TriSpace+ (Issue #3)

8/3/2019 TriSpace+ (Issue #3)

1/16

TriSpace+ICAS: Institute of Contemporary Arts Singapore, LASALLE College of the Arts Issue 03 | February 2011

nstitute of Contemporary Arts SingaporeLASALLE College of the Arts


2/16Trispace+

2

EDITORIALBy Dr Charles Merewether

Director

Institute of Contemporary Arts Singapore

The third issue has arrived and with it a

strengthening commitment to its ongoing

existence begins to take shape. This sense o

commitment has been largely due to the warm

reception towards its publication, conveying to us a sense

that people do appreciate its existence and content as a space

or a critical reection o what is taking place. As a consequence

the ICAS is strengthening and refning its content as well as extending

its print-run and improving distribution.

Alongside TriSpace+, the ICAS is now beginning a two-monthly

brochure which will advertise our upcoming exhibitions and events. This

will ensure that they are sufciently well characterised and promoted

in advance o their occurrence as well as reach audiences who maynot otherwise know or come to the LASALLE College o the Arts. The

frst issue has just come out this January, covering some ten exhibitions

and our events occurring throughout January and February o 2011.

The brochure then allows TriSpace+ to ocus more appropriately on

being a record and most importantly, a place to enable a critical

response. This response is part o a larger eort to extend the domain

o critical writing within the feld o contemporary art in Singapore,

and recognise this domain as an essential component o the art world

insoar as it advances visual literacy and engaged understanding.

Such an approach belongs to the making o cultural history, the

practice o art and that o writing constituting a complimentarity o

exchange and dierentiation. In this regard, we believe in the urgent

need or critical writing as a practice to be ostered and advanced bymeans o providing opportunities to publish and be supported through

scholarships and grants. To this end, the ICAS will host the annual

meeting o the Singapore branch o the International Association o Art

Critics and we will increase our eorts to oster writers, art critics and art

historians to publish in TriSpace+.

We began TriSpace+ as a orum or the critical reception o and

support or young artists who are exploring the possibilities and

potentialities o their practice in their individual exhibitions at TriSpace.

This exhibition initiative has seen already a certain development without

an accompanying pressure on the artists to perorm more than the

given opportunity to explore new horizons that they can envisage at

the perimeters o their existing practice. In this new issue we receiveagain a wonderul crisp review o Liang Cuis new work by our stalwart

contributor Lawrence Chin. This is accompanied by a text on Eunice

Ng by a new contributor Daniela Beltrani who is completing her MA

at LASALLE College o the Arts and or our third artist Natacha Arena,

a marvelous review by Anne Kirker, a highly respected writer who lives

in Australia. We welcome their contributions and thank them or their

generous support.

The ICAS will publish the next issue o TriSpace+ at the end o April

reecting on a number o signifcant exhibitions it has hosted and,

as well, introducing a new eature to the publication. This will be a

guest essay that reects on a major exhibition, artists/s or subject that

we believe raises issues that have value to better understanding the

contemporary art within the greater Asian region. With the opening

o 2011, I would like to express my thanks to our ICAS sta or their

dedicated work and commitment.

Institute of Contemporary Arts Singapore

The Institute o Contemporary Arts Singapore (ICAS) is the

curatorial division o LASALLE College o the Arts. It runs seven

galleries, comprising some 1,500 square meters o gallery

spaces dedicated to exploring new and experimental art, design

and media practices. Its programme ocuses on showcasing

international, Asian, Southeast Asian and local contemporary art

with the aim o contributing to the cultural well-being o students,

artists and the Singaporean public. Committed to the experimentaland new, ICAS seeks to support practices which challenge

orthodoxies and establishment. This serves as not only an important

educational tool or students but, oers an alternative to artists in

giving them the opportunity to explore and venture into unknown,

unrecognised spaces not otherwise available in the Singapore

today. Its outreach programme includes regular publications,

seminars and symposiums, visiting artists talks and contemporary

sound/music events.

