The second iteration of the Singapore Art Museum

19 01 2020

A set of buildings in Singapore close to my heart are those that belong to the Singapore Art Museum (SAM) on Bras Basah Road. I spent four memorable years at them at the end of the 1970s, when the structures that have been protected as a National Monument, belong to St. Joseph’s Institution (SJI). With the school vacating the site it had occupied since 1852 in 1987 and urban redevelopment having already then arrived at Bras Basah Road’s doorstep, the former campus and the world around it has changed almost beyond recognition. I am grateful for at least the familiar sight of the school’s protected façade, which with its curved wings appearing like the arms of a mother to embrace her children with a warmest of welcomes. Another thing that I am grateful for, is the dignified manner in which the school’s old buildings have been repurposed.

Singapore Art Museum, which is undergoing redevelopment, will only reopen in 2023.

We should soon seen a second iteration of SAM in the former SJI, since the first that came in its 1996 conversion.  Several structures of the old school were torn down in the 1996 iteration, which included the much loved Brothers’ Quarters on Queen Street. The quarters’ building, the bottom of which contained the school’s tuck shop, was replaced with a service block which has been demolished to accommodate the set of changes that will come next. The proposed interventions, which will perhaps take a bit of taking to, will include an entrance plaza at Queen Street, the addition of a floating box over the two courtyards known as the Sky Gallery, and a gallery bridge that will link the set of structures on the SJI side of the SAM to the SAM @ 8Q section on site of the former Catholic High School (CHS).

Mr Chan Soo Kian of SCDA Architects presenting the proposed new entrance plaza at Queen Street.

In isolation and on first impressions, the new additions will seem almost monstrous in proportions, and the gallery bridge does seem to give the impression of an archway into Queen Street — where several other structures that I refer to as “monsters in our midst”, now seem to dominate. Having had the opportunity to hear from the creators of the proposed new additions and a chance to look at the artist impressions of the structures together with the parts that make the National Monument up  – the conserved main façade, the former Anderson Building on Waterloo Street, and the chapel block, it does seem that as a whole the additions are for the better.

An artist impression of the proposed Queen Street entrance plaza with the Sky Gallery also seen (©Singapore Art Museum).

The Sky Gallery was the addition that grated most on the senses — at first glance and seemingly something that would stick out like the proverbial sore thumb that will overwhelm the monument’s landmark façade. On closer inspection, the feature does however serve to provide a backdrop that could help in neutralising the effect of clutter currently behind the SAM. This could have the effect of drawing greater focus on the façade. The gallery will also series of reflective glass panels running its length, with each angled towards the dome — which does seem a brilliant touch. The effect to the observer is the shifting of reflections as one moves past, reflecting both the old but with the dynamism of the continuously changing and multi-faceted new — something that the museum hopes to do to enhance its position as a showcase of present and future contemporary Southeast Asian art.

An artist impression of SAM’s façade with the proposed Sky Gallery (©Singapore Art Museum).

The façade seen in May 2019.

The additions will not only create space as the SAM seeks to enhance its position as a show case of Southeast Asian contemporary art, but also make the old and new spaces much more usable. The additions will help to increase gallery space, which will grow some 30% area-wise. The more significant impact is to also have space created that will have greater height and volume – as will be seen in the two courtyards. Once spaces for assembly and play and now covered by the “floating” Sky Gallery, they will see large volume and column-free gallery space being created. Although not ideal for the old boy that I am looking to reminisce about things such as the aerial threat that was carried by the pigeons with seemingly overactive digestive systems who inhabited the rafters above, the change will make the space a lot more usable, more comfortable and perhaps much better appreciated.

An artist impression of the view from Queen Street of the former buildings of CHS with the gallery bridge and the proposed interventions at CHS (©Singapore Art Museum).

The gallery bridge — along which more gallery space will be created — will help integrate the isolated former CHS section fo the museum. To be erected over Queen Street, it will seem very much like a gateway into street from Bras Basah Road and place a focus on the street at street-level.

An artist impression of the gallery bridge (©Singapore Art Museum).

Another change that I thought will be positive, is the removal of glass panels along the previously open verandahs of the main building. It will give me a chance to walk the corridors as I once did and gaze at the statue of St. John the Baptist de la Salle – the founder of the religious order behind the school. The statue, a feature that was used as a navigation landmark, is a replica of a marble sculpture by Cesare Aureli in St. Peter’s Basilica in the Vatican that was donated to the school on the occasion of its Diamond Jubilee.

