– New paintings and early collages by Wong Keen – 

18 May – 12 July 2024

Foreword by Ning Chong:

The last time The Culture Story exhibited Wong Keen’s works with us, it was a cosy exhibition; a selection of paper works which served as a preview to his watershed exhibition “Flesh Matters” held at Artspace@ Helutrans in July 2018. In a blink of an eye, it has been six years, our relationship with Wong Keen has matured, we treat him like an extended member of the family, my father would regularly check in on him and often I would send him pictures of my children’s drawings.

It does not feel so long ago, but if we cast our memories back to the Covid pandemic; it brought on a new reality, where time seemed elastic, blending and blurring into a continuous stream. On one hand, the pandemic was a blessing in disguise as lock-down allowed me to focus and spend time on my loved ones and having children. However not being able to work and socialise gave me a lot of anxiety and worry, I questioned whether the current modus operandi was sustainable and how should we pivot to a new reality? Then, abruptly I also experienced immense loss and sadness, when I lost my mother to aggressive cancer. Having a new baby and losing your mother within a couple of months of each other was a rollercoaster ride to say the least, I would oscillate from deep feelings of loss and regret to unwavering love and pure happiness caring for a new born child.

After I read Wong Keen’s statements (below), I felt compelled to share my own experiences of loneliness, anxiety, depression, struggle and loss. In spite of his age and experiencing such complex negative emotions, I am always impressed by Wong’s effort to show up every day for himself, experimenting and painting, to find ways to express his feelings, emotions and thoughts. As a master colourist, my father and I appreciate seeing Wong’s application of colours swirl and dance on paper and canvas. His painterly gestures are expressive and generous, I would often recall the meat-tone palette of Francis Bacon and single-line silhouettes of the female form by Willem De Kooning.

Wong Keen is a prolific artist, and this is a small careful selection of new works from his Singapore studio. Besides showcasing recent works which depict burger, nudes and abstraction, we are thrilled to present circa-1968 collages which have been part of the artist’s estate, stored in his home in California.

Some people might be surprised to learn that Wong started with Chinese ink on rice paper in his early practice, he was a young and loyal student of Chen Wen Hsi who used to teach at Chinese High School where Wong was a student. I have a fondness for Wong’s early works, because it offers a window to a young artist mind; how one tries to create tension, harmony, conversation by juxtaposing ink media with other types of (found) media. This is the first time Wong has brought these collages back to Singapore and we can’t wait to share them with the public.

– Ning Chong

Wong Keen, on the new paintings (2023):

It’s all about painting. 

For me, the starting point of a new series is always to build on my existing knowledge and exploration of form and colour, and I endeavour to create new images that have never been seen before. 

I started to work on this series during a period last year when I was feeling depressed. I think not just for me, but many artists as well, pouring yourself into art is a form of release. So the result is this spontaneous and direct outpour of energy and emotions in various forms and expressions.

The working process is always mind-bending – you find yourself in a dialogue and also a battle with the composition, but you come through at the end with a certain sense of freedom and satisfaction. At times when the spur of creativity comes and you find your momentum, you have to seize it. Working on paper allows you to seize and channel this immediacy. 

Wong Keen on the early collages (1968~):

These have never been shown before, in fact they were stored away for a very long time. They characterised a period in my youth and my early experimentation with abstract inks; collages with discarded or found paper materials.

This series was also created during a period of depression. After finishing my scholarship program in London, I was no longer a student and when I returned to NY to figure out my path I felt really lost. I was almost penniless and only had enough to get by with rent, so I couldn’t afford new canvas or even paints. 

Often sleepless at night, I had this frenetic energy to create, and took out whatever materials I had at the time in my studio. In a way this series was a continued exploration of the abstract inks (1962-65) that I did during my earlier years in NY, so you can sense a certain parallel mood and aesthetic, but also I was searching for a different expression to play with the subtleties of ink aesthetic.  

Many are collage works, I incorporated discarded rice paper (some were remains or scraps from earlier compositions), and found magazine prints that I felt would give interesting textures, contrasts and relationships to the elements. 