TriSpace+

TriSpace+ is a quarterly newsletter dedicated to ICASs smallest

gallery TriSpace. This highly unusual, triangular space reminiscent

o a window display is devoted to new and emerging artists who

wish to develop their practice. Besides documenting the past works

exhibited at TriSpace, this newsletter eatures critical essays and

upcoming exhibitions and happenings

at ICAS.

LASALLE College of the Arts1 McNally Street Singapore 187940Tel: +65 6496 5070 Email: [email protected]

Gallery Opening Hours: Daily rom 10am 6pm(except Mondays and public holidays)

Website: http://www.lasalle.edu.sg/index.php/galleriesFacebook: http://www.tiny.cc/icasingapore

Sim LimSquare

Bencoolen

Street

Prinsep

Street

ShortStreet

Middle Road

BurlingtonSquare

SunshinePlaza

Rochor Canal Road

Institute oContemporary Arts

Singapore

SelegieRoad

INSTITUTEOFCONTEMPORARY

ARTSSINGAPOR

E

Editor Charles Merewether

Co-ordinator Kimberly Shen

Associate Editors Adeline Kueh Milenko Prvacki Teo Roan

Ian Woo

Contributors Daniela Beltrani Lawrence Chin Anne Kirker

TriSpace+ Team


3/16Trispace+

3

Beore writing about Eunice Ngs recent installationat Trispace, ICAS, I wish to recall the artists work in

the Singapore Art Exhibition o 2009. Her installationInside Out(2009), was in the humble space o a corridor

linking the Singapore Art Museum galleries 1.3 with1.4. Such a short and small corridor was claustrophobicin contrast to the openness and almost grandiose scaleo the adjacent galleries. And yet this corridor spacehad been specifcally chosen by the artist, occupying itsentirety not so much physically, but rather metaphysicallywith its ominous and oppressing presence, despite itslightness. Floating mid-air above the head o the viewer, theinstallation conveyed a strong plasticity in part conveyedthrough its red/blue colours, reminiscent o the inner humanesh made o blood and muscles.

I still remember the installation as i it was beore my eyes now, withits disturbing presence, a kind o oxymoronically uncomortable

amiliarity. In a large space this modest installation would have been

lost but, in this corridor the work dominated both the space through its

lightly oating medium and the walls and oor with its shadow. In this

manner, the installation encompassed both a three and two dimensional

presence that challenged museum directives o presenting artworks at

eye level and instead required audiences to submit themselves to the

uncomortable position o looking up.

In her new work Panic-Safe Room (2010), Eunice again needed another

restricted space, cosy yet uncomortable. TriSpace proved to be an

appropriate location. A marginal corner cut o rom ICA galleries 1 and

2, the gallery has the advantage o allowing the artwork to be admired

even ater closing hours. An omnipresence, which is as light as its weight.

The thin white wires were suspended between oor and ceiling. Almost

invisible rom aar, but coming into ocus as one walks towards the

space, the wires take on a ghostly appearance. When inside the gallery,

one cannot circle the works circumerence nor even capture it visually,

as i it was a sculpture. Rather the audience has to accept its presence

as a act, an instant, making the eyes, rather than the body, wander

on its miniature paths. These paths will make us think that they lead us

somewhere. Whilst in act, our mind will have to leave those meandering

paths that ultimately lead us nowhere or back on themselves where they

frst began.

