Creative Conversations Expert Opinions Features & Articles

LATEST ISSUE

11/2020

Newsletter

• Tini Aliman on Negative Space, Learning from Plants and the Nature of Interspecies Communication

• Song-Ming Ang on Amateurism, Open-Ended Systems and Working with Music as a Subject Matter

• Kamini Ramachandran on Intuition, the Gift of Storytelling and the Genealogy of Oral Histories

• Bani Haykal on Speculative Futures, the Musicality of Language and Co-Producing with Machines

• Yeyoon Avis Ann on Randomness, Working Towards Breeziness and Musical Composition as a Metaphor for Art Making

• Zulkifle Mahmod on Making Gadget-Instruments, the Spirituality of Sound and Finding Inspiration in the Everyday

ON HISTORICITY

09/2020

Newsletter

• Alecia Neo on the Histories of Hospitality, Beginning with Personal Stories, and World-making through Generosity

• Fazleen Karlan on Archaeological Imagination, Articulating the Ache of Loss, and Caring for the Present

• Green Zeng on Working with Archives, Conducting Experiments in Fictional Truths, and the Potential of Respeaking

• Karin Oen (NTU Centre for Contemporary Art Singapore) on Naeem Mohaiemen’s Two Meetings and a Funeral

ON BECOMING

07/2020

Newsletter

• Marla Bendini on Being, Taking Up Space and Making Art as a Form of Divination

• Nicole Ngai on the Responsibility of Representation, Collaborative Photography and Shooting Intimate Moments with Friends

• Aki Hassan on Piecing Things Together, Proposing Transformation through Art and Amplifying Queer Voices

• Teng Yen Hui (Singapore Art Museum) on Teng Nee Cheong’s Of Merit Accrued Through Previous Existences

• Wong Bing Hao on Norah Lea's Wedding 2020

ON UNRULINESS

05/2020

Newsletter

• Chand Chandramohan on Building Solidarity through Collectives, Decolonisation, and a Horizontal Approach to Dismantling Exploitation

• Diana Rahim on Documenting Hostile Architecture, Questioning the Arbiters of Public Space and the Importance of Spatial Justice

• Stephanie Jane Burt on Looking, Communicating Girlhood through Fiction and Fashion as a Vehicle for Expression

• Liana Yang on Visualising the Quiet Storms of Modern Romance, the Potential of Banality and the Irrationalities of Art

• Nadhirah Khalid on Rebelling Against the Conventions of High Art, Harnessing Her Personal Narrative and Making Art Fun Again

• Divyalakshmi on Queer Heritages, Feminine-Coded Labour, and the Multiplicities of being Kala

ON THE ANTHROPOCENE

03/2020

Newsletter

• Liyana Ali on Wabi-Sabi, Stretching Her Materials And Cultivating Spatial Mindfulness

• Lucy Davis on Crediting Connections Of Influences, Strategies Of Community Wellbeing And The Erosion Of Nature-culture Mixes

• Nandita Mukand on Ephemerality, The Hard Edges Of The City And The Process Of Growth And Decay

• PG Lee on Simple Gestures, Confronting Mortality, And The Futility Of Possession

• Syed Muhammad Hafiz On Yunizar's Untitled

• Goh Sze Ying (National Gallery Singapore) On Zai Tang's Escape Velocity III And Escape Velocity IV

12/2019

Newsletter

• Melati Suryodarmo On Deconstruction, Melting Into Time And The Personal And Metaphysical Imprints Of Abandoned Spaces

• Faris Nakamura On White Spaces, Documenting Architectural Changes And A Working Format For Awkward Negotiations

• Rifqi Amirul On Movement, Authoritative Architecture And The Existential Nature Of Transitional Spaces

• Colonial Imprisonment And Capitalist Imaginations: Museum Architecture In Singapore

11/2019

Newsletter

• Pinaree Sanpitak On Moving Through Space, Seeing With A Painter’s Perspective And Building Multi-layered Concepts

• Ernest Goh On Faith Moving Mountains, Elucidating Our Relationship With Our Trash And Facilitating Honest Conversations

• Mike HJ Chang On Sight, Systems Of Producing Images, And Finding Comedy Between Order And Chaos

• Daniel Tham (National Museum Of Singapore) On Thomas Phillips' A Sumatran Boy Freed From Slavery By Sir Stamford Raffles

10/2019

Newsletter

• Kelly Limerick on Phases of Exploration, Growing With Her Works and The Slow Art of Crochet

• 雅 Ya On Keeping A Journal, Examining The Soul Of The Human Condition And The Simple Essence Of Things

• Howie Kim On Making Art That Entertains, The Millennial Generation And What Authenticity Means In The Age Of Social Media

• Savita Kashyap (Journeys) On Haw Par Villa's Ten Courts Of Hell

09/2019

Newsletter

• Johann Yamin On Regional Media Histories, Mapping The Underbelly Of Digital Landscapes And Questioning Systems Of Power

• Mithra Jeevananthan On The Lotus Chimera, The Physicality Of Silkscreen Printing And Crafting A Distinct Artistic Identity

• Priyageetha Dia On The Colour Of Divinity, Evolving As An Artist And Dismantling Patriarchal Structures

• Eya Beldia (Gajah Gallery) On Dini Nur Aghnia’s The Sun Goes Down

08/2019

Newsletter

• Divaagar On Fostering Affinities Through Shared Spaces, Having Room To Grow And The Temporality Of Performance

• Kass On Postmodern Identities, Working With Alter Egos And Painting A Carnival Of Unicorns

• Adele Tan (National Gallery Singapore) On Huang Yong Ping's Reptiles

• Foo Su Ling (National University Of Singapore Museum) On The Nus Baba House

07/2019

Newsletter

• Nature Shankar On Yearning, The Intricacy Of Hand-embroidery And The Responsibility Of Being An Artist

• Johann M Fauzi On Being An Artist-Collector, The Value Of Craftsmanship And The Ecology Of Everything

• Suzuki Katsuo (The National Museum Of Modern Art, Tokyo) On Zero Jigen’s Rituals Of Completely Naked Walks With Gas Masks

• Art For Whose People?: Literacy And Audiences In Xu Bing's Works

06/2019

Newsletter

• Seelan Palay On Performing Without Acting, The Currency Of Sincerity And The Meandering Arc Of Time

• Joanne Pang On Working With Intention, The Playful Endeavour Of Painting And Soak-staining As Mark Making

• Lukas Birk (Myanmar Photo Archive) On 1970s Burmese National Identity Card Photographs

• Reading Tarot: How A Stack Of Playing Cards Became Tools For Rumination

05/2019

Newsletter

• Mary Bernadette Lee On Collective Memory, Educating Through Art And Allowing For Expansive Encounters

• ila On Conversations As Maps, Disrupting Artistic Encounters And Establishing Intimacy Through Care

• Takahashi Mizuki (Centre For Heritage, Arts And Textile) On Dayanita Singh's Time Measures

• Zahra Khademi (Islamic Arts Museum Malaysia) On A Qajar Underglaze-painted Table Top

04/2019

Newsletter

• Yanyun Chen On Navigating The Nude, The Pulsating Qualities Of Charcoal And Creating Autofictional Installations

• Nicolette Teo And Eugene Tyz On Working Organically, Curating Internet Art And How The Online Space Relates To The Physical

• Naomi Wang (Asian Civilisations Museum) On A Yogyakarta Ciptoning

• Justin Zhuang (Singapore Graphic Archives) On 1980s Chartered Industries Of Singapore Advertisements

03/2019

Newsletter

• Khairullah Rahim On Being Open, Observing One’s Surroundings And The Visual Language Of Objects

• Sissel Tolaas On Collecting Smells, The Chemistry Of Humanity And Art As A Paean To Being Alive

• Daniel Lowe (British Library) On The British Library's Arabic Collection

• Nadirah Norruddin (National Library, Singapore) On Munshi Abdullah's Sejarah Melayu

02/2019

Newsletter

• Alice Procter (The Exhibitionist) On Tipu's Tiger

• Seah Tzi-Yan On Cheong Soo Pieng's Construction

• Nicole Chiang (The Museum Of East Asian Art) On A Qing Dynasty Jade Bowl

• Flights Of Imagination: How Birds Have Been Reinvented As Mythical Creatures Around The World

01/2019

Newsletter

• Lee Chang Ming On The Alchemy Of Analog Film, Photography As Process And Visualising Complexity

• Jennifer Lam (National Gallery Singapore) On Wu Guanzhong's Running Stream

• Noorashikin binte Zulkifli (Asian Civilisations Museum) On A 19th-century Terengganu Quran

• Bettina Schleier On Sopheap Pich's Delta

12/2018

Newsletter

• Tang Ling Nah On Spatial Progression, The Tactility Of Charcoal And Contemplating The City

• Jeremy Sharma On The Sound Of Silence, Experiential Plurality, And Colour As Relational

• Chew Tee Pao (Asian Film Archive) On Kong Ngee Company's Nanyang Trilogy

• 12 Days Of Christmas As Art

11/2018

Newsletter

• Zarina Muhammad On Spirit Histories, Shape-Shifting Spaces and The Cultural Biographies Of Things

• Kayleigh Goh on Constructing Quiet Spaces, Using Humble Materials And A Sense Of Balance

• Jenny Saville In Ten Works

• Nozomi Naoi (Yale-NUS College) On Takehisa Yumeji's Evening Primrose (Yoimachigusa)

10/2018

Newsletter

• Sim Chi Yin On The Place Of Facts In Making Art, Experimentation And The Power Of Stories

• Chunghsuan Lan On Universality, Creating Spatially Sensitive Artworks And His Idea Of Utopian Freedom

• Dominic Low (The Peranakan Museum) On G.R. Lambert & Co.’s Photograph Of Seah Liang Seah

• Lim Qinyi (National Gallery Singapore) On Lim Cheng Hoe's [Not Titled] (Pulau Saigon With A View Of Supreme Court)

09/2018

Newsletter

• James Jack On Searching For Rumours, Reimagining The Framework And Mapping Alternative Histories

• HelenA Pritchard At 1961 Projects

• The Conservation Studio (NUS Museum) On Ng Eng Teng's Asian Symphony

• Portable Cities And Woven Power: Tents As A Timurid Articulation Of Kingship

08/2018

Newsletter

• Norah Lea On Accessibility, The Performance Of Love And Representing A Queer Narrative On Her Own Terms

• Amanda Tan (Empyreal) On Being Authentic, Female Representation, And The Allure Of Film Making

• Jollin Tan On Thinking Visually, The Process Of Research And Approximating Experiences Through Words

• Yang On Romancing The Viewer, Creating Intimacy, And Falling In Love With New York City

• Photographing Ruinous Landscapes: The Picturesque Aesthetic In Nineteenth-century China

07/2018

Newsletter

• Chloë Manasseh On Abstraction, Art Therapy, And Finishing Her Works

• Renée Ting On Being Present, Savouring The Process, And Occupying The In-between Spaces

• Priya Maholay-Jaradi (National University Of Singapore) On The Flautist

• Constellations As Art

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