Creating and experimenting with these small-scale expressions was akin to a form of meditation for me. The habits that I cultivated in this early period also inform the techniques for my later works, especially with mixed media collage involving discarded or torn remains of rice paper.

Read the essay about the exhibition here.

The exhibition opened from 13 January – 14 April 2024.

Eri Ōta, Be Healthy II, 2020, lithograph
© Eri Ōta, Image courtesy of Micheko Galerie and The Culture Story

The Culture Story and Munich-based Micheko Galerie are proud to jointly present “Pop and Beyond: The Diversity of Japanese Art”. This exhibition marks the gallery’s first pop-up project in Singapore, presenting seven Japanese artists who have not shown in Singapore before – Katsumi Hayakawa, Kenichi Yokono Norihiko Terayama, Mari Ito, Toru Fukuda, Eri Ōta (listed by age) and Masako Inoue (age unknown).

The contemporary art scene in Japan has witnessed a flourishing and diverse range of artistic expression over the past two decades. The exhibition ‘Pop and Beyond: The Diversity of Japanese Art’ explores the work of these seven prominent Japanese artists who have made significant contributions to the country’s artistic production during this period.

These artists represent a cross-section of the vibrant and innovative Japanese art landscape, showcasing a variety of media and conceptual approaches. Through their distinctive styles and unique perspectives, they offer insight into the unfolding narratives and experiences that have shaped contemporary Japanese art in the 21st century. By examining their artworks, we delve into the essence of Japanese culture, history, and socio-political context, inviting us to engage with and appreciate the depth and richness of this artistic heritage.

This exhibition aims to provide art collectors from Singapore and the region with an understanding of the contributions of these artists, and to offer them a glimpse into the diverse and compelling world of contemporary Japanese art. For collectors and art enthusiasts, this exhibition provides a valuable opportunity to acquire exceptional artworks that not only exemplify the skill and creativity of these artists, but also offer a dialogue with the diverse Japanese art landscape of the 21st century.

The exhibition opened from 28 October – 29 December 2023.

Artists:

Katsumi Hayakawa, Kenichi Yokono Norihiko Terayama, Mari Ito, Toru Fukuda, Eri Ōta (listed by age) and Masako Inoue (age unknown).

In Collaboration With:

Micheko Galerie was founded in 2010 by Keiko Tanaka and Michele Vitucci and puts a strong focus on introducing 21st century art from Japan to European collectors and beyond. Micheko applies strong selection criteria when selecting its artists. Concept, context, continuity, technique and potential for the future are essential for its choices. Micheko Galerie acts as a bridge between its artists and European collectors and institutions.

The Culture Story is proud to present its very first artists’ group show; While you are sleeping…

Sookoon Ang, 2018, Immortality V, Edition of 3

Curated by Charmaine Toh, this selling exhibition presents the work of four Singaporean artists – Sookoon Ang, Darren Soh, Sufian Samsiyar and Tang Da Wu – they come from different generations with vastly differing practices and concerns. Shown together for the first time, these objects remind us of the sensory power of the work of art and the way they might lead us past our everyday experiences and transport us to a different reality.

Symbolism and form play an important role for Tang and Ang, who use them to convey abstract emotions from love to sacrifice. They are particularly adept at juxtaposing objects, both found and made, to tell personal stories that resonate with multiple readings. Soh and Sufian’s work appear to be representational, but also play with the edges of materiality and vision via surreal landscapes.

The dreamlike layering of personal stories and emotions, signs and objects resists rigid interpretation. Instead, there is a fluidity of thought and feeling, opening up a space for what Susan Sontag famously called “an erotics of art”. Knowledge is constructed not from reason, but from myth and imagination.

“I am delighted to have this opportunity to present and work with these artists. In particular, I am honoured that Tang Da Wu’s sculpture “Oath of Poretti” will be exhibited and presented to the public for the first time. The work was conceived and created in 2008, almost fifteen years ago, yet it is such a contemporary piece, juxtaposing found objects like a brick and saw with a handmade table, which is representative of Tang’s long-standing interest in using everyday objects. I am very curious to see how this impressive sculpture will be received by the art community and the public, and I genuinely hope that it will be acquired by a serious art collector or a reputable art museum.”