EUNICE NG:PANIC-SAFE ROOM

TriSpace: 10 - 24 November 2010

Panic-Safe Room, a metaphysical placeby Daniela Beltrani


4/16Trispace+

4

Thus art is not an object, but experience. Thereore art is there where art

seizes us once wrote Joseph Albers and Eunice does not seem interested

in initiating utile intellectualisations or in creating pretentious discourses

with her art. This purely abstract, sublimely aesthetic work is poking at

our sub-conscious just like a koan does, because ultimately the pathsdo not lead anywhere. They are an excuse to awaken our consciousness

to the present moment and escape rom the traps o what Eckhar t Tolle

called the psychological time.[1] For Tolle this psychological time

is where we identiy with our past and project ourselves into the uture,

thus orceully escaping the eternal present, the only reality into which it

is worth immersing ourselves. The author goes even as ar as suggesting

that true artists create rom a place o no-mind, rom inner stillness.[2]

As such, in appreciating art we must abandon the mind and its bounded

and restrictive powers and let ourselves be still. The mind would then

be rendered speechless in ront o such great artistic, not necessarily

aesthetic, beauty and we would thus realise the being in all its powerul

consciousness.

The video projection, constituting part o the installation, oers glimpses

and chances o a subliminally amiliar yet overtly unnoticed situation.

The novelty o the artists daring proposition creates discomort within

our sti lives, because we habitually allow our mind to run our existence.

Hence, the title: Panic-Safe Room. This is both a space to which one runswhen attacked and in need o sanctuary but, it is also a space where

one keeps things too precious to be enjoyed at all times. Hence, two

dierent attitudes: one temporary and one permanent. Two dierent

places: one sanctuary and one home. Two dierent ways o being: one

dynamic and one static. Hence, the dichotomy o discomort and panic

created by a challenge that we are not used to, against the amiliar

saety and normality. This is a challenge to realise ourselves ully, beyond

the meanders and restrictions o physicality and psychology. But as with

all dichotomies, both opposites need one another to exist. Hence, without

ear, we would not reach saety. Without pushing ourselves outside the

boundaries o saety, we would be stagnant. To realise ourselves ully is

to realise the truest and purest nature o man, who is, according to Oscar

Wilde, complete in himsel.[3] Ultimately in the treasury-house o yoursoul, there are infnitely precious things, that may not be taken rom you.

Dont imagine that your perection lies in accumulating or possessing

external things. Your aection is inside o you.[4]

Artist Eunice Ngin her exhibitionPanic-Safe Room


5/16Trispace+

5

PANIC-SAFE ROOM

Perhaps in the Singapore o 2010, Eunices proposition o opening

ourselves to a dierent landscape proves to be an almost insurmountable

challenge amidst the mesmerising lights, the silent screams and the

seductive visuals o consumerism. For the longest time, the auxiliary verb

to have has won over to be and in this century more than ever thisis so. Eunices work is only trying to remind us that there is an alternative

to our insatiable renzy o possession and control: the realisation o our

being, which is not only priceless, but also ree rom the constraints o the

mind. And my hope is that more artists such as Eunice will continue to try

to stir this awareness amongst the audience with their beautiully inspiring

metaphysical works, whilst oering us a glimpse o the sublime.

Daniela Beltrani

December 2010

Incessantly intrigued by the hidden

narrative evoked when the inner Sel o a

person engages with his or her constructedlandscape, I fnd the urban environment an

endless source o inspiration in my art making.

My art seeks to stir within its viewer a deeper

sense o consciousness by inciting provocative

and candid dialogues. Conspiring with the

commonplace and mundane within the urban

landscape, I hope to engage its dwellers by

inspiring sensitivity that translates into transient

and sublime moments imprinted in time and

space.

ARTI

ST

STATEMENT

[1] Eckhart Tolle, The Power o Now, (Novato: New World Library, 1999), 62.

[2] Ibid., 24.

[3] Oscar Wilde, The Soul o Man under Socialism, (LaVergne: Bookjungle, 2010), 17.

[4] Ibid., 16.


6/16Trispace+

6


7/16Trispace+

7

Old habits die hard.

For that matter, any habit. We are reluctant to give up our small moments

o personal ritual which unwittingly anchor us to our larger daily routine

in the midst o other experiences. Our habitual actions are perhaps

means o marking the passage o time and making sense o our drawn-

out existence. Or habits could also be considered as agency markers

o a body as action residues that map and defne our space-time

continuum.