An artist impression of the Queen Street Courtyard (©Singapore Art Museum).

 

An artist impression of the Waterloo Street Courtyard (©Singapore Art Museum).

The reopening of SAM, has been moved to 2023 due to the restoration effort that is required on the old buildings. On the evidence of what is in store, it would be well worth the added wait. The redeveloped museum will see learning studios and a library, public art spaces and promises “exciting” retail and café spaces. SAM will however continue to remain active during the extended period of closure through partnerships with both Singapore and overseas art spaces and museums. More information on SAM related events in 2020 can be found at the calendar of events on the SAM website.

Dr Eugene Tan, Director, SAM and an old boy of SJI.

 


 





The formal surrender of Japanese forces in Southeast Asia in photographs

17 09 2019

The end of the Second World War came with the announcement made by Emperor Hirohito of Japan on 15 August 1945, it would take a few weeks for Japan’s formal surrender – first on 2 September 1945 on the USS Missouri in Tokyo Bay and in Southeast Asia at the Municipal Chamber of Singapore’s Municipal Building (City Hall and now the City Hall Wing of the National Gallery Singapore) on 12 September 1945.

A wonderful set of photographs of the surrender in Singapore – plus a couple from the arrival of a delegation of Japanese senior officers to discuss the surrender in August 1945 in Mingaladon Airfield in Rangoon, popped up on On a Little Street in Singapore. The photographs, which were posted by Ian Hepplewhite and were part of his father’s collection, are shared here with his kind permission.


Formal Surrender of Japan in Southeast Asia, 12 September 1945

(Lord Louis Mountbatten, Supreme Allied Commander of South East Asia Command, received the formal surrender of the Japanese forces in Southeast Asia from General Seishirō Itagaki on behalf of Field Marshal Count Hisaichi Terauchi, the Supreme Commander of Southern Command of the Japanese Imperial Army)

“This is the series of pictures I have of my father’s showing the Japanese surrender to Mountbatten. I do have other images of Singapore from that time people may have already seen” – Ian Hepplewhite, on On a Little Street in Singapore.

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Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.

Shared with the kind permission of Ian Hepplewhite.


Mingaladon Airfield, August 1945

Japanese senior officers arriving at Mingaladon airfield in Rangoon (Yangon) Burma (Myanmar) to discuss surrender – shared with the kind permission of Ian Hepplewhite.

Japanese senior officers arriving at Mingaladon airfield in Rangoon (Yangon) Burma (Myanmar) to discuss surrender – shared with the kind permission of Ian Hepplewhite.


 





A sneak peek at Maxwell Chambers Suites

24 07 2019

I had the opportunity to pay the soon to be opened Maxwell Chambers Suites a visit, thanks to a Ministry of Law (MinLaw) organised guided visit. I must say that the former Traffic Police Headquarters turned design museum looks resplendent in its transformation, having morphed over a period of two-years into an extension of Maxwell Chambers. Maxwell Chambers is the world’s first integrated dispute resolution complex right next door that is housed in the former Customs House. The extension, which is set to open on 8 August, will help cement Singapore’s position as a hub for international dispute resolution.

Windows from the past with reflections of the future – at the former Traffic Police HQ turned dispute resolution complex.

The conserved building has, both literally and metaphorically, had quite a colourful past. Completed early in 1930 as the Police “D” Division headquarters and barracks, a corner of it was used to house the Traffic Branch. The new Division HQ cum barrack block had been built during the decade-long effort to modernise and bring greater professionalism to the Straits Settlements Police Force. The effort, the brainchild of the force’s Inspector General, Harold Fairburn, came in days when “Sin-galore” might have seemed as appropriate a name for the municipality as Singapore. The force was reorganised, expanded and better trained – with the construction of the new Police Training School (old Police Academy). New and modern facilities were also built, including police stations and barracks to house the expanded police force.

The gorgeously decorated Business Centre at Maxwell Chambers Suites.

The re-organisation also saw the Traffic Branch (as the Traffic Police in its infancy was known as) move from Central Police Station to the new station and barrack building at Maxwell Road. The Traffic Branch, and later the Traffic Police, would maintain an almost unbroken association with the building until 1999. That was when the Traffic Police made a move to it current home at Ubi Ave 3.

Standing tall – the former traffic police headquarters seen in new light against the backdrop of Singapore’s tallest building.

