‘A Chance to Bring Global Communities Together‘ – “让全球社区走到一起的机会”

From the LUMA Foundation in Arles, France, to the Crystal Bridges Museum of Art in Bentonville, USA to M Woods in Beijing: some of the most significant – and exciting – art spaces in the world today are private museums – open for the benefit of the public but supported and, to some extent, directed by private individuals.

Nowhere is the rise of such institutions more visible than in Southeast Asia, where from Jakarta to Chiang Mai to Manila, the last decade has witnessed a significant boom in private museums. Yet the exact mission of such spaces – and their relation to the public model historically more widespread in the West – is one which is still keenly debated. Indeed, across the world, even established public museums’ cannot ignore questions about the role and influence determined by private funding – as the Whitney Museum in New York recently discovered after its Vice Chair was linked to the manufacture of tear gas used against migrants at the US Border.

This vital consideration of different kinds of arts funding is, thus, pressing for institutions across multiple geographies. On 25th January 2019, leading curators and museum professionals will discuss all sides of the issue in a panel discussion at the National Gallery Singapore, entitled ‘Public vs. Private Museums: Bridging the Divide?’

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‘A Chance to Bring Global Communities Together‘ - “让全球社区走到一起的机会”

National Gallery Singapore: supreme court terrace architecture. Courtesy: Singapore Tourism Board

The event marks the second chapter of a partnership between Frieze Academy and the Singapore Tourism Board. Announcing the partnership, Frieze Publishing Director, Nick Chapin, described this as ‘a chance to bring global communities together, ask critical questions, and foster discussion that can lead to genuine learning and change.’ From its foundation as a magazine in 1991, Chapin noted, Frieze has ‘been committed to creating a truly global platform for dialogue on contemporary art and culture’, adding that today, ‘the international and cross-cultural nature of that dialogue is more urgent and immediate than ever.’

This was apparent during ‘Frieze Week’ in October this year, when a curated symposium inaugurated the partnerships in an event held in London. Moderated by frieze magazine Deputy Editor Amy Sherlock, the symposium presented ‘A Brief History of South East Asian Performance’ with contributions from Catherine Wood of London’s Tate Modern, Siuli Tan of Singapore Art Museum and Singaporean artist Ezzam Rahman.

Rahman’s signature gesture is peeling dead skin from his own feet, which he then forms into intricate sculptures. This practice is not, perhaps, what is most widely associated with ‘Performance Art’. Then again, as Tan noted in the symposium, a de facto prohibition on performance art during some of Singapore’s history has given the medium – today flourishing in the region – a less literal character. ‘In Southeast Asia’, Tan said at the London symposium, ‘we speak more obliquely about things, rather than directly…a lot of performances may come through allusively or poetically’. The idea of performance as something which can be alluded to or implied in an art work resonates with Wood’s own understanding, in her recently published book Performance in Contemporary Art (2018), that performance art in doesn’t always look like a performance, but is, in its essence: ‘a space not just for performed action, but a space of active relations: a space in which things happen.’

In such exchanges, specific, regional art histories and global narratives about art inform and expand one another. ‘Curatorial conversations: exhibition-making and institution-building in a global artworld’, the second chapter of the series, intends to deepen this dialogue. Unfolding over three days from 23rd to 25th January during Singapore Art Week, this chapter sees curators and museum professionals from Singapore, the wider region and across the globe meet in Singapore for four private roundtable discussions, hosted in collaboration with key local institutions: the National Gallery Singapore, Singapore Museum of Art and the NTU Centre for Contemporary Art. These culminate on 25th January with the aforementioned panel discussion at the National Gallery Singapore on private and public museums. Free to the public, the event promises to explore questions that concern the global art community, where the relationship between private funding and public responsibility is under scrutiny everywhere.

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‘A Chance to Bring Global Communities Together‘ - “让全球社区走到一起的机会”

National Gallery Singapore at night. Courtesy: Singapore Tourism Board

What tentative conclusions the discussion reaches will be reported on Frieze.com. Following this is the series’s concluding chapter. With the first- and second-chapters taking place during London’s Frieze Week and Singapore Art Week, this fittingly takes place during a third major art event – the 2019 Singapore Biennale, (22nd November 2019—22nd March, 2020), which sees the renowned Patrick D. Flores join as Artistic Director. At the 56th Venice Biennale, the Manila-born Flores curated the Philippine Pavilion – its first participation in the world’s oldest biennale for 51 years – which looked (among other things) at how national identity might be formed through international exchange: taking a Filipino biopic of the Mongol leader Genghis Khan as a starting point. If some of this vision carries through to the upcoming Singapore Biennale, this will provide a resonant context for the aim of Frieze Academy and Singapore Tourism Board’s collaboration – to ‘bring global communities together’, in Chapin’s words.