When encountering a new experience, one can only rely on habits

(or as some would insist), to make sense o the unamiliar. It is only inrelying on a semblance o amiliarity that the new becomes intelligible.

This reliance on (and resistance o) amiliar and prior notions in the

act o perceiving is a prime engagement in Cui Liangs latest TriSpace

exhibition, entitled INSIDE PAINTING.

As one enters the exhibition space, one is easily taken in by the

arrangement o strips on the walls, not really sure initially o what these

strips are. Individually, these strips seem incongruous by themselves,

being made with a seemingly repetitive method o cutting, staining,

dripping and hanging. Yet when amassed and confgured as a quasi-

covering or an expanse o wall space, the resultant eect is one o a

visual envelope which encroaches, yet in a non-threatening manner;

being seductive, almost.

The repetitive orm and edge o the strips set up a rhythm that lulls one

into a sense o meaning-making; o sensing that there must be some

purpose or such an undertaking, which otherwise would hold no

signifcance in ones normal lived experience. The invitation to enter and

be inside is both physical and metaphorical. The (exhibition) space

is presented as a coherent visual experience, yet it is in sensing that

unseen habitual act o making, unmaking and remaking which endears

our ascination.

The substance o habits is one that is encountered but strangely ignored,

or trivialised as something that is unavoidable or unwanted; oten

repeated without thinking perhaps outside o thinking. It could also

be considered that this quality o being outside o thinking is that which

engenders repeated attempts in trying to enter into signifcance. Suchsignifcance would point to a perceived realm o existence beyond the

material orm. This perceived existence is no less real than tangible

experiences. Instead, such a orce o habit[1] assuages that which is

unamiliar while accruing a semblance o awareness.

In trying to make sense o that which is unamiliar, such as the initial

experience o the work presented by Liang Cui, one must rely on a

pre-existing knowledge o known precepts and concepts to navigate

such conusion. As mental markers take shape, a gradual sense o

knowing begin to all into place. Yet, this knowing is temporary, as any

sense o knowing what is seen is in turn disrupted: what one begin to

discern as vertical strips in Liang Cuis work seem to entail evidence o

drips and stains (running in the horizontal direction) that are presentedcounter to their natural orientation.

LIANG CUI:INSIDE PAINTING

Old habits die hard by Lawrence ChinTriSpace: 1 - 17 December 2010

Artist Liang Cuiwith her installation

Inside Painting


8/16Trispace+

8

Such disruptions are reminders that our perceptual habits can only help

up to a point. The act o looking, and knowing, must also constantly be

rethought in terms o their underlying basis or assumption. To echo Liang

Cuis specifc concerns: What constitutes painting, as an act or in the

arrangement o undamental attributes o the painted surace? How can

one experience painting in a dierent manner both as a viewer and as

its creator? Where is the sel located in such an enterprise o looking;

and o making?

In questioning the given orthodoxy o a given feld, the impetus is not onewhich seeks to debase the necessary role o thinking habits. Instead, that

impulse must be understood as one which is a means to an end as a

means to make penetrating inquiries into the ends o seeing, thinking and,

possibly, making. It is a habit o thinking about habits.

Nevertheless, habits must continue to take hold, resulting in a discernible

and recognisable pattern o order. And when habits are considered

with a sense o purpose - or rationalised as having a purpose - then, it

becomes, in essence, a ritual. This sense o (ritual) order is what Mary

Douglas argued as that which recognises the potency o disorder: not

in order to dispel disorder, but to seek powers and truths which cannot

be reached by conscious eor t.[2]

Hence, habits and rituals are considered as

unconscious actions which seek meaning

yet this meaning is unknowable directly.

And this indirect knowledge is akin to Martin

Heideggers understanding o the unction o a

work o art being that o unconcealment.