Presented by The Culture Story, the exhibition was opened from 20 May till 14 October 2023.

Read the accompanying exhibition write-up by Charmaine here.

Artists: 

Sookoon Ang, Darren Soh, Sufian Samsiyar, Tang Da Wu

Curated By: 

Charmaine Toh

Raymond Yap,  2023,  New beginning,  acrylic on canvas

Event details

Dates: 28 – 30 April 2023 (3 days, Friday to Sunday)

Opening time: 12pm – 6pm

Admission to the exhibition is free

The Culture Story has adopted The Red Pencil (Singapore) as its charity and is supporting their fund-raising efforts with a unique pop-up art exhibition. Over 40 artworks donated by more than 30 of Singapore’s young and established artists will be featured in the exhibition, including the likes of Genevieve Chua, Dawn Ng, Boo Sze Yang, Milenko Prvacki and Han Sai Por.

“Art to Heart: A Charity Art Exhibition” is the first of its kind since The Red Pencil (Singapore)’s inception in 2011, to raise funds to provide creative arts therapy programmes for children, families and seniors in Singapore. Through the funds raised from this event, The Red Pencil (Singapore) aims to provide free or subsidised creative arts therapy services for the less privileged in Singapore, ensuring they are not deprived of the opportunities for clinical interventions that can enhance their mental well-being and resilience to overcome life challenges. The funds will also help the organisation to intensify its outreach efforts to raise awareness of the professional help that individuals can access when faced with mental distress and trauma.

For media inquiries, please contact Ning Chong at ning@theculturestory.co

Details about Donation:

Support this fundraising initiative by making an outright cash donation of any value to The Red Pencil (Singapore). Patrons who donate above certain amounts will receive the exclusive donated artworks as a token of appreciation. All donations are eligible for 250% tax deduction.

About The Red Pencil (Singapore)

The Red Pencil (Singapore) is an Institution of Public Character and a registered charity founded in Singapore with a mission to bring the benefits of art therapy to less privileged children, adults and families who have been through overwhelming and traumatic life circumstances such as life-threatening illness, violence and abuse, for which they may have no words.

Since its founding in 2011, The Red Pencil has been transforming lives through creative arts therapy. To date, we have empowered 17,600 beneficiaries through the 18,170 art therapy hours that we have facilitated, particularly among children, youth, women, elderly and families in Singapore. Visit www.redpencil.org/singapore for more information.

Participating Artists (as of 17 April): 

Ang Kian Hoe, Marla Bendini, Boo Sze Yang, Jon Chan, Mark Chan, Chen Chong’en, Chen Yi Quan, Yoko Choi, Chua Chon Hee, Genevieve Chua, Matthias Chua, Yen Chua, Irina Forrester, Han Sai Por, Ho Sou Ping, Law Shu Na, Lynn Lim, Leo Liu Xuanqi, Loi Cai Xiang, Ben Loong, April Ng, Dawn Ng, Ng Joon Kiat, PHUNK, Milenko Prvacki, Kelly Ser, Shen Jiaqi, Wyn-Lyn Tan, Rosalynn Tay, Khairulddin Wahab, Wong Keen, Andy Yang, Raymond Yap, Yeo Tze Yang

Shi Hu, Untitled, 1997, mixed media on canvas, Collection of Yeap Lam Yang

An artist, a model, and a collector surround a painted nude. In an instant, a meaningful silence engulfs a passionate encounter. A locked gaze, a trigger pulled: a body collected.

Collecting Bodies : A short story about art and nudities in Asia gathers stories, histories, and encounters between 26 artists, 31 artworks, and 10 private collections. Presented by The Culture Story and curated by Dr Yanyun Chen, the exhibition considers the intricate and nuanced relationships between the act of representation and the act of collecting. Nudities, in all its plurality, serve as carriers of stories. They ask the artist, the collector, and the viewer: how is the image of a body held; how have we held our bodies in their image, and how have we carried the bodies of others?

