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Architecture and Affect
Architecture and Affect is motivated by two questions: Why does dismissed affective evidence trouble us? What would it mean for architecture to assemble such discrepant evidence into its discourse? Arguing that the persistent refrains of lived affect dwell in architecture, this book traces such refrains to a concept of architecture wedged in the middle ground—jammed amidst life, things and events. Rather than being aloof from its surrounds, architecture-in-the-midst challenges an autonomous epistemology. Beyond accounting for the vivid but excluded, this book develops a frame and a disposition for thinking critically about, speculatively through, and being grounded by, encounter. Examining affect through a constellation of spaces in contemporary Singapore, it details architecture’s uneasy but inextricable relationship with key subjects relegated to the incommensurate, the peripheral, the scenic and the decorative. The outcome is a politicized architectural discourse simultaneously grounded and speculative; bridging depth and intuition, thinking and feeling.
Figuring a Scene
Inviting readers to explore the process of form-making through art, this book delves into how artists transform events and objects into narratives that evoke moments in history. The curatorial essay examines the concept of "figuring"—embodying art and its significance in the world. Unfolding across various episodes, natural elements become conduits for grasping social forms. From a fruit tree sculpted into its own likeness to a fire birthing a metropolis, the essay examines the intricate relationship between art and society.
The Neglected Dimension
The Neglected Dimension offers an insight into a moment in Southeast Asian modern art when a group of artists from the city of Bandung, Indonesia reimagined Arabic calligraphic writing. At the heart of this effort was an art school at Institut Teknologi Bandung (ITB), which stood at the forefront of experimentations with forms of Islamic spirituality and abstraction. Four artists are featured in this exhibition: Ahmad Sadali (1924–1987), A.D. Pirous (b. 1932), Haryadi Suadi (1938–2016) and Arahmaiani (b. 1962). They represent three generations of artistic training at ITB, as well as distinct approaches to calligraphic abstraction that reflect changing values, identities and conventions in Indonesia from the 1970s to the present. Together, their works highlight how they interacted with global conventions in modern art, evolving ideas around Islamic spirituality, feminist activism and the experience of being Muslim in Indonesia.
The Routledge Companion to Decolonizing Art History
This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, res...
I am an Artist (He Said)
“To be an artist is … just like shit in a clogged toilet, stubborn shit that can’t decide whether it wants to be flushed or to stick around” writes acclaimed artist Araya Rasdjarmrearnsook. Composed as an irreverent dialogue between masculine and feminine narrators, this book of essays is an uncategorisable fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. It is also an invaluable insider account of Southeast Asia’s contemporary artists being catapulted into international circuits since the 1990s. Araya’s provocative prose is lyrically translated from Thai for the first time by Kong Rithdee, one of Thailand’s most influential cultural critics.
Singapore Malay/Muslim Community, 1819-2015
Singapore’s Malay (Muslim) community, constituting about 15 per cent of the total population and constitutionally enshrined as the indigenous people of Singapore, have had its fair share of progress and problems in the history of this country. While different aspects of the vicissitudes of life of the community have been written over the years, there has not been a singularly substantive published compendium specifically about the community – in the form of a Bibliography – available. This academic initiative fills this obvious literature gap. The scope and coverage of this Bibliography is manifestly comprehensive, encompassing the different sources of information (print or non-print) ...
Charting Thoughts
A constellation of thoughts by 25 established and emerging scholars who plot the indices of modernity and locate new coordinates within the shifting landscape of art. These newly commissioned essays are accompanied by close to 200 full-colour image plates.
Siapa Nama Kamu? Art in Singapore Since the 19th Century
Published to accompany National Gallery Singapore’s inaugural exhibition Siapa Nama Kamu?, the catalogue stands on the shoulders of giants to present a survey of Singapore art from the 19th century to the present, charting major themes across broad time periods. Over 400 works of art in a wide range of media are brought together to trace the ebb and flow of the history of Singapore art. Curatorial essays provide insight into the exhibition making, as well as examine the geographical confines of Singapore, the parameters of national identity and margins of time.
Earth Work 1979
Earth Work, originally staged at the National Museum Art Gallery in 1980 by Singapore artist Tang Da Wu, was one of the earliest exhibitions of land art in Singapore. Key works from the exhibition included Gully Curtains, Product of the Sun and Me and Product of the Rain and Me. Earth Work 1979 is a restaging of selected works from the seminal 1980 exhibition. This catalogue delves deeper into Tang’s practice, the circumstances of the creation of his earth works and the environment of Singapore in the 1970s and 1980s through essays, interviews, newspaper articles and never-before-seen photo documentation.
The Tailors and the Mannequins
How do artists portray unfamiliar people in Africa, the Middle East, South Asia, and elsewhere? Although Chen Cheng Mei and You Khin never knew each other and were born two decades apart, the artists shared a lasting affinity for portraying everyday scenes in diverse locations. Featuring an essay by exhibition curator Roger Nelson, full-colour reproductions of the artworks and archival material on display, and a timeline of both artist's lives and works, this e-publication chronicles their movements across the world from the 1970s to 2000s. This e-publication accompanies the inaugural exhibition of Dalam Southeast Asia, an experimental project space located within the UOB Southeast Asia Gallery.