This unconcealment is one o uncovering the

world or what it really is, or could be. And in

Heideggers terms, such a world includes

[...] the unifed and coherent whole that structures

our relations to the people and things around

us, even as it structures the way that things and

activities line up with and reer to each other.[3]

The Heideggerian notion o the world is both things and activities;

as qualities and relationships; as sel -reerential and cross-reerential.

This is what would constitute the primary criteria and parameters or the

understanding o the world, and o existence at large.

In viewing Liang Cuis INSIDE PAINTING, one cannot help but realise

that the world, being made more apparent through the (art-)work,

consists o compatible measures o process and material; o being and

action; o painting, or work, as an intangible act and as a tangible

object. It is also the realisation that the world is both inside and outside

with the stepping in(to an art-work), it inevitably entails stepping out

(and back into the world). One can also understand these seeming

contradictions, through Cui Liangs work, not as an inherent or essential

split but as a perceptual divide brought about by the habits o thought.

INSIDE PAINTING

[1] See E. H. Gombrich Chapter 7: The Force o Habit in The Sense o Order:

A Study in the Psychology o Decorative Art (Phaidon, 1979).

[2[ See Mary Douglas, Chapter 6: Powers and Dangers in Purity and Danger

(Routledge, 1991).

[3[ See Mark Warthall, Chapter 7: Truth and Art in How To Read Heidegger

(Granta, 2005).

My practice is involved in an exploration o ormalelements within the canvas in order to reveal new

possibilities in the realm o art making. The ambition

o my practice stems rom a skepticism about my

relationship to painting, ideas about Being and its

relation to Existentialism. I intend to interrogate

the concept o painting by disrupting what is

conventionally understood as integral to the totality

o a painting. This exploration enables the priority o

the medium to be reclaimed. Moreover, in so doing,

such an approach reduces my intervention, shiting the

viewers attention to a space o negotiation between

the surace and edges o a canvas.

ARTIST

STATEMENT


9/16Trispace+

9

NATACHAARENA:HORS-CHAMP

Hors-champ: Natacha Arenas

gestures in spaceby Anne Kirker


10/16Trispace+

10

Artist Natacha Arenain her exhibition

Hors-Champ

She has glued sheets o newspapers and photographs

randomly selected to the wall and then stripped and tornthem to the oor with quiet intensity, leaving a palimpsestresidue. The ripped ragments are coaxed into a corneror are let where they all as necessary wastage. A can owhite acrylic paint, like that used or masking grafti on apublic site or an inammatory statement, comes next intothe artists perormance. The brush and roller marks createa feld o gestures that emphasise both tactile opaquenessand sot veiling. As viewers we search to read remainingtext through less pigmented sections, seeking a narrativeor clue to why the print media has been used and what itslink with the black and white photographs might be. But we

are knocked back. For there is no story, or rather what isbeing told is how the collagist and painter marks space withmaterials at hand to trace an unolding environment.

The process holds the truth o this work by Natacha Arena and her

encounter with a given space. It is painting that is her core concern and

the weight o that artistic endeavour must somehow be acknowledged

while expanding and liberating our understanding o it. When I

interviewed Arena a ew weeks beore her show at TriSpace at the

Institute o Contemporary Arts Singapore, she spoke o the French group

o painters rom the late 1960s and early 1970s called Supports/

Suraces who sought to liberate abstract art rom the tyranny o

bourgeois taste and she singled out also or comment the decollage

proponent o the earlier Nouveau Realisme movement, Jacques Villegl.His art in the 1950s was amous or its use o ripped advertising posters

rom the street with which he composed Lettrist compositions. These too

were unreadable in the conventional sense yet were vocal in the way

they ocussed on the anonymous and marginal remains o urban culture.

