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File:The Artists Village 61-B Lorong Gambas.png
The Artists Village at 61-B Lorong Gambas, Ulu Sembawang. Photo by Koh Nguang How.

The Artists Village (TAV) is a Singapore-based contemporary art group.[1] It is known as Singapore's first art colony, founded by contemporary artist Tang Da Wu in 1988.[2] TAV is historicised as having produced significant shifts in the history of Singapore's contemporary art, known for its engagement with societal changes and issues through late-1980s and 1990s Singapore, with a particular emphasis on performance art, installation art, and process-based work.[3][4] TAV's original space from 1988 to 1990 was a chicken farm at Lorong Gambas in Ulu Sembawang, which has since been redeveloped.[5]

Members of the Village were among the earliest contemporary artists in Singapore to practice installation and performance art. At the Village, younger artists were informed about artistic developments unfolding internationally, often mentored by Tang.[6] Exhibitions, happenings, and symposia were organised at the Village, and there were collaborations with the then-National Museum Art Gallery and the National Arts Council's Singapore Festival of Arts.[7]

In 2008, the Singapore Art Museum held the retrospective, The Artist Village: 20 Years On, a 20th anniversary exhibition that sought to examine the "tensions, disjuncture and collision of the individual and collective memories of TAV" as a collective that had "engendered radical shifts in contemporary art throughout the 80s and 90s".[4]

History

Origins, 1998–90

In 1988, TAV was established by Tang, a performance and installation artist born in Singapore.[2] Having completed his art education at Goldsmiths' College, University of London, Tang had returned to Singapore in 1988 along with his English wife Hazel McIntosh and his then-5-year-old son Ben Zai. The returning family took residence at 61-B Lorong Gambas in Ulu Sembawang, which was provided rent-free by Tang's relative.

Tang's performance at the second Open Studio Show (1989) in Lorong Gambas

Tang subsequently invited like-minded artist friends, such as Amanda Heng, Lee Wen, Vincent Leow, Wong Shih Yaw, and Koh Nguang How,[5] to take residence there and utilise the 1.6-hectare kampong space.[8] Populated by farm animals and durian trees, the site was one of the few rural spaces in highly urbanised Singapore.[5] Tang described TAV as:

... [an] alternative venue dedicated to the promotion and encouragement of experimental and alternative arts in Singapore. It endeavors to establish an open space for artists to mature at their own pace, and to provide a conducive environment which allows them to experiment, experience and exchange ideas.[9]

From 1989 onwards, performances and exhibitions were held by the artists living within the forested enclave. In 1989 alone, 7 shows were held, one of which being The Happenings, a performance and installation exhibition held at the Nanyang Technological Institute.[7] At the height of the Village history, the enclave housed 35 artists living and working in the area, with 50 others participating in other art activities by the Village.[6]

On 31 December 1989 to 1 January 1990, TAV held The Time Show, a continuous 24-hour art event that was spread across the Lorong Gambas site, featuring performance art, dance, music, poetry, and other time-based work.[7] The Time Show was one of TAV's last exhibitions to be held at the Lorong Gambas space.[7]

After Lorong Gambas, 1990s–2000s

In March 1990, the Village was forced to relocate when the Singapore government repossessed the Lorong Gambas site at Ulu Sembawang for urban development.[5] While the chicken farm had already been pending requisition by the state even when TAV formed in 1988, the incident has been noted to demonstrate "the inter-dependent and unequal negotiations between the state and artists who were powerless in the face of the state."[5]

In February 1992, TAV registered as a non-profit organisation under the Societies Act.[10] With this status, TAV and its official members were eligible for participation in officially funded events, as well as the application for funding and space under the new rules by the National Arts Council, which had been established in 1991.[5] TAV briefly relocated to rental houses at the Naval Base area in Sembawang, and existed nomadically in spaces such as the now-defunct Hong Bee Warehouse in Robertson Quay, and a garage space in Middle Road which would become the site of Sculpture Square, and later Objectifs – the Centre for Photography and Films.[6]

From January 1994, TAV was deeply affected by the decade-long suspension of funding for unscripted performance art in Singapore.[11] The no-funding rule followed the staging of Brother Cane, a controversial performance work by artist Josef Ng for the Artists' General Assembly (AGA), a week-long arts festival organised by TAV and 5th Passage Artists, taking place through New Year's Eve in 1993.[7] Held at the 5th Passage Gallery in Parkway Parade Shopping Centre,[7] the performance protested the violation of privacy for 12 homosexual men, whose identities were published in major local newspapers following their arrest during an anti-gay operation in 1993.[12] During the final minutes of the performance, Ng trimmed his pubic hair with his back turned to the audience.[12] This moment was photographed by The New Paper, sensationalised on the front page as an obscene act, resulting in an outcry from the general public.[7][12] This led the National Arts Council to suspend all funding on performance art in Singapore, a ruling that was lifted only in 2003.[13]

