinese architectures are greatly praised for the elegant profile and varied structure, for example, the overhanging eaves, upward roof corners, and different shapes of roofs. The unique outside has not only fit and satisfid the practical functional need of building, but also exhibited its wonderful appearance. It is a good model of a combination of practicality and beauty.
Regular Layout
In China, buildings such as palaces, temples and folk houses are basically in a combined complex. The building complex can be divided into buildings centered on different courtyards and then into single rooms. Most of the buildings strictly follow the axis-centered principle with symmetrical wings. So the buildings look symmetrical on the left and right sides. Such layout of ancient Chinese architectures has reflected the aesthetic standard of harmony and symmetry in ancient China.
Gorgeous Ornaments
Architects in ancient China pay special attention to the ornaments either from a whole or in a specific part. They use different colors or paintings according to the particular need or local customs. Some buildings use multiple colors to make strong contrast. Others use soften color to make it simple but elegant. Besides the stress on the colors, ancient buildings attach the same weight on decorations, furnishings inside and ornament outside. Carved beams, painted rafters, various patterns, inscribed boards, couplets hung on the pillars, and wall paintings are used to add to the colorful and beautiful style. Stone lions, screen walls, ornamental columns, as well as flowers are used in the outside of a building to make ornaments.
Traditional Chinese Paintings
An important part of the country's cultural heritage, the traditional Chinese painting is distinguished from Western art in that it is executed on xuan paper (or silk) with the Chinese brush, Chinese ink and mineral and vegetable pigments.
To attain proficiency in this branch of art calls for assiduous exercise, a good control of the brash, and a feel and knowledge of the qualities of xuan paper and Chinese ink.
Before setting a brush to paper, the painter must conceive a well-composed draft in his mind, drawing on his imagination and store of experience. Once he starts to paint, he will normally have to complete the work at one go, denied the possibility of any alteration of wrong strokes.
Xuan paper, is most suitable for Chinese painting. It is of the right texture to allow the writing brush, wet with Chinese ink and held in a trained hand, to move freely on it, making strokes varying from dark to light, from solid to hollow. These soon turn out to be human figures, plants and flowers, birds, fish and insects, full of interest and life.
Many a Chinese painter is at the same time a poet and calligrapher. He will often add a poem in his own hand on the painting, which invariably carries an impression of his seal. The resulting piece of work is usually an integrated whole of four branches of Chinese art--poetry, calligraphy, painting and seal-cutting.
Chinese paintings are divided into two major categories: free hand brushwork(xieyi) and detailed brushwork (gongbi). The former is characterized by simple and bold strokes intended to represent the exaggerated likenesses of the objects, while the latter by fine brushwork and close attention to detail. Employing different techniques, the two schools try to achieve the same end, the creation of beauty.
It is difficult to tell how long the art of painting has existed in China. Pots of 5,000-6,000 years ago were painted in colour with patterns of plants, fabrics, and animals, reflecting various aspects of the life of primitive clan communities. These may be considered the beginnings of Chinese painting.
China entered the slave society about 2,000 B.C. Though no paintings of that period have ever come to light, that society witnessed the emergence of a magnificent bronze culture, and bronzes can only be taken as a composite art of painting and sculpture.
In 1949 from a tomb of the Warring States Period (475-221 B.C.) was unearthed a painting on silk of human figures, dragons and phoenixes. The earliest workon silk ever discovered in China, it measures about 30 cm long by 20 cm wide.
From this and other early paintings on silk it may be easily seen that the ancients were already familiar with the art of the writing or painting brush, for the strokes show vigor or elegance which-ever was desired. Paintings of this period are strongly religious or mythological in themes.
Paintings on paper appeared much later than those on silk for the simple reason that the invention of silk preceded that of player by a long historical period.
In 1964, when a tomb dating to the Jin Dynasty (265-420 A.D.) was excavated at Astana in Turpan, Xinjiang, a coloured painting on paper was discovered. It shows, on top, the sun, the moon and the Big Dipper and, below, the owner of the tomb sitting cross-legged on a couch and leisurely holding a fan in his hand. A portrayal in vivid lines of the life of a feudal land-owner, measuring 106.5 cm long by 47 cm high, it is the only known painting on paper of such antiquity in China.