Yet while Arena has taken the banal as a key material in her wall-scapes

and matched it with passages o paint, hers is more about veiling and

subtle revealing than conscious arrangement. The collage component o

her work lies underneath the drama o white paintwork; it is subdued by it

but not wholly disguised. For by utilising the pasted up newspaper sheets

and assorted photographs she has created a readymade palette o

colour and texture to enliven, and also be an intricate part, o the painted

feld. Furthermore, the ready-made cast-os merge oor and wall and

may well invite audience participation, as the implied invitation to touch

these variegated strips is strong.

Titled Hors-champ, this installation can be translated loosely as o

screen or in the sense o photography and cinema, out o shot and

indeed the viewer has no particular ocal point to concentrate on. Rather,

Arenas recent exploration becomes an immersion, a sensory experience

that is atmospheric and lyrical. White passages give way to glimpses

o various hues and indecipherable ragments o text that pulsate in the


11/16Trispace+

11

HORS-CHAMP

room where lighting is employed to heighten the poetic dimension o

the work. Just as painting has, it is as though the quotidian has been re-

imagined and given resh currency here.

In Arenas previous work preceding this particular ins tallation at

TriSpace, were canvases without stretchers that resisted being stretched

out on the wall. Exhibited then at LASALLE or her Masters in Fine Arts

graduation show in 2010, the artist deliberately blurred the boundary

between sculpture and painting with densely marked tracks in black

and white pigment on cloth. There were photographs taken by the artist

here as well but the colour o only a ew was allowed to emerge, and

then, almost imperceptibly, rom the pigmented areas. The canvases

engendered memory and hal buried thoughts through their crumpled

skin-like orms that hung by one corner on the wall, or lay in olds, as

though they had just allen, against its base. This is how one intuitively

read these object-like works. These canvases paved the way or her

more ambitious inquiry now on display.

The rejection o Arena to traditional ormats and ormulas or painting

has allowed her now to break rom the usual strictures o the white cube

gallery space. She enables its minimalist presence to be evident by

leaving one wall almost completely unmarked, in counterpoint to the

image saturation o the one it adjoins. An overall impression is achieved

whereby the painting/collage is not on but is part o the very abric o

the architecture. The space is transormed into an immersive experience

that reminds viewers that by engaging with such an installation as `Hors-

champ, the power o painting is retained but in an iconoclastic way that

brings memory, poetic reverie and not least, glimpses o the everyday

into a new synthesis.

Extension in painting is currently my main research.

I am exploring the hors-champ, the o camera othe painting. I try to challenge the limits o the canvas

and the traditional surace to seek or a connection, an

inter-dialogue between the limitation o the rame and

the outside, the hidden. Where are the limits o the

canvas? Where does the painting start? Where does it

fnish? What is the relation between the painting and

the space? All these questions are intrinsically part o

my work. I combine this interest with some thoughts

and ideas coming rom particular images ound which

link my research towards the process o memory. The

work process mainly guides the fnal outcome allowing

accidents and surprises along the way.

ARTIS

T

STATEMEN

T

TriSpace: 7 26 January 2011

Arenas works exhibited during herMA Fine Arts graduation show in 2010


12/16

RECENT ICAS

MANIFESTOOF THE NEW

AESTHETIC

TRACES

DIS/PLACEMENT:6

st: Iswanto Hartono Artist: TinTin Wulia

Artist: Ahmett Salina

Artist: Ang Song Ming

Artist: Hazel Lim

Artist: Ang Song Nian

st: Sunsook Roh

st: Hwang Kyong

Artist: Jungeun Kim


13/16

4/12:MASTER OF ARTS

FINE ARTS 2010

PLEASURESPECTRUM

DUO:SCIENCE & ART

ANITYA I

Artist: Li Cassidy-Peet

Artists: The Observatory & Andy Yang

E

XH

IBIT

ION

S

tist: Rubin Hashim

tist: Lucinda Law

Artist: Isabelle Dejeux

Artist: Andree Weschler


14/16

RECENT ICAS EXHIBITIONS

For more inormation on these exhibitions, please visit: http://www.lasalle.edu.sg/index.php/news-and-events/