The dreaded driving test would be on the minds of many of the older folks when the Traffic Police HQ is mentioned. The process of obtaining a driving licence here, required the prospective driver to pay Maxwell Road a visit or two. This arrangement lasted until December 1968, after the Registry of Vehicles (ROV) took over the conduct of driving tests and built a second test centre in Queenstown. Tests continued to the conducted at Maxwell Road until May 1978.  

The rear façade of the building where the communal barrack kitchens were arranged on the upper floors and next to which was the compound where the “test circuit” was set up.

The version of the building that is probably etched in the minds of most would be the incarnation that had many of us see red – as the “red dot Traffic Building” and the home of the Red Dot Design Museum. The museum open in 2005 and was housed in the building until it was acquired by MinLaw in 2017.

As the Red Dot Traffic Building, which housed the Red Dot Design Museum from 2005 to 2017.

Interestingly, it does seem that it wasn’t just as the Red Dot that the building may have attracted attention due to its colour scheme. The building’s conservation architect, Mr. Ho Weng Hin, in sharing about how the current colour scheme was selected also revealed that its initial coat was a mustard-like yellow with green accents. This may have been in keeping with the Art Deco influences of the day. The colours have certainly mellowed over the years and it is in keeping with the colour schemes of its latter years as a police building that its current colour scheme was selected.

Maxwell Chambers Suites has had its colour restored to reflect the colour scheme of the late 20th century Traffic Police Building.

As with several other urban street-side police barrack buildings of the era, Maxwell Chambers Suites’ façade displays an orderly array of wooden framed windows. These, along with the original cast iron gutters also on its face, have been painstakingly restored. A discovery that was made during the restoration pointed to the origin of the gutters, which was a well-established Glaswegian foundry named Walter MacFarlane and Co. With its openings now sealed with glass, the restored wooden windows have been left in an “opened” position. It will be interesting to note how air-conditioning intake vents have been quite creatively placed in the upper (top- opening) sections of the wooden windows – arranged to give the impression that some of the upper window sections have been opened quite randomly.

Vents are arranged to give an impression that the top opening sections of the exterior windows have been opened in a random manner.

Inside the building, offices, meeting rooms and an beautifully decorated business centre – for the use of visiting legal practitioners – now occupy spaces that had originally been the homes of policemen and their families or service spaces such as communal kitchens. These are laid out around an internal courtyard that had also been restored. Part of the courtyard was closed for use by the museum proper during the buildings Red Dot days. Courtyards are a feature of many of the civic buildings of the era and were used to maximise light and ventilation. In the case  urban police barrack buildings, they also provide privacy to the living spaces from the public streets.

The courtyard.

The opening of Maxwell Chambers Suites is timed to coincide with the Singapore Convention Week (3 – 9 August), the week when Singapore will witness the signing of the Singapore Convention on Mediation – the first United Nations treaty to be named after Singapore on 7 August. The Convention will provide for the cross-border enforcement of mediated settlement agreements and will give businesses greater certainty that mediated settlement agreements can be relied upon to resolve cross-border commercial disputes. More on Maxwell Chamber Suites can be found at this link.

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Once barrack rooms.

A mural depicting the memories of a traffic policeman – of floods when the Singapore River spilled over.

Mr Ho Weng Hin pointing out the MacFarlane trademark on the cast iron gutter.

The Walter MacFarlane trademark.

A cornice-like feature – once part of an opened roof deck at the building’s rear and now part of an enclosed space.

A meeting room on an upper floor with a reflection of the office spaces across the courtyard.

An upward view from the courtyard.

Restored windows in the bulding’s rear seen in a new light.

Another look at the building’s front.

 

What would once have been communal kitchens in the building’s rear – with prefab plaster canopy hoods.


Inside Maxwell Chambers (the Former Customs House)

The iconic Cavenagh Room under the dome of Maxwell Chambers (the former Customs House). Maxwell Chambers Suites has been linked to Maxwell Chambers by a link bridge.

Stairway to heaven.


Maxwell Chambers Suites in its time as the Red Dot Traffic Building

Linda Black’s depiction of Venus – at Chairity, an event held at the Red Dot Design Museum in 2012 that was graced by the late Mr. S. R. Nathan in his capacity  as the President of Singapore.

 






Journeys of faith and devotion from Kampong Gelam

13 10 2018

An insightful exhibition featuring the journeys of faith that Hajj pilgrims take in both body and in spirit, ‘Undangan ke Baitullah: Pilgrims Stories from the Malay World to Makkah’, was launched together with the Malay Culture Fest 2018 yesterday (12 Oct 2018).