To attain proficiency in this branch of art calls for assiduous exercise, a good control of the brash, and a feel and knowledge of the qualities of xuan paper and Chinese ink.
Before setting a brush to paper, the painter must conceive a well-composed draft in his mind, drawing on his imagination and store of experience. Once he starts to paint, he will normally have to complete the work at one go, denied the possibility of any alteration of wrong strokes.
Xuan paper, is most suitable for Chinese painting. It is of the right texture to allow the writing brush, wet with Chinese ink and held in a trained hand, to move freely on it, making strokes varying from dark to light, from solid to hollow. These soon turn out to be human figures, plants and flowers, birds, fish and insects, full of interest and life.
Many a Chinese painter is at the same time a poet and calligrapher. He will often add a poem in his own hand on the painting, which invariably carries an impression of his seal. The resulting piece of work is usually an integrated whole of four branches of Chinese art--poetry, calligraphy, painting and seal-cutting.
Chinese paintings are divided into two major categories: free hand brushwork(xieyi) and detailed brushwork (gongbi). The former is characterized by simple and bold strokes intended to represent the exaggerated likenesses of the objects, while the latter by fine brushwork and close attention to detail. Employing different techniques, the two schools try to achieve the same end, the creation of beauty.
It is difficult to tell how long the art of painting has existed in China. Pots of 5,000-6,000 years ago were painted in colour with patterns of plants, fabrics, and animals, reflecting various aspects of the life of primitive clan communities. These may be considered the beginnings of Chinese painting.
China entered the slave society about 2,000 B.C. Though no paintings of that period have ever come to light, that society witnessed the emergence of a magnificent bronze culture, and bronzes can only be taken as a composite art of painting and sculpture.
In 1949 from a tomb of the Warring States Period (475-221 B.C.) was unearthed a painting on silk of human figures, dragons and phoenixes. The earliest workon silk ever discovered in China, it measures about 30 cm long by 20 cm wide.
From this and other early paintings on silk it may be easily seen that the ancients were already familiar with the art of the writing or painting brush, for the strokes show vigor or elegance which-ever was desired. Paintings of this period are strongly religious or mythological in themes.
Paintings on paper appeared much later than those on silk for the simple reason that the invention of silk preceded that of player by a long historical period.
In 1964, when a tomb dating to the Jin Dynasty (265-420 A.D.) was excavated at Astana in Turpan, Xinjiang, a coloured painting on paper was discovered. It shows, on top, the sun, the moon and the Big Dipper and, below, the owner of the tomb sitting cross-legged on a couch and leisurely holding a fan in his hand. A portrayal in vivid lines of the life of a feudal land-owner, measuring 106.5 cm long by 47 cm high, it is the only known painting on paper of such antiquity in China.
Calligraphic Copybooks
Before paper was invented our ancients were writing on bamboo or wooden slips, cloth and silk fabrics. Books written on bamboo or wooden slips are known as jian (slips), and those written on cloth or silk are books or tie (copybook). Copybooks are collections of rubbings of stone inscriptions in the handwriting of famous calligraphers; they are made for people to learn calligraphy by imitation.For this reason the copybook is also known as "model calligraphy". A model calligraphy copybook contains the works of either a single artist or several artists in different styles.
One-man copybooks came in vogue during the Wei and Jin dynasties (220-420 A.D.) some 1,500 years ago, and the better known of them are Wang Xizhi's Kaihuang Orchid Pavilion and Wang Xianzhi's On the Goddess of the Luo River in Thirteen Lines.
The best ancient copybooks of multiple calligraphic styles are the Three-Rarity Hall Model Copybook. In 1746, or the 11th year of the reign of Emperor Qianlong of the Qing, the emperor had what he regarded as the nation's three foremost calligraphic works collected and enshrined in the "Hall of Three Rarities", which was actually the western wing of the Hall for Mental Cultivation in the Imperial Palace. The rarities, worshiped by calligraphers through the ages, refer to the Copybook of a Sunny Day after Pleasant Snow by Wang Xizhi of the Jin Dynasty, the Mid-Autumn Copybook by Wang Xianzhi, and the Boyuan Copybook by Wang Xun.
