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This solo exhibition by Malaysian artist Zelin Seah will comprise 13 works on copper and a site-specific installation. In Too Much, Too Empty, the acts of painting and etching are enigmatic, allowing the viewers ambiguity on where their focus should be. That is precisely the point of the paintings, representing the socioeconomic phenomenon. Viewers should allow themselves to be immersed in the visual and tactile experience.
In this first-time collaboration between Ilham Gallery and Singapore Art Museum (SAM), the exhibition explores the many facets of contemporary art and its genealogies in Malaysia. It’s a dialogue between works and features seven artworks from SAM’s collection alongside a new commission, artwork adaptations and loans from Malaysian artists.
From SAM’s collection, the exhibition includes Recollections of Long Lost Memories by Ahmad Fuad Osman, Bayu Utomo Radjikin’s Lang Kacang, Dalam by Simryn Gill, The Voyage by Mohammad Din Mohammad, Quiet Rooms by Nadiah Bamadhaj, Redza Piyadasa’s iconic work May 13, 1969, and The Grand Phantom Narrates by Yap Sau Bin.
There is also a performance piece by Chia Chuyia, as well as works on loan by chi too, Yee I-Lann, Hasanul Isyraf Idris, and Wong Hoy Cheong. They imagine the anxieties and subjectivities of the singular body as it is experienced in contemporary Malaysia, extending and engaging with convergent and divergent aesthetic expressions.
In collaboration with The Factory Contemporary Arts Centre Vietnam, this exhibition features the works of emerging artists Izat Arif (Malaysia) and Hoàng Minh Đúc (Vietnam, based in Australia). Domestic Bliss is the second edition of ‘Pollination’, a programme driven by the need to create critically active and supportive artist-curator-community networks within Southeast Asia.
In this exhibition, both artists try to interpret the notion of “home” and “belonging” in their own way, affected by the strains of their own cultures. Izat Arif is wrapped in the social confines of being ‘Malay’ while Hoàng Minh Đúc deals with his conundrum of cradling Vietnamese culture/customs assimilation. This begs the questions by both artists: what is the price of ‘domestic bliss’? Must we always be conscripted in some way to the national mythology we were raised in?
Everybody loves the beauty of flowers – it’s different everywhere and changes with the seasons. Japanese artist Midori Moriyama immortalises them in this solo exhibition where she focuses on the beauty and differences of blooming flowers in the different seasons. There are 24 pieces in the series, each flower with its own strengths. The artworks are made from washi, a Japanese paper with an applied Momi Gami technique.
In this exhibition, you’ll find works by 10 Malaysian artists, each of them taking you on a journey to the artists’ pasts. All have different philosophical, technical, and aesthetic approaches to their pasts, interpreted into works of art. From Cheong Kiet Cheng’s watercolour and ink work that takes us on a throwback to her first painting class to TOPY criticising contemporary society in the form of a yellow mural, you’ll be entranced by the different ways artistic eyes see the world.
This exhibition by Liew Kwai Fei features 20 acrylics on Indian handmade paper, a series produced during the artist’s two-month residency in Mumbai back in 2010. The pieces are vividly coloured with folklore and cultural motifs while blending ambiguous and sensual forms with exotic shapes.