For those years, Tang and other performance artists mostly practised their art abroad, although some performances were presented in Singapore as dance or theatre. From 1995 to 1999, activity slowed for TAV, with only one major project during this period, Tour De Art Lah!, which involved a travelling bus fitted with installations and held in conjunction with the Singapore Festival of Arts in 1996.[6][7]

In 1999, the induction of new members resulted in another spate of activity for TAV, with the show Post-Ulu held at the independent art space, The Substation. Featuring 12-hour overnight poetry recitals, live DJ sets, and performances, it marked a younger generation of TAV artists that had not necessarily experienced the original 61-B Lorong Gambas space.[11][14] TAV continued to organise collaborations with other artists from the Southeast Asian region, and performances at locations such as the Heritage Conservation Centre, Pulau Ubin, and Bali.

From 2010s onwards

The Village continues to operate as a group, with over 30 members as of 2020.[15] Several older members of TAV are also noted for establishing other independent art spaces and collectives in Singapore from the 1990s to 2000s, such as Plastique Kinetic Worms, Your MOTHER Gallery, and p-10 at Post-Museum.[6]

See also

References

  1. ^ "The Artists Village". The Artists Village. Retrieved 15 September 2019.
  2. ^ a b Kolesnikov-Jessop, Sonia (17 August 2010). "Singapore's Once Unruly Young Artist, Still Poking at Social Norms". New York Times. Archived from the original on 8 June 2020. Retrieved 6 September 2011.
  3. ^ Scarlett, Ken (November 1992). "The Shock of the Unexpected: Innovation in Singapore". Art Australia. 55: 10.
  4. ^ a b Kwok, Kian Woon (2009). "Introduction: Locating and Positioning the Artists Village in Singapore and Beyond". The Artists Village: 20 Years On (PDF). Singapore Art Museum and The Artists Village. p. 1.
  5. ^ a b c d e f Seng, Yu Jin (2009). "Re-visiting the Emergence of The Artists Village". The Artists Village: 20 Years On (PDF). Singapore Art Museum and The Artists Village. p. 13.
  6. ^ a b c d e Adeline, Chia (2008-08-07). "First artist colony; The Artists Village, an experimental art group that was born in a kampung and spawned big names in Singapore art, has earned a museum retrospective". Singapore: Straits Times Life!. pp. 1–3.
  7. ^ a b c d e f g h "The Artists Village Chronology". The Artists Village: 20 Years On (PDF). Archived from the original (PDF) on 7 June 2020.
  8. ^ Quek, Bruce. "Tang Da Wu". NLB Infopedia.{{cite web}}: CS1 maint: url-status (link)
  9. ^ Quoted in T.K. Sabapathy (1992), The Space: An Introduction, Singapore: Artists Village, p. 1, and in T.K. Sabapathy (1993), "Contemporary Art in Singapore: An Introduction", in Caroline Turner (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific, Queensland: University of Queensland Press, p. 83 at 86, ISBN 978-0-7022-2583-3
  10. ^ About us, The Artists Village, 2005, archived from the original on 30 June 2007, retrieved 23 October 2008.
  11. ^ a b Martin, Mayo (2008-08-19). "Village people: their legacy lives on". Singapore: Today. pp. 28–29.
  12. ^ a b c Lingham, Susie (November 2011). "Art and Censorship in Singapore: Catch 22?". ArtAsiaPacific (76). Retrieved 8 June 2020.
  13. ^ Ho, Michelle; Hiah, Jeremy; Lam, Kai; Seng, Yu Jin; Woon, Tien-Wei; Yang, Marienne (2009). "Curatorial Notes". The Artists Village: 20 Years On (PDF). Singapore Art Museum and The Artists Village. p. 52. Archived from the original (PDF) on 7 June 2020. Retrieved 8 June 2020.
  14. ^ Hiah, Jeremy; Woon, Tien-Wei; Marienne, Yan (2009). "Different Durians: Chronicling Post-Ulu in the Living Room". The Artists Village: 20 Years On (PDF). p. 27. Archived from the original (PDF) on 7 June 2020. Retrieved 8 June 2020.
  15. ^ "Members". The Artists Village. Retrieved 7 June 2020.

Further reading

  1. "The Artists Village: 20 Years On : 21 August – 5 October 2008" (PDF) (Press release). Singapore Art Museum. 2008-09-20. Archived from the original (PDF) on 16 July 2011. Retrieved 2008-09-23.
  2. Nadarajan, Gunalan; Storer, Russell; Eugene, Tan (2007). Contemporary art in Singapore. Singapore: Institute of Contemporary Arts Singapore. ISBN 978-981-05-6461-2.
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