The invention of photocopying and modem printing technology has made it possible for the works of celebrated Chinese calligraphers to be photo-printed. This, however, can in no way eclipse the value of hand-made model calligraphic copybooks as cultural artifacts and collector's items.
One-man copybooks came in vogue during the Wei and Jin dynasties (220-420 A.D.) some 1,500 years ago, and the better known of them are Wang Xizhi's Kaihuang Orchid Pavilion and Wang Xianzhi's On the Goddess of the Luo River in Thirteen Lines.
The best ancient copybooks of multiple calligraphic styles are the Three-Rarity Hall Model Copybook. In 1746, or the 11th year of the reign of Emperor Qianlong of the Qing, the emperor had what he regarded as the nation's three foremost calligraphic works collected and enshrined in the "Hall of Three Rarities", which was actually the western wing of the Hall for Mental Cultivation in the Imperial Palace. The rarities, worshiped by calligraphers through the ages, refer to the Copybook of a Sunny Day after Pleasant Snow by Wang Xizhi of the Jin Dynasty, the Mid-Autumn Copybook by Wang Xianzhi, and the Boyuan Copybook by Wang Xun.
The invention of photocopying and modem printing technology has made it possible for the works of celebrated Chinese calligraphers to be photo-printed. This, however, can in no way eclipse the value of hand-made model calligraphic copybooks as cultural artifacts and collector's items.
Folk Art
Papercuts, kites, jade and other stone carvings, cloisonné, wooden toys—these arts with ancient roots in China are still widely practiced, especially among ethnic groups. Noted for their exquisite workmanship, some Chinese crafts use simple materials like scissors and paper in the case of papercuts while others use materials that are elegant and expensive, as in jade carvings. China's cloisonné —inlaid enamel—is popular both at home and abroad in products that include bottles, bowls, and cups. The blue glaze produced during the Jingtai reign period (1450-1456) of the Ming Dynasty Emperor Daizong is considered the best.
Film
Starting in the mid-1980s, excellent films were made in China noted for their realism such as Old Stories of the South of the City, Wild Mountain, A Town Called Hibiscus, The Inauguration of the People's Republic of China and Decisive Battles. The directors of these films were China's so-called "fifth-generation" of film directors including Zhang Yimou, Chen Kaige and Huang Jianxin. The late 1990s saw the emergence of a "sixth-generation" of directors born in the 1960s and 1970s, such as Wang Xiaoshuai, Zhang Yuan and Lou Ye, whose films tended to focus on the everyday life of ordinary people. The year 2002 saw another emergence of many young filmmakers, with over 20 debut works by new directors that attracted wide public interest. Twenty-three-year-old director Wu Bing won the Best New Director Award for his first film, Bitter Camellia at the Ornamental Pillar Award, one of China's official film awards. Meanwhile, veteran director Zhang Yimou's Hero set several new records for the Chinese film industry. The top prize for Chinese films is the "Golden Rooster Award." In 2002 the Best Film of the Year in China was shared by Pretty Big Feet and Charging Out Amazon. The Ornamental Pillar Award was established by the government to encourage the development of mainstream movies. In addition, there is the Hundred Flowers Award, given on the basis of the audiences' votes. The Changchun and Shanghai international movie festivals are influential international film festivals in China.
