Apad exhibition SG Art Week catalogue by seven10

SINGAPORE ART WEEK an art exhibition by APAD

Participating Artists 1.

Abu Jalal Sarimon

Hamidah Jalil

Idris Mohd Ali

Jeffrey Wandly

Kamal Dollah

M. Razali Mahat

7. 8.

Saiman Ismail

Suhaimi Sukiyar

10. Sujak Rahman 11. Tumadi Patri 12. Ye Ruoshi 13. Yusoff Abdul Latiff 14.

the late S. Mohdir

(Mohamed Abdul Kadir)

SINGAPORE ART WEEK an art exhibition by APAD

14 â&#x20AC;&#x201C;19 January 2014

Organised by

Generously supported by

Foreword

SINGAPORE ART WEEK 2014

SINGAPORE ART WEEK 2014 – An Art Exhibition by Angkatan Pelukis Aneka Daya (APAD) marks the beginning of a fresh start to the New Year with a collective art exhibition by established member-artists. It is a further step by the society to continuously engage with the community to showcase artworks which are noteworthy after holding three separate art exhibitions in conjunction with APAD’s 50th Anniversary in 2013. Of particular Aliwal Arts Centre since moving in to this art space in April 2013.

locally and abroad. APAD will also be presenting one of the last

is to showcase the artists’ best works and to retrace their

collectors and members of the public with their varied genre of works. The selected works capture the artists’ individual themes and concerns.

by APAD has the right mixture of well-known Malay artists. With enjoyable and successful art exhibitions organised by APAD.

Abdul Rahman Rais President Angkatan Pelukis Aneka Daya

3 October 2013: Minister of State for Home Affairs and Foreign Affairs together with Organising Committee and participating artists posed for a An Art Exhibition of Small Works by Members of APAD at The Substation Gallery.

The importance of collectivism and collaboration By Rohaya Mustapha

Exhibition and studio spaces remain essential and perennial

in what way it should be exhibited. Even in situations when

concerns of artists.

art groups collaborate with institutions the former can still

One of the primary purposes of art groups and societies is the organisation of exhibitions. These provide avenues for art to

frameworks or expectations of state museumsand commercial

develop or take fresh directions. Exhibitions are important

galleries. Today there is growing interest in collaborations in art

events as they are opportunities for artists to present new ideas

and exhibitions as they serve many purposes.

and engage with the public and fellow artists. These events can provoke responses and generate discourses about art. In

Membership in an art group should be seen as an artistic strategy. Collectivism and collaboration serve the artist for pragmatic

for exhibitions. It was their “exhibition collectivism” which propelled the evolution and maturation of modernism in their

production through the histories of different communities. At

art development. They sponsored their own exhibitions in order

the fundamental level collectivism is about coming together

to create opportunities for their members to display their work. These exhibitions in turn encouraged forums in which competing

collectivism is a strategy for artists to support each other in

artistic idioms and ideologies were explored leading to more

their practice and interests and allows members to even learn

ambitious objectives for creation of art movements . 1

and foremost driven by friendships and personal networks. The myth of the lonely artist working in isolation so that he can seek inspiration is largely a myth. Artists in reality need to network

infrastructures to support the arts were not well developed and

and interact with other artists. The changing dynamics of the

physical exhibition spaces were lacking. Although we have far groups are still relevant as they remain counters to dominant

platform which spreads out and connects people and changed

systems of art and artistic ontology. They allow that freedom

the idea of agency and community has heightened shared concerns and a greater impetus to engage with others. Art’s social

1 Stimson, Blake and Gregory Sholette, eds. Collectivism after Modernism: The Art of Social Imagination after 1945 (Minneapolis: University of Minnesota Press, 2007), 47.

dimension has today become an important part of art discourse

SINGAPORE ART WEEK 2014

most exhibitions were organised by art societies as institutional

and the artist’s consciousness. 3

SINGAPORE ART WEEK 2014

Artists can take advantage of the dynamism that collectivism

There is also today a general movement for art groups to engage

brings together. Collectivism can embolden the individual artist

with the public much more than their earlier counterparts. The

especially when more political themes are at stake. The advantage

change in approach is hardly surprising as across the world

is that the possibility of exploring subjectivities expands in a

there has been shifts in the way people see themselves in

group. However working together needs personal adjustment

relation to others. We seem to be moving away from a vertical

on each memberâ&#x20AC;&#x2122;s part. It is not a natural inclination. That is why

hierarchical system to a more horizontal system of interaction

friendship before membership seem to be the prerequisite for

and collaboration as a value creation model2. Because collectivism

art groups and collectives. A network of artists is about allowing multiplicities of ideas and inclinations to offer potentialities. friendship and active participation by members bonded by a shared vision must be in place in order to make collectivism and useful in art collectivism but this requires management. Artists

collaboration function well to serve its members. The impact made

need to articulate and externalise their art making process in

by an art group depends on how well it understands and uses its collaborative effort and collective voice in contexts that are

art and the artist are given wider and deeper possibilities.

constantly subject to change.

