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2017 EDITION

Art Stage Singapore 2017 presented the second Southeast Asia Forum, which focused on the theme of capitalism, titled Net Present Value: Art, Capital, Futures.

The late Joseph Beuys (1921–1986) believed in the imaginative potential in each individual and in the power of art to radically transform everyday society. He saw capital as “human dignity and creativity” and championed the importance of developing “a concept of money that allows creativity, or art, so to speak, to be capital.” Thirty years after Beuys’ death, in the age of finance, we reflect on what ‘capital’ means today in relationship to art, society and the present future. 
 
‘Net Present Value’ is a method commonly used to forecast the profitability of future returns on investments made today. Simply put, it is a future value expressed in today’s terms. The second Southeast Asia Forum seeked to explore the values of art, imagination and progress, and, the price of doing business as usual in the global capitalist system. It examined relationships between money, ideals and some of the fault lines in the present financial age, including the Forum’s immediate sphere of influence — the art market and the value of creativity. 
 
The Forum’s exhibition surveyed impacts of economic development on governance, cultures, beliefs, social relations and daily life, focusing on the milieu of Southeast Asia, as countries race to establish their place in the league of global economies. Through the works of socially engaged artists, most of whom were from the region, the exhibition emphasised the importance of cultivating alternative forms of capital and conditions for the evolution of societies in an increasingly complex global environment. 
 
Drastic transformations in economic systems or rapid globalisation of economies provoked intense responses from these artists who, through diverse forms of art and design practices, show how processes of capitalisation and globalisation — historic and contemporary — have brought dramatic changes in terms of power relations and social structures, intranational and transnational, and how such processes often lead to the widespread devastation of lived environments and experiences. Several of the artists, in their works, remonstrated against the profound and far-reaching consequences of global capitalism — declining social protection, rising statism, militarised accumulation, forced migration — and commemorate the silent or invisible victims of these processes. A number of works were motivated by questions about contemporary art in itself and seeked to trigger discussions on the commodification and consumption of art and the symptomatic portrayal of artists as creators versus artists as capitalists. 
 
The Forum’s series of lectures and panel discussions brought together speakers from the art community and the social sciences to examine, through different perspectives, challenges relating to cultures of financialisation and their impact on how we consider art and capital in the immediate future. In creating encounters between critics, actors and influencers who discussed issues relating to financial literacy and the economics of art, the Forum seeked to bring about more inter-disciplinary understanding and collaboration in re-imagining conditions and values for art and capital in 21st century society. 

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2017 ARTISTS & GALLERIES

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ANON PAIROT

Thailand
GALLERY SEESCAPE

Weapons for the Citizen, 2016, Toy guns fabricated from assorted textiles made in Thailand, Variable dimensions.
Image courtesy of the artist and Gallery Seescape.

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CARLOS CELDRAN

Philippines
1335MABINI

Livin' La Vida Imelda, Performance.
Image courtesy of the artist.

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ELDWIN PRADIPTA

Indonesia
LAWANGWANGI

Waterkasteel: Canto, 2015, Installation, video projection, bird cage, chicken cage, 100 x 200 x 100 cm (object), 480 x 360 cm, 2’, looped (video projection).
Image courtesy of the artist.

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EMILY PHYO

Myanmar
MYANM/ART

Being 236 — Being Than Than (Shwedagon Pagoda maintenance staff), 2015, Smartphone photograph posted on Instagram.
Image courtesy of the artist.

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HEMAN CHONG

Malaysia/Singapore
FOST GALLERY

THIS PAVILION IS STRICTLY FOR COMMUNITY BONDING ACTIVITIES ONLY, 2015, Vinyl letters, aluminium plate, gloss lamination, 45 x 60 cm.
Image courtesy of the artist and FOST Gallery.

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IVAN LAM

Malaysia
WEI-LING GALLERY

COMA 38/500, 2013, Vending machine, 38 individual artworks in 500 Perspex boxes, aluminium etched plates, vinyl decals, 183 x 122 x 79 cm.
Image courtesy of the artist and Wei-Ling Gallery.

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JAKKAI SIRIBUTR

Thailand
SA SA BASSAC & YAVUZ GALLERY

Fast Fashion, 2015, Constructed garments, hand embroidery, Approx. 58 x 53 cm each.
Image courtesy of the artist and SA SA BASSAC.

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JENNY HOLZER

USA
PEARL LAM GALLERIES

Truisms - Money Creates Taste, 2013, Sichuan Deep White marble bench, 43.2 x 154.9 x 64.5 cm.
Image courtesy of the artist and Pearl Lam Galleries.

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JIM ALLEN ABEL

Indonesia
YEO WORKSHOP

Motorcycle Diaries, 2010, Mirrors from motorcycles, photography, 220 x 200 x 180 cm.
Image courtesy of the artist and Yeo Workshop.

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JOSE TENCE RUIZ

Philippines
ARTINFORMAL

CSI: Chimoy si Imbisibol Hugas Kotse, 2007, MYK electrostatic print on canvas, 122 x 244 cm.
Photography and digital manipulation: Jose Tence Ruiz in collaboration with Nar Cabico (model).
Image courtesy of the artist and Artinformal.