Media Art
New media art works by Chinese artists — ranging from video art, digital art and animation to flash art and sound art — have emerged in contemporary art exhibitions both at home and abroad. In China, a number of new media art exhibitions have followed the country's first video art show in 1996 in Hangzhou, capital of east China's Zhejiang Province where a leading institution in new media art — the China Academy of Fine Arts — is located. Around 1998, Chinese new media art experienced a major breakthrough when personal computers and DV cameras came into wide use and CD ROM and the Internet entered the daily lives of Chinese people. Following the example of the China Academy of Fine Arts in Hangzhou, the Beijing-based Central Academy of Fine Arts has recently opened a digital art studio to provide service and training for new media artists. Many other Chinese artists also are trying to use new media as a vehicle to express concern over serious issues. Another medium experimenting with new technology in China is cartoons. The 2002 "Zikai Cup" National Cartoon Exhibition — honoring a master of the Chinese cartoon, the late Feng Zikai (1898-1975) — was held in Beijing's Yanhuang Art Museum in September 2002, co-sponsored by China Daily, the Cartoon Art Commission of the Chinese Art Association, and the China Journalistic Caricature Society. During the exhibition, more than 40 cartoonists from across China participated in a three-day symposium to discuss how Chinese cartoons should face opportunities and challenges in an Internet era. The China News Cartoon website, the first of its kind in China, was launched in July to promote Chinese cartoons and cartoonists. Information about foreign cartoonists and trends are selected and translated into Chinese as well.
Calligraphy and Painting
Chinese characters evolved from pictures and signs, and the Chinese art of calligraphy developed naturally from its unique writing system. Through the ages, great calligraphers developed representative calligraphic styles of their times. The love of calligraphy is deeply ingrained in Chinese scholars, and has been handed down to the present day.
The roots of Chinese painting can be traced back to paintings on Neolithic pottery six or seven thousand years ago. Since similar tools and lines were used for the earliest painting and writing, painting is said to have the same origin as calligraphy. Chinese painting usually integrates poetry or calligraphy with themes that include human figures, landscapes, flowers, birds and other animals. Traditional Chinese painting is still highly valued genre today. As well as in China, exhibitions of traditional Chinese paintings have been held in Japan, the Republic of Korea, the US, Canada, and Europe. The contemporary art world in China is also very active. The China Art Gallery and other art galleries hold individual or joint art exhibitions year in year out. Some Chinese artists have become adept at Western-style painting, both oil and watercolor. Many Chinese painters have created works that combine traditional Chinese painting techniques with those of the West, enhancing both forms.
The roots of Chinese painting can be traced back to paintings on Neolithic pottery six or seven thousand years ago. Since similar tools and lines were used for the earliest painting and writing, painting is said to have the same origin as calligraphy. Chinese painting usually integrates poetry or calligraphy with themes that include human figures, landscapes, flowers, birds and other animals. Traditional Chinese painting is still highly valued genre today. As well as in China, exhibitions of traditional Chinese paintings have been held in Japan, the Republic of Korea, the US, Canada, and Europe. The contemporary art world in China is also very active. The China Art Gallery and other art galleries hold individual or joint art exhibitions year in year out. Some Chinese artists have become adept at Western-style painting, both oil and watercolor. Many Chinese painters have created works that combine traditional Chinese painting techniques with those of the West, enhancing both forms.
Great wall of China
Great Wall has been one of the wonders of the ancient world. It is like a sleeping dragon spanning across almost the whole China. It is an object, which many legends revolve around. Some exclaimed it as “the only man-made object visible to the naked eye in space!” Some calculated the materials used in the wall are sufficient to build a small wall of eight feet tall and three feet thick around the equator.
Why Did Chinese Build Walls?
The threats of nomadic people in the north were constant throughout Chinese history. They were continuously raiding the Chinese northern borders. With every new ruler, came endless debates in the court on how to deal with those “barbarians”. Chinese had four options:
1) Initiate offensive campaigns to drive them out of the neighborhood.
2) Create defensive garrisons
3) Make diplomatic and economic ties with them.
4) Build a wall to keep them out.
All the above options were favored at various times. Experience showed offensive campaigns were too costly and risky, defense garrisons respond too slow to counter lightning attacks on a long border. The third option would be a very rational one, it was in fact tried and successful in couple of occasions, but generally the Chinese held themselves in a very high opinion, or the so-called “Middle Kingdom Complex”. They looked down upon the nomads as “people with animal heart” who live on the edge of the world. Any notion of them as an equal state was unthinkable. Thus wall building was the most favored option in many dynasties. There were three dynasties which built the most walls; they are Qin, Han, and Ming.
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