Through the motifs of spacing and difference, this exhibition features works by the artist Ng Eng Teng produced between 1958 and 2001. The title of the exhibition takes as its point of reference a series of sculptures developed by the artist during the 1990s. Image: Gallery Impression by Geraldine Kang for NUS Museum
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.
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).
As a backdrop to the evolving discussion on Malayan culture which Hsu was part of, the exhibition introduces selected writings by T.K. Sabapathy and S. Rajaratnam, the former pertains to Southeast Asian art historiography, and the latter as a call for a cultural history that forms part of a shaping of community and nation. These frames provide ways to consider the Museum’s collection whose collecting histories may be associated with Malaya’s period of formation and art history.
After Ballads is a prep-room project by artist Fyerool Darma that locates literary foundations to historic figures such as Abdullah bin Abdul Kadir, and objects from the museum collection. This series of presentations are exercises on the epistemology of texts, artefacts, and systems of language that proceeds to trace how it is shaping contemporary society. Image: Study of Portrait No. 15 (A man of bananas and thorns), Fyerool Darma, 2017.