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从法国阿尔勒的LUMA基金会,到美国本顿维尔的水晶桥艺术博物馆,到北京的M Woods:当今世界上最重要和最令人兴奋的艺术空间中有一些是私人博物馆——为了公众利益而开放,但在一定程度上是由私人引导的。这种机构的兴起在东南亚最为明显,从雅加达到清迈,再到马尼拉,过去十年里私人博物馆的蓬勃发展。然而,这种空间的确切使命——以及它们与西方历史上更为普遍的公共模式的关系——仍然是一个备受争议的问题。的确,在世界各地,即使是已经建立的公共博物馆,也不能忽视私人资金所决定的作用和影响的问题——正如纽约惠特尼博物馆(Whitney Museum)最近在其副主席与美国边境针对移民使用的催泪瓦斯的制造联系在一起后发现的。因此,这种对不同艺术资助方式的重要考虑对跨越多个地理区域的机构来说是紧迫的。2019年1月25日,主要馆长和博物馆专业人士将在新加坡国家美术馆举行的题为“公共博物馆与私人博物馆:弥合鸿沟”的小组讨论中讨论这一问题的各个方面。新加坡国家美术馆:最高法院露台建筑。礼貌:新加坡旅游局。这次活动标志着弗雷兹学院和新加坡旅游局合作的第二章。FrieZe出版董事Nick Chapin宣布合作,“这是一个机会,将全球社区团结起来,提出关键问题,并促进讨论,可以导致真正的学习和改变。”从其作为1991杂志的基础上,蔡平指出,弗里泽一直致力于创造一个真正的全球平台。“当代艺术和文化对话的形式”,并补充说,今天,“这种对话的国际性和跨文化性比以往任何时候都更加紧迫和紧迫。”这在今年10月的“油炸周”期间是显而易见的,当时在伦敦举行的一个活动中,一个策划的专题讨论会启动了这种伙伴关系。这次研讨会由《泰晤士报》副编辑艾米·夏洛克主持,由伦敦泰特现代美术馆的凯瑟琳·伍德、新加坡美术馆的谭秀丽和新加坡艺术家艾扎姆·拉赫曼共同撰稿,题为“东南亚表演简史”。拉赫曼的招牌手势是从自己的脚上剥去死皮,然后形成复杂的雕塑。也许,这种实践并不是与“表演艺术”最广泛相关的。然后,正如谭在研讨会上指出的,在新加坡的一些历史中,事实上对表演艺术的禁令使得这个媒介——今天在这个地区蓬勃发展——具有了较少的文字特征。“在东南亚”,谭在伦敦研讨会上说,“我们谈论事情更间接,而不是直接……许多表演可能通过暗示或诗意来完成。”在伍德最近出版的《当代艺术中的表演》(2018)一书中,表演作为一种可以暗示或暗示在艺术作品中的东西的想法与伍德自己的理解相呼应,即表演艺术并不总是看起来像一场表演,而在本质上,它是“一个不仅用于表演行为的空间,而且是一个”的空间。“积极的关系:事物发生的空间。”在这种交流中,特定的、地域性的艺术史和关于艺术的全球性叙事相互影响、相互扩展。《策展对话:全球艺术品中的展览制作和制度建设》是本系列的第二章,旨在深化这种对话。本章在新加坡艺术周期间展开了三天,从1月23日到25日,在新加坡,来自新加坡、更广阔的地区和全球的馆长和博物馆专业人士在新加坡会晤,与主要的当地机构合作举办了四次私人圆桌讨论:新加坡国家美术馆、新加坡博物馆艺术与南大当代艺术中心。这些活动于1月25日在新加坡国家美术馆就私人和公共博物馆举行上述小组讨论。这个活动对公众免费,它承诺探索一些与全球艺术界有关的问题,在那里,私人资金与公共责任之间的关系正受到各地的审查。晚上新加坡国家美术馆。礼貌:新加坡旅游局将在Frieze.com上报告讨论得出的初步结论。以下是本系列的结束章。随着第一和第二章在伦敦的Frieze周和新加坡艺术周期间举行,这恰如其分地在第三个主要艺术活动——2019年新加坡双年展(2019年11月22日-2020年3月22日)期间举行,这次双年展见证了著名的Patrick D.Flores加入艺术总监的行列。在第56届威尼斯双年展上,马尼拉出生的弗洛雷斯策划了菲律宾馆,这是51年来菲律宾馆首次参加世界上最古老的双年展,该馆着眼于(除其他外)如何通过国际交流形成国家认同:以蒙古领导人成吉思汗的菲律宾传记片为出发点。如果这些设想能够贯彻到即将举行的新加坡双年展上,这将为弗雷兹学院和新加坡旅游委员会的合作目标——用查平的话说,是“把全球社区团结起来”提供一个共鸣的背景。赞助内容/新加坡旅游局弗里斯学院新加坡国家美术馆赞助新加坡威尼斯双年展策划


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