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KENT CHAN

Singapore
GREY PROJECTS

If Not, Accelerate, 2016, Two-channel video, 37'42 (Still, left-channel).
Image courtesy of the artist and Grey Projects.

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KRAY CHEN

Singapore
GREY PROJECTS

Prime Numbers, 2016, Seven-segment digit panels, custom software, 21 x 52 cm.
Image courtesy of the artist and Grey Projects.

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NEW-TERRITORIES

France
TARS GALLERY

Liminal, 2016, Black carbon, variable dimensions.
Image courtesy of New-Territories / M4 / RMIT and TARS Gallery.

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NOBERTO ROLDAN

Philippines
TAKSU

Hornet, 2014, Oil and acrylic on canvas, diptych, 182.88 x 182.88 cm or 91.44 x 365.76 cm.
Image courtesy of the artist.

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RICHARD KRIESCHE

Austria
GALERIE ZIMMERMANN KRATOCHWILL

From the series, Aesthetics of Capital - Capital + Code, 2007, C-print on dibond, edition of 3, 50 x 70 cm.
Image courtesy of the artist.

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SVAY SARETH

Cambodia
SA SA BASSAC

"I, Svay Sareth, eat rubber sandals", 2015, performance, single-channel HD video, colour, sound, 9'46", looped.
Image courtesy of the artist and SA SA BASSAC.

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TAN PEILING & VANESSA BAN

Singapore

Visualisation of Lands of Progression (II), 2013 - 2017, Dot matrix printer, laptop, steel structure, Variable dimensions.
Image courtesy of the artists.

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THAN SOK

Cambodia
SA SA BASSAC

Promotion (Cash), 2013, United States one-dollar bill, watercolour on paper, 50 x 60 cm.
Image courtesy of the artist and SA SA BASSAC.

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TINTIN WULIA

Indonesia/Australia
MILANI GALLERY

Untold Movements - Act 1: Neitherland, Whitherland, Hitherland, 2015, 32-channel surround sound installation, Variable dimensions.
This work was commissioned by 4A Centre for Contemporary Asian Art with the assistance of The Keir Foundation.
Image courtesy of Justin Malinowski.

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TRONG GIA NGUYEN

Vietnam/USA
GALERIE QUYNH

Video stills of Artists Commercials (Nouveau Ghetto), 2017, Three-channel HD video installation.
Image courtesy of the artist and Galerie Quynh.

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YOSHINORI NIWA

Japan
1335MABINI

Video still of Selling the Right to Name a Pile of Garbage, 2014, Single-channel video, 25'43".
Image courtesy of the artist.

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YUDI SULISTYO

Indonesia
PEARL LAM GALLERIES

Out of Control, 2016, Cardboard, plastic pipe, wood, steel, acrylic, paint, 153 x 440 x 334 cm.
Image courtesy of the artist and Pearl Lam Galleries.


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2017 TALKS VIDEOS

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12 January 2017, Thursday

The Free and the Brave: Artist-Initiated Spaces and Platforms

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12 January 2017, Thursday

The Free and the Brave: Privately Founded and Funded Institutions

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13 January 2017, Friday

Art + Money — A Dangerous Liaison?

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13 January 2017, Friday

Artists in the Age of Oligarchy

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14 January 2017, Saturday

The Future of Art and Money with Max Haiven and Suhail Malik

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14 January 2017, Saturday

Disruption by Design: Challenging the Commercial Capture of Creativity


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PAST EDITION

In its 2016 edition, Art Stage Singapore introduced the Southeast Asia Forum. It emphasised the balance between art, commerce and content within larger society by taking a more focused and deeper view into broad global issues that also affect our immediate region and lives.

Title Seismograph: Sensing the City – Art in the Urban Age, the inaugural Southeast Asia Forum comprised two symbiotic parts – a ticketed selling exhibition and a series of talks that is open to the public. 
 
The talks brought together architects, urbanists, social scientists, men and women of letters and artists to examine the challenges of urbanisation and how cities can be re-imagined. 
 
The exhibition featured 19 socially engaged artists from Southeast Asia who delved into issues and sentiments relating to extremely rapid urbanisation and to the evolution of contemporary society in their own countries. 
Download the full brochure (incl. programme and talks schedule) for the Southeast Asia Forum here. 

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2016 TALKS VIDEOS

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21 January 2016, Thursday

Southeast Asia Forum Opening Speech by Lorenzo Rudolf

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21 January 2016, Thursday

Artist and Society in the Urban Age

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21 January 2016, Thursday

Do Museums Make Global Citizens

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21 January 2016, Thursday

Global Opinion Leader Series: Art World - Quo Vadis?

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22 January 2016, Friday

What Are the Challenges in Leading an Art Museum in the Psychogeography of the 2...

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23 January 2016, Saturday

The Great Creative City Race - Can Creativity Save the City?

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23 January 2016, Saturday

Who Owns the City?

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23 January 2016, Saturday

The Present Cultural Revolution - Art, Space and Social Contract in the Current ...

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24 January 2016, Sunday

Interruption Patterns: Artists and Public Space in Southeast Asian Cities

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24 January 2016, Sunday

"The Spirit of Cities: Why the identity of a City Matters in a Global Age"


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