 

A performance at the opening, reenacting a pilgrim’s journey of faith.

The exhibition, which runs from 13 October 2018 to 23 June 2019, takes a look at Kampong Gelam’s role in supporting the Hajj. The district, having been an important port town, saw Muslims from across the Nusantara congregate in preparation for the often difficult passage by sea to Mecca in days before air travel (the area around Busorrah Street was also known as ‘Kampong Kaji‘ – ‘kaji’ was apparently the Javanese pronunciation of ‘haji‘).

Mdm Halimah Yacob, President of the Republic of Singapore, launching the exhibition and the Malay Culture Fest.

Many businesses such the popular nasi padang outlet Hjh. Maimunah had its roots in the pilgrimage. The restaurant, which has an outlet at Jalan Pisang, is named after the founder’s mother Hajjah Maimunah, who was Singapore’s first female Hajj broker (or sheikh haji). The enterprising Hajjah Maimunah also ran a food business during the Hajj catering to pilgrims from this part of the world in Mecca.

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The Malay Culture Fest, which was opened together with the exhibition, runs from 12 to 28 October 2018 and will feature lectures and performances over the three weeks. More information can be found at :   https://peatix.com/group/40767/events.

Entrance to one of the exhibition’s galleries.

The hajj passport of a child pilgrim on display at the exhibition.

A trunk and a suitcase used by pilgrims on display.

 





The dark days of 1942 revisted

22 09 2017

This year marks the 75th Anniversary of the fall of Singapore, which the National Museum of Singapore is commemorating with an international exhibition Witness to War: Remembering 1942. The exhibition, which opens tomorrow, revisits the unfortunate period in Singapore’s history through artefacts that have not been seen on our shores since the war, as well as new takes on the darkest of days through previously untold stories of survivors. To add to that, artefacts from our own National Collection, including a recently acquired 25-Pounder Field Gun used by British and Commonwealth armies in World War Two, as well as never displayed before Japanese Army bugle, an Enfield No. 2 Mk. 1 revolver and personal artefacts of the war survivors, make their appearance. The exhibition is centred on the fall of Singapore on 15 February 1942 and its immediate aftermath with a section that also explores the lead up to the fall.

The recently acquired 25-Pounder Field Gun.

What is possibly one of the highlights will be a ceremonial sword that belonged to General Tomoyuki Yamashita. This, on display in its sheath, is on public display outside the United States for the first time since the war ended in 1945. The sword, the blade of which was made by a famed swordsmith, Fujiwara Kanenaga, sometime between 1640 and 1680, was surrendered to the Americans on 2 September 1945 in Luzon, Philippines and was given to the United States Military Academy at West Point. This will be the first time that the sword is being displayed outside the United States since it got there in 1945.

Yamashita’s ceremonial samurai sword.

What makes the exhibition worth the visit isn’t just the numerous artefacts but also the never heard before accounts, the collection of which rather interestingly involved school children, from war survivors and veterans. Speaking of the kids, there is a special family activity space, entitled “A Child’s Perspective”, that will appeal to the young ones – the interactive activity space includes a mock-up of a bomb-shelter which will allow the young ones a feel of what it may have been like.

School children were involved in the process of collecting previously untold stories of survivors.

Witness to War: Remembering 1942 is open to public from 23 September 2017 to 25 March 2018, and is chronicled on social media via the hashtag #remembering1942. More information on the exhibition and events related to it can be found at http://www.nationalmuseum.sg.

Poster of Hong Kong entrepreneur Ho Kom-Tong (Bruce Lee’s maternal grandfather) performing at a Hong Kong St. John Ambulance charity show Drunk Overlord in the Pavilion of a Hundred Flowers, 18 January 1941 (on loan from Hong Kong Museum of History, Leisure and Cultural Services Department).

The portrait of Sir Shenton Whitelegge Thomas painted by artist Xu Beihong, which was previously displayed in the Singapore History Gallery, makes its return in Witness to War after a period of conservation.

Artefacts from the pre-war Japanese community, who were centred on Chuo-Dori or Middle Road.

A family from the pre-war Japanese community, who were centred on Chuo-Dori or Middle Road.

Personal belongings of victims of war.

A Japanese bugle from the National Collection.

A Union Jack captured by Japanese troops marked with the date of the fall.

Changi Prison key.

Inside the mock-up of the bomb shelter.

The mock-up.