Since the spread of conceptualism and the dematerialisation

APADâ&#x20AC;&#x2122;s organisation of two exhibitions in less than a year since

just being a producer of art objects. It gave artists the freedom

Centre to a much smaller space at Aliwal Arts Centre in April 2013

to use the political potential of art for institutional critique and

bode well for its ability to collaborate and work collectively. In

emphasise the relationship of art and life. This has led to artists becoming active in public actions and proposing alternative

seek new ways of reaching out to new audiences and participation

systems of information exchange and social interaction through

in Singaporeâ&#x20AC;&#x2122;s vibrant art scene.

their work. Artists today are also drawn to self-organising and circulation aspects of their work and running alternative exhibition spaces and practices. Collaborative opportunities have been further expanded with the spread of communication technology. Computer-savvy artists are quick to take advantage

(Rohaya is an art writer and researcher. She began her career as an architect. She later completed a B.A. in English Language and Literature and an M.A. in Literary Studies. Her life long interest in the arts led her to further complete an M.A in Asian Art Histories. Her research interests revolve around art associated with Singapore and the Southeast Asian region. ) 2 Century (New York: Farrar, Sraus and Giroux, 2005), 232-259.

SINGAPORE ART WEEK 2014

Abu JAlAl SAriMon In A Male Dominated Society 110cm x 150cm 1995 Acrylic on Canvas

SINGAPORE ART WEEK 2014 hAMidAh JAlil Hampatong 82cm x 98cm 1995 Acrylic on Canvas

SINGAPORE ART WEEK 2014

idriS Mohd Ali Mohamed Sultan Road 76cm x 56cm 1992 Watercolour

SINGAPORE ART WEEK 2014 JEffry WAndly Marantau (Leaving the Homeland) 88cm x 180cm 2012 Charcoal on canvas

SINGAPORE ART WEEK 2014

KAMAl dollAh Isen Api (Fire motif) 120 x 80 cm each 2013

SINGAPORE ART WEEK 2014 M rAzAli MAhAt Journey of the Mind series #21 120cm x 120cm 2010 Acrylic

SINGAPORE ART WEEK 2014

rofi Guide Me 90x120cm 2013 Acrylic and batik on canvas

SINGAPORE ART WEEK 2014 SAiMAn iSMAil White Paper 140cm x 140cm 2013 Acrylic

SINGAPORE ART WEEK 2014

SuhAiMi SuKiyAr Study of Three Thermos Flask 121cm x 91cm 2013 Acrylic on canvas

SINGAPORE ART WEEK 2014 SuJAK rAhMAn 194cm x 101cm 2006 Batik mixed

SINGAPORE ART WEEK 2014

tuMAdi PAtri Honeymoon 120cm x 100cm 2013 Batik On Silk

SINGAPORE ART WEEK 2014 yE ruoShi Masak-masak (Child’s Play) 110cm x 76cm 2013 Oil on canvas

SINGAPORE ART WEEK 2014

yuSoff Abdul lAtiff Peranakan Shophouse I & II 56cm x 37cm each 2012 Watercolour

SINGAPORE ART WEEK 2014 The Late S. Mohdir (MohAMEd Abdul KAdir) Paka, Terengganu (Fishing Village) 110cm x 98cm 2009 Oil on canvas

Abu Jalal Sarimon b. 1964 hp: 9664 7914 abjsarimon@gmail.com

Hamidah Jalil b. 1960 hp: 8180 3835 hamidahjalil02@gmail.com

Idris Mohd Ali b. 1944 hp: 9469 9105 art@mayagallery.com.sg

Jeffrey Wandly b. 1964 hp: 9735 9880 jeff@mayagallery.com.sg

Kamal Dollah b. 1967 hp: 9680 5094 kamaldollah@gmail.com

p10

p11

p12

p13

p14

M. Razali Mahat b. 1963 hp: 9694 9651 padigallerydesign@gmail.com

b. 1970 hp: 9876 7574

Saiman Ismail b. 1952 hp: 9832 3324 saimanismail@yahoo.com

Suhaimi Sukiyar b. 1972 hp: 9848 6123 suhaimisuki@gmail.com

Sujak Rahman b. 1949 hp: 9001 5217 sujakarts@gmail.com

p15

p16

p17

p18

Tumadi Patri b. 1959 hp: 8530 6482 tumadipatri@yahoo.com.sg

Ye Ruoshi b. 1973 hp: 9857 3730

Yusoff Abdul Latiff b. 1946 hp: 9829 3940 al_yus@hotmail.com

S. Mohdir (Mohamed Abdul Kadir) d. 1936 - 2010 refer to APAD

SINGAPORE ART WEEK 2014

Artists Info

Acknowledgement

SINGAPORE ART WEEK 2014

wishes to extend its grateful thanks and profound appreciation to the following for their co-operation and assistance towards the success of this exhibition: Guest of honour Mdm Maizatunisa Hj. Mohamed Chairman Malay Heritage Foundation

Ms Rohaya Mustapha