This lecture performance by artists Zarina Muhammad and Tini Aliman draws from and unfolds from fragments from each of the auto-ethnographic aspects of Zarina and Tini's respective practice. The performance was presented as part visual conversation, part pragmatic prayer, part eulogy, part temporal installation that traverses the hiding places of love, grief and queer spirits, the soundscapes of trees as conduits, the inventories of intimacies, the necessary spaces of silence and the ways love loves difficult things.

Following this is a conversation between the artists, historian Chris Baker, economist Pasuk Phongpaichit and curator Adele Tan.

This performance lecture took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

Desire is both powerful and fundamental. In old Siam, the expression of desire in words and pictures was open, celebratory and humorous. Among non-elite women, sexuality was seen as a strength and was something that was not confined to the young. Royals were portrayed as passionate.

However, modernity brought about change. Some sought to deny the power of desire and to limit its expression, and female sexuality was seen as dangerous. Yet, old currents still swirl under the surface and defy this denial of sexuality. Historian Chris Baker and economist Pasuk Phongpaichit explore the power of desire: from temple murals in the 18th century, to poetry in the 15th century, and protest in the 21st century.

This talk took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.

Disclaimer: This talk contains some sexual references. Listener discretion is advised. The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

“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…”

Composed as an irreverent dialogue between masculine and feminine narrators, this book of essays by Araya Rasdjarmrearnsook is an uncategorisable fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. This first English translation of her essays was prepared by eminent translator Kong Rithdee and edited with an accompanying essay by Roger Nelson and Chanon Kenji Praepipatmongkol.

This event marked the launch of the new research publications imprint, National Gallery Singapore: Art Writing. This peer-reviewed imprint celebrates the diverse voices and genres of writing that create the discourse of art in Southeast Asia, both historically and in the present. Going beyond conventional art history, books in this imprint include compilations of artist writings, art criticism and experimental approaches to the image.

This live reading and discussion took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.

This is a recording of a live reading of extracts from Araya’s compelling and humorous writings by artist Heman Chong, writer Amanda Lee Koe and Araya Rasdjarmrearnsook herself, and a sharing on the development of the book by Roger Nelson.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

Photography has been seen on the walls of the art museum since the 1930s. However, since then, questions have continued to be raised as to what sort of photography and whose photography should be collected and displayed? The role of photography within an art museum is often complicated by its varied, multiple roles in daily life – its non-art functions, which have caused confusion, arguments and schisms. Artists Sean Lee, Mintio, and librarian Janice Loo revisit this medium with respect to a museum’s role in society. This discussion was moderated by Gallery Senior Curator Charmaine Toh.

This panel discussion took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

"An Uncommon History of the Common Fence" is a research project that suggests that the common fence—often used as a protective safety urban device or as a boundary marker demarcating permissible and non-permissible movement—has had an uncommon history within the biography of Singapore.

The fence is so commonplace within the urban environment that it recedes from active vision. In fact, the common fence has been a participant in key events in the history of Singapore: as a witness to history, as a site of its making and as its casualty. In these ways, the fence, as an urban design element, has enacted key dimensions of citizenship within this city.

To account for these various dimensions, the research in "An Uncommon History" is manifested as equal parts design and photographic history, sculptural and installation objects, as well as text and speech. Singaporean artist and writer Jason Wee explores the common fence as a participant in key events in the history of Singapore.

 “A Prologue” was part of a larger programme titled: “An Uncommon History of the Common Fence: A Prologue + Reading Spiral”.

This talk took place at National Gallery Singapore on 16 Oct 2022, as part of ‘October Gathering’.  

To dwell on the questions concerning Islam and Islamic religiosity/spirituality is to acknowledge its position in mainstream art historical narratives and museological practices. Islam is rarely discussed in this largely secular field and the circles of modern and contemporary art. There are only a few scholarships on art in Southeast Asia that address the continuing role of Islam in the region's modern and contemporary artistic practices.

This conversation highlighted this "neglected dimension" by focusing on how Islam and Islamic objects are contextualised within museums. It observed how artists have worked with religious-derived principles, spiritual dimensions and how they are preoccupied with the ritual and performative aspects of their devotional experience, inseparable from a larger cultural system.

Artists, curators, and scholars looked at the absence of Islam and Islamic religiosity/spirituality in modern and contemporary art historical narratives in Southeast Asia, and how its aspects have been packaged and framed within international exhibition spaces.

This panel discussion took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.

This talk formed part of research for the Gallery's 2023 exhibition The Neglected Dimension curated by Anissa Rahadiningtyas.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

In this episode, art historian Jeffrey Say explores one of the most important phases in the development of Singapore’s modern art history—the 1950s to the 1970s. This period saw the emergence of distinctive movements like the Nanyang Style, visual imagery that drew from the lives and struggles of the common people, and the first sculpture show in Singapore.

This session was held in July 2017 at National Gallery Singapore.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

Founder and editor of the Indonesian magazine Tempo, Goenawan Mohamad recalls one of Indonesia’s most cherished poets, Chairil Anwar, and offers perspectives on possible genealogies that have constituted modern Southeast Asian literary production since the 1950s.   

This session was held in December 2018 as part of the symposium How Easily Modernism Could be Disturbed in conjunction with the exhibition Latiff Mohidin: Pago Pago (1960-1969). This travelling exhibition by National Gallery Singapore was also presented at Centre Pompidou, Paris.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.