SURFACE1.22

GRAPHICEXPERIMENTS

BODIESSONGS

RAW:FIGURE

DRAWING

SOCONTEMPORARY

Artist: Kimiyo Mishima

Artist: Jiao Xing Tao

Artist: Gwendoline Robin

Artist: Jason Khan


15/16

UPCOMINGThe ICAS is hosting a major survey exhibition To Be Continued, o the

senior Filipino artist Roberto Chabet. This is a landmark exhibition, the frst

exhibition o his work outside o the Philippines drawing together the best o

his plywood series made over the past twenty-six years. It is an honour to be

able to host the exhibition o Chabet, his practice and the tremendous inuence

he has had over a long period o time. We are indebted to the Osage Art

Foundation or initiating this project and approaching us to be their partner.

The exhibition oers extraordinary insight into the under-valued traditions o

constructivism in the region and oers an important corrective to those whoseek to argue against the historical signifcance o this aesthetic. The exhibition

will be ollowed in mid February by Complete & Unabridged, Part I, a

group exhibition o Chabets ormer students and other artists whose practice

demonstrates the persistence and breadth o his inuence and changes that

have ollowed.

At the beginning o February, we present an exhibition Dust on the Mirror,

that has been guest curated by Tony Godrey and Neil Walker o the Djanogly

Art gallery in Nottingham, (UK). This smaller version o the original exhibition

will show recent work by fve artists, including two signifcant artists rom the

region Charwei Tsai rom Taiwan and Donna Ong rom Singapore. Also this

month, we are delighted at being able to oer audiences a glimpse o theanimation work by artist William Kentridge. Born in South Arica, Kentridges

work has been duly acclaimed by major museums and collections throughout

the world. The ICAS is presenting the flm Tide table (2003) or the frst time in

Singapore and a documentary that explores the development o his practice.

This comes as a generous loan rom the Collection o the Art Gallery o New

South Wales (Sydney) and we extend our sincere thanks or their support.

In March, ICAS presents NINE an in-depth review o the current practice

by nine artists who are also ull-time sta members o the Faculty o Fine Arts

at LASALLE. The artwork in the exhibition has been selected in order to reect

the breadth and signifcance o their production and, in so doing, oer its

audience an appreciation o their importance as practicing artists. As with

other exhibitions, this project seeks to provide a corrective to the portrait o

contemporary art in Singapore. Rather, and perhaps correctly, it is the work

o organisations like ICAS and non-proft art spaces to provide the impetus

and occasion. The exhibitionA Crossroads, guest curated by the artist Patrick

Storey will also open in early March, bringing together our artis ts rom

dierent parts o the Asian region whose practices engage perormance

and installation. In essence, structured around the concept o a perormative

exchange and residual installation, the exhibition project has invited Adele Tan,

a Singapore- based curator and art historian who will act as an interlocutor

to provoke both dialogue and exchange between the dierent ar tists and

practices.

In April, the ICAS is proud to be able to extend too its programme to includea major survey o the contemporary Japanese artist Chihiro Kabata, guest

curated by Yulia Friedman, an art historian, critic and teacher based in Tokyo.

This will be the frst signifcant survey o her practice revealing the singularity

o her ocus and equally, the extension o her practice through pushing the

potential and possibilities o the media she uses.

Editorial

IC

ASEXHIBITION

S

TO BECONTINUED

COMPLETE &UNABRIDGED,

PART 1

Artist: Roberto Chabet

Artist: Jet Melencio

Artist: Dan Raralio


16/16

UPCOMING ICAS EXHIBITIONS

TIDE TABLE

Artist: Charwei Tsai

st: William Kentridge

A CROSSROADSArtist: Iwan Wijono

CHIHIRO KABATA

NINE

Artist: Christopher Cook

DUST ONTHE MIRROR

Artist:Chih

iro

Kabata

Documents

TriSpace+ (Issue #3)