Note from Singapore International Photography Festival 2012, part 2

I recently visited Singapore to attend the Singapore International Photography Festival 2012. I have posted some photos I took from the festival opening night at the National Library Plaza and the photography works exhibited there on my last post. On this second post, I will share other photo works exhibited at other festival venues: Singapore Management University (Gallery and Concourse), Selegie Arts Centre, and The Substation Gallery.

There are two exhibitions at Singapore Management University, one at its Gallery, featuring the works of six photographers, and the other at its Concourse, showcasing two invitation artists: Thomas Sauvin and Wang Qingsong. (Note: Unfortunately I couldn’t find Wang Qingsong’s 42 metres-wide single piece of work “The History of Monuments”, so I can’t show you the exhibition view here.)

Click on the images to learn and see more of the work by each of the artists.

Willis Turner Henry (Indonesia/Singapore) — “Cimed/Cina Medan (Medanese Chinese)”

Willis Turner Henry is a young Medan-born Indonesian artist who now lives and works in Singapore. In “Cimed” she explores the issues around her identity as an Indonesian-born Chinese. Through the performative self-portraits, she questions her being as Indonesian or Chinese. The work is visually really interesting, but you will surely appreciate more if you understand the history and politics under which the ethnic Chinese have been living in Indonesia (see this Wikipedia article for a start). The work is final but the theme is on-going as she still tries to explore her identity.

Marlous van der Sloot (The Netherlands) — “De Slapende Arm (The Sleeping Arm)”

Patty Carroll (United States of America) — “Anonymous Women: Draped”

Patty Carroll’s work is also as visually interesting. Photographing women figures draped in curtains, she addresses the issue that women often work hard running a home and family but remain unnoticed by the outer world, or even themselves. Home, here, is a place of comfort and also a place where decoration camouflages one’s individuality.

Htet T San (Myanmar/United States of America) — “Emotion/Untold Stories”

Melissa Moore (United Kingdom) — “Land Ends”

Graeme Williams (South Africa) — “Painting over the Present”

The SMU Concourse is below the Gallery. In his exhibition there, titled “Beijing Silvermine”, Thomas Sauvin shows a selection of discarded colour negatives he collected from a recycling zone in China. The photographs are mostly snapshots taken by ordinary and anonymous Chinese during their picnics or holidays in the past thirty years.

Thomas Sauvin (France/China) — “Beijing Silvermine”

Thomas Sauvin (France/China) — “Beijing Silvermine”

Thomas Sauvin (France/China) — “Beijing Silvermine”

The Substation Gallery exhibitis the works of four photographers: Carlo Bevilacqua, Tran Viet Van, Tristan Cai, and Fernando Montiel Klint. (Note: Unfortunately I missed Tran Viet Van’s work “Breath”, so I can’t show you the exhibition view here.)

The Substation Gallery. Singapore, October 2012. Photo: Budi Dharmawan

The Substation Gallery. Singapore, October 2012. Photo: Budi Dharmawan

Carlo Bevialcqua (Italy) — “Into the Silence: Hermits of the Third Millennium”

I found Carlo Bevilacqua’s work quite interesting. In his series, he photographs a number of modern-day hermits, people who withdraw from modern way of life and choose to live in solitude, be it for religious or other reason. What I don’t quite like is the obvious heavy burning and dodging on some of the photos.

Fernando Montiel Klint (Mexico) — “Acts of Faith”

For Fernando Montiel Klint, our world has become so technology-dependent that we now lack interaction as it has been ousted by virtual simulation. In his series, he explores the acts of faith in the contemporary life without reference to religion.

Also looking at the acts of faith, in his series Tristan Cai locates, collects and produces literary and visual artifacts that illuminate the interactions of science with religion, and the human condition in religious practice.

Tristan Cai (Singapore) — “Tales of Moving Mountains: Why Won’t God Go Away?”

Selegie Arts Centre. Singapore, October 2012. Photo: Budi Dharmawan

The Selegie Arts Centre is a building at Selegie Road where the Photographic Society of Singapore is at. Their office is on the second floor and the gallery is on the third floor, which hosts the works of four photographers: Zhou Wei, Wu Cheng-Chang, Shen Linghao, and Alina Kisina.

Shen Linghao (China) — “Poetic Melancholy”

Alina Kisina (Ukraine/United Kingdom) — “City of Home”

Zhou Wei (China) — “Picturesque Scenery”

Wu Cheng-Chang (Taiwan) — “Vision of Taiwan”

The four works exhibited in the Selegie Arts Centre are each displayed very differently. As you can see, Shen Linghao’s ten smallish prints are all horizontal and of same size, while Alina Kisina’s are of different sizes and not all horizontal. Zhou Wei’s work are only affixed on the upper part, so the prints wave when the air conditioner blows. Last but not least, Wu Cheng-Chang’s work are deservedly printed in the biggest size of all four. ∎


One thought on “Note from Singapore International Photography Festival 2012, part 2

  1. Pingback: Note from Singapore International Photography Festival 2012, part 3 | Budi N.D. Dharmawan

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