A mock-up of a kitchen.

Contributors of some of the stories.

 





To infinity and beyond with Yayoi Kusama

9 06 2017

Yayoi Kusama: Life is the Heart of a Rainbow opens at the National Gallery Singapore today. The highly anticipated exhibition takes visitors through the preeminent Japanese contemporary artist’s seven decade long career. Even if you are not a big on her artistic expressions – which are attempts to give form to her delusions – the exhibition is worth a visit just for the opportunity to be obliterated by the artist’s mirrored installations. Admission charges apply for exhibition, which runs until 3 Sep 2017. More information, including that on talks, workshops and other exhibition related activities can be obtained at the National Gallery Singapore’s website.

A video installation, Song of a Manhattan Suicide Addict.

A must visit infinity mirrored room: Gleaming Lights of the Souls.

Reflections off a mirrored box installation, I Want to Love on the Festival Night.

A peek into I Want to Love on the Festival Night.

Another peek into I Want to Love on the Festival Night.

Invisible Life.

Another must visit mirrored room: The Spirits of the Pumpkins Descended into the Heavens.

The Spirits of the Pumpkins Descended into the Heavens.

The Spirits of the Pumpkins Descended into the Heavens.

Statue of Venus Obliterated by Infinity Nets.

It takes balls of steel – Narcissus Garden in the City Hall Chamber.

A view across Gallery A. The exhibition is spread across three galleries of the SINGTEL Special Exhibition Gallery on the Level 3 of the City Hall Wing.

Left-over Snow in a Dream, a soft sculpture from 1982. The artist applied sewing skills she picked up working in a parachute factory as a schoolgirl during the Second World War.

Women’s Castle.





Great fun for the young ones at the National Gallery

27 05 2017

The National Gallery Singapore’s inaugural Gallery Children’s Biennale, themed Dreams and Stories, opened to a bang last week and on offer is one of the many exciting events our very fortunate children in Singapore can indulge in this school holiday season. Great fun for the young ones, the festival features interactive art showcases, performances and activities curated for kids and the young at heart and runs until 8 October 2017. More information can be found at https://www.nationalgallery.sg/see-do/highlights/childrens-biennale-2017.

Minister Tan Chuan Jin opening the Children’s Biennale.


Some highlights

Joining the dots – Yayoi Kusama style, at The Obliteration Room.

Not water under this bridge – Mark Justiani’s ‘Firewalk: A Bridge Of Embers’.

It takes balls – TeamLab’s Homogenizing And Transforming World.

Lynn Lu’s growing mess of memories penned on ribbons – This Changed My Life.

Where participants get to pen memories on ribbons and put them up.

Head in the clouds? Lynn Lu’s Duplet.

Flowers with stories – Tran Trong Vu’s The Sonnet in Blue.

Poem / Stories on handmade flower petals.






The hunt for eggs this Easter

16 04 2017

The hunt for eggs this Easter should start at the Singapore Philatelic Museum. The museum, despite its name, is not just about stamps but has quite an interesting mix of exhibitions that will delight the visitor and to celebrate Easter, as well as the arrival of Spring and also the (Chinese) year of the rooster, the museum has brought in 148 eggs flown in from one of Europe’s smallest countries, Lichtenstein.

A silver egg with an image of St. George and the Dragon (the patron saint of Russia and Moscow).

A perforated chicken egg with a decorated egg yolk.

Like the museum, Lichtenstein despite its tiny size, has quite a surprise in store. The eggs, which are quite extraordinary, are part of a precious collection from the vaults of the Lichtenstein National Museum that will be seen for the first time outside of Europe. Drawn from the Adulf Peter Goop collection, the eggs are a mix of finely decorated quail, ostrich, goose, duck, swan and chicken eggs, as well as ones made from precious metals, glass, porcelain, wax, crystal, marble, stone, wood , reindeer horn, cardboard and papier-mâché. The exhibition, “Precious Eggs: Of Art, Beauty and Culture”, also sees commissioned egg sculptures created by Liechtenstein’s leading artists, including Dr George Malin, Arno Oehri and Sunhild Wollwage on display. It will run until 8 October 2017.

Goose egg – with the Madonna and Child made with paper and dried flowers.

Egg mail!