Presented by The Culture Story, the exhibition opened from 10 December 2022 till 14 April 2023. 

Read Dr Yanyun Chen’s curatorial statement and abridged here. The short story written by Dr Yanyun Chen is available on here.

Participating Collectors

Lito and Kim Camacho, Cheryl and John Chia, Chong Huai Seng, Jimmy Chua, Linda Neo and Albert Lim, Angie and Ong Yew Huat, Diana and TK Quek, Guy and Henny Scott, Jackson See, Yeap Lam Yang

Artists’ Names

Nhek Dim, Cambodia, Gong Lilong, China, Liu Bingjiang, China, Shi Hu, China, Pucuk Cemara, Indonesia, Mangu Putra, Indonesia, Basuki Abdullah, Indonesia, I Gusti Ayu Kadek Murniasih, Indonesia, Hashiguchi Goyō, Japan, Itō Shinsui, Japan, Kitagawa Utamaro, Japan, Tsukioka Yoshitoshi, Japan, Ahmad Zakii Anwar, Malaysia, Bagyi Aung Soe, Myanmar, Leo Abaya, Philippines, Federico Alcuaz, Philippines, Elmer Borlongan, Philippines, Cheong Soo Pieng, Singapore, Vanessa Liem, Singapore, Jimmy Ong, Singapore, Theo Meier, Switzerland, Jian Yi-Hong, Taiwan, Liu Hsin-Ying, Taiwan, Ni Jui Hung, Taiwan, Nguyễn Quốc Dũng, Vietnam, Nguyen Van Cuong, Vietnam

Exhibition View

18 May 2022

TCS was appointed by Chelsfield Asia Ltd. and ARA Asset Management to undertake the project management and arts PR for the Golden Monkey installation. At 14m tall, the Golden Monkey has made its appearances on other notable buildings like the Opposite House in Beijing and the H Code Building in central Hong Kong. It will be making its final pitstop on the facade of the newly renovated Lazada One building from now till 21 August 2022. This marks Australian artist and ecologist Lisa Roet’s debut monumental inflated public artwork showcase in Singapore.

Positioned 5 storeys above ground, the Golden Monkey takes the form of the endangered Snub-nosed Monkey found only in parts of China, Vietnam, and Myanmar. Lisa hopes that the Golden Monkey is not only created as a wonder for people to enjoy, but also as an artwork to evoke discussion and debate on climate issues like global warming and deforestation.

As a testament to Lazada One building’s green certification and in line with Lisa’s passion for sustainability and making a positive impact, the artist has engaged RMIT University to calculate the carbon footprint of this project. Supported by Chelsfield, the project will purchase carbon credits to benefit the Rimba Raya Biodiversity Reserve in Borneo.

Find out more about Lisa’s inspiration behind the Golden Monkey on her website.

Photo credits: Chelsfield Asia Ltd and ARA Asset Management

22 April 2022

TCS was delighted to host Australian artist and ecologist Lisa Roet to share her insights into her practice and preoccupation with apes, primates and the natural world has transformed her to become a passionate advocate for climate change and environmental sustainability. We welcomed 30 guests comprising of art collectors, art lovers and representatives from the Victorian Government Trade and Investment – South East Asia.

14 April 2022

Ning Chong was invited by National Heritage Board Singapore to participate in a closed-door event to discuss the emergence of NFTs as part of their discussion and plans about growing the National Collection. The event was attended by representatives from Singapore’s leading art institutions and museums. Alongside her fellow panelists who included Dr David Tan (Professor at NUS Law and Deputy Director of the Centre for Technology, Robotics, Artificial Intelligence and the Law), technologist Mr Carlos Nicholas Fernandes, art writer and founder of @NFTAsia Ms Clara Peh and NFT artist Speak Cryptic, Ning shared her perspectives on NFTs as a collector, art consultant and gallerist.