17 Volcanoes is shaped around a series of expeditions from Singapore to Java that track the itinerary of Explorer Franz Junghuhn to 17 of his favourite volcanoes. The expeditions are made by a small group of artists, scholars and professionals operating within the fields of humanities, science, urbanism and architecture, passing through densely populated areas and volcanic areas, questioning the traditional opposition between the urban and the land.
The exhibition introduces the experiments with celabon, a low temperature ash glaze pottery. They are displayed alongside celadon ware, which was an export product of Lower Myanmar in the 15th century. Also an ash glaze ware but fired at a higher temperature, its discovery at historical kiln sites inspired a revival of the tradition in the pottery community.
Buaya: The Making of a Non-Myth is an evolving body of works around ideas on the saltwater crocodile in Singapore. This edition continues Lee Kong Chian Natural History Museum conservator Kate Pocklington's ongoing research around present and historic records of this reptile's population and circulation in the human habitat of Singapore. Image: Buaya Stones 54-69 | Rochor - Kallang, Kate Pocklington, 2017.
The Chinese Art collection consists of bronzes, ceramics and paintings, gathered to represent the expansive history of Chinese art. The nucleus of this collection was established and developed at the Nanyang University in the 1970s with significant expansion in the 1980s under the newly inaugurated National University of Singapore (NUS).
This exhibition of art works produced during the period of the Indochinese and Vietnam Wars (1945-1975) draws from the one of the largest privately held collections of the genre. The works were collected by Dato’ N. Parameswaran during his appointment as Ambassador of Malaysia to Vietnam, stationed in Hanoi, between 1990 – 1993. These were the middle years of Doi Moi, the period of Vietnamese economic reforms begun in 1986 that aimed at bringing about socialist market liberalisation.
Bringing together finds from past and newer excavations from Fort Canning (Singapore) to Changsha (China), these finds from the pre-colonial and colonial periods sample the materials produced and used in Singapore and beyond. Further, as part of an evolving body of artefacts, they provide a glimpse into the dynamics between material culture and history, and its making.