In conjunction with the exhibition and specially for Easter Sunday, the museum will hold a series of activities for kids and the family. One that is particularly interesting, the Pysanka Egg Demonstration, takes place from 1 to 4 pm. Lovely ladies from the 300 strong Ukrainian community in Singapore will be on hand to show how Pysanka – traditional Ukrainian Easter eggs – are decorated. The unique decorations, include geometric patterns from the mountainous areas of the country and also other motifs that are typical of the cities and visitors will not only get to learn about Ukraine’s unique Easter celebrations, they will also get to try their hand at decorating the eggs. Other activities include a “Green Eggs and Ham” storytelling session, Easter Craft and a fun quiz.

Ladies from the Ukrainian community will demonstrate ‘pysanka’ .

Pysanka – traditional Ukrainian decorated Easter eggs.


The Adulf Peter Goop Collection:

Born in Liechtenstein, Mr Adulf Peter Goop (1921-2011) started to collect Easter eggs in 1985. He was inspired by his experiences as a boy giving painted eggs on Easter morning to Russian soldiers seeking asylum at the end of World War II, who were touched by the gesture of friendship. Numbering about 4,000 eggs, his impressive collection hails from all over the world – some from the Russian Imperial Family. In 2010, Mr Goop donated his comprehensive art collection to the Principality of Liechtenstein.


 





Back to school at Armenian Street

10 03 2017

Detention class, tuck shop, science lab, literature class and PE – names that evoke an instant recall of the best (or worst) days of our lives – will haunt Armenian Street this weekend when just like the good old days, scores of kids dressed in school uniforms that probably no longer fit, make a return to the area for the Armenian Street Party.

The former Tao Nan School – now Peranakan Museum, in party colours.

Put together by the Peranakan Museum, which is itself housed in a former school building,  the party being held this Friday and Saturday evening, offers lots of opportunities, especially for those of my generation, to feel that youthful vibe of one’s schooldays. If being naughty and ending up in The Substation’s Detention (an interactive space that celebrates creativity and playfulness) isn’t for you, there are lots of other things to do including showcasing one’s talents on stage through the Timbre Group’s Open Mic Night to relive the glitzy days of Talentime, tucking into some delectable and quite un-school canteen like treats brought the Tuckshop by True Blue Cuisine, and take part in Upside Motion’s Xtend the Night PE lessons – for which sign-ups ( are required at http://asp-xtendthenight-80s.peatix.com/ (Fri) and http://asp-xtendthenight-90s.peatix.com/ (Sat).

More information on the party and how to have fun at it can be found at the Peranakan Museum‘s and Singapore Philatelic Museum‘s websites.

Detention Class by The Substation (Friday and Saturday, 10 and 11 March 2017 7.30pm – 11pm).

Glee Club by Sing’theatre Academy (Friday, 10 March 2017 6.45pm, 7.45pm and 8.45pm).

Old School Swinging by Act 3 International (Friday, 10 March 2017, at 6pm and Saturday, 11 March 2017, at 6pm and 8pm).

 





The ruins on Sentosa

3 02 2017

Sentosa, or the island of peace and tranquility and now also of posh homes, fancy boats and overpriced hotels, was once the rather sinister sounding Pulau Blakang Mati – the island of death at the back. No one seems quite sure of the origins of the name, although there have been several suggestions including one that is tied to the legend that Pulau Tekukor to Blakang Mati’s south had once seen duels to the death pitting Bugis warriors against ones from the Malay world.

Ruins on Mount Serapong.

It was in putting up a deference to violent confrontation that was to be Blakang Mati’s purpose for a large part of British rule. Strategically positioned, it served not only as a natural breakwater for the new harbour. Endowed with high points, it was only a matter of time before guns to protect the harbour from seaward attack were positioned on the island. The idea was in fact already mooted by William Farquhar, Singapore’s first resident, as early as 1820 – a year after the British arrived.

The first military installations would however only come up in the late 1800s. Undeterred by outbreaks of malaria and “Blakang Mati fever”, fortifications requiring extensive use of concrete – then newly introduced to Singapore, were constructed at the end of the 1870s on Mount Serapong – Blakang Mati’s highest point. It would only be in 1885 that work started on the installation of coastal artillery on Serapong. Two 8 inch guns were installed with supporting infrastructure such as casemates built into the terrain, which contained magazines, accommodation and other working spaces.

By 1912/13, the guns at Serapong Battery would be upgraded to 9.2 inch calibre guns and a separate Spur Battery, also equipped with a 9.2 inch gun added. These guns would be decommissioned in the later half of the 1930s when 9.2 inch guns at Fort Connaught were installed. Two 6 inch guns would however be placed on the