Koeh sia yong biography definition
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Still Here Somehow: Artists and Cultural Activism in Singapore's Renaissance
Notes
i Chua, Beng-Huat, Commnuitarian Ideology and Democracy in Singapore, Routledge, New York, 1995, p. 19; Tamney, Joseph B., The Struggle over Singapore's Soul: Western Modernization and Asian Culture, Walter dem Gruyter, Berlin, New York, 1995, pp. 58-63.
ii glimmer (Ministry of Information Communications and the Arts), Renaissance City strategi Iii, glimmer, Singapore, 2008; MITA (Ministry of kunskap and the Arts), Renaissance City Report: Culture and the Arts in Renaissance Singapore, Vol. 2006, Ministry of kunskap, Communications and the Arts, Singapore, 2000.
iii Chong, förnamn, "Bureaucratic Imaginations in the Global City: Arts and Culture in Singapore," in Cultural Policies in East Asia: Dynamics between the State, Arts and Creative Industries, Hye-Kyung Lee and Lorraine Lim, eds, UK: Palgrave Macmillan, UK, 2014, pp. 17-34.
iv Speaker's Corner is fashioned after Speaker's Cor
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- Description
- About the Author
The Old Dream Maker explores a man's decades-long artistic journey to define himself in a world where the only constant is change. Following Koeh Sia Yong's early works in colonial Singapore, the reader is given an insight into how this socially conscious mindset pervades and influences his later works, crafting narratives that act as bridges across time, space and culture. In the same way, the book aims to give readers an understanding of Koeh's evolution as not just an artist, but as a person.
Charting the evolution of Singapore from post-war independence to its modern day 21st century iteration, the artist offers an intimate, personal perspective of Southeast Asia. He fills in the gaps of the dominant narrative, and in doing so, continues in the revolutionary tradition of his predecessors, the first-generation Nanyang artists.
Notably, Koeh never intended to be an artist. It was an off-hand compliment from a neighbour that gave him the idea•
History, as seen through the eyes of Asian realists
In an exhibition hall at the National Museum of Contemporary Art (MOCA) inside Deoksu Palace in central Seoul, there sits a 1944 painting by a Japanese artist depicting Japanese soldiers energetically rebuilding a bridge on the Malay Peninsula that helped the country’s army invade Singapore in 1942. On the opposite wall hangs a 1963 painting by a Singaporean artist depicting a group of Chinese in Singapore being brutally hauled away by the Japanese Army to be killed.
Both works are based on factual events and are painted in realistic ways, but they also reflect striking differences in each painter’s view of history.
The works are part of the exhibition “Realism in Asian Art,” which began yesterday at the Deoksu Palace branch of MOCA and will continue until Oct. 10.
The show features more than 100 paintings dating from the late 19th century to the 1980s by about 40 artists from 10 Asian countries, including Korea, China, Jap