“It is not the man who has too little, but the man who craves more, who is poor,” – Seneca
The world we live in today crave excess, reward the most extravagant and embrace the worship of material things. And I think some people believe, the more you have, the better. Arts have become one of those status symbol, the object of obsession for those who wants to convey a certain image in our excessive world. Thus the irony of an exhibition glorifying minimalism is not lost on me. This is a continuum of my previous post on Minimalism art exhibition I recently went to in Singapore and unlike part one, this one held in National Gallery Singapore is shouting excess in the most minimalist way.
Housed within City Hall and previous Supreme Court building, the National Gallery Singapore is the largest visual art gallery and museum for the island nation. The building played many significant role in Singapore’s national history, and many of the country’s historical documents are still stored within the building.
Compared to Minimalism exhibition in the ArtScience Museum, this one is much larger in scale and filled with the more traditional form of artworks, dominated by paint work and sculptures. The vast building provides an endless pockets of artwork which begins on the ground floor with Dan Flavin’s installation which resembles New York’s Empire State Building.
The first room that displayed a Rothko (far left in picture above), is accompanied by few other Rothko inspired canvas works. I do believe that Rothko always intended for his works to be displayed in groups, but the difficulties of the task does not elude yours truly, hence the grouping of his work with others is aiming for the same impact. A study of black and every possible shades of it, is perhaps an appropriate theme of this second pocket of artworks. The idea of Rothko expressing human emotions through his work by using only black seems dark and repressive. But what if, we can translate this as a language of positive emotions? How do you talk about black without associating it with negative emotions? If only black is understood as the beginning of something, before any other shades of colour were added.
Many of the artworks displayed are significant but not many captivates me the way Mona Hatoum’s does here (picture above). Appeared to float above ground, the wire is suspended from the ceiling and arranged in such a way to resemble a square. A forest of bard wire box that you can’t escape from. As you walked around the installation, you can’t help but feeling a certain pull towards the centre of the work. Barb wire have longed been associated with boundary lines to keep things out, but in this case, it feels a lot more like an enchantment that wants to draw you in.
What about this mountain of porcelain sunflower seeds made painstakingly by hand from the a small studio of specialists in China, each seeds are unique as with most hand-made work will be. Porcelain work has long been associated with the Chinese civilisation and history, and such an appropriate choice of material for the work that represents the ‘Made in China’ phenomenon. Is it a complimentary work by the artist, or is it a painstaking mockery of the inability of self expression in such oppressive environment? When view from afar, all the seeds looks homogeneous perhaps representing the view of the world of China as a communist nation. But when you look closer, each seeds are unique like that of the Chinese people or even perhaps Ai Wei Wei himself as the artist.
Perhaps it is an accidental silver lining that connects the two exhibitions, ending the show with the works of Olafur Eliasson. The room for one colour is a stark contrast to that of the previously colourful work at the ArtScience Museum’s exhibition. The neon lights that omits all other colour but orange, and with that we are back to black at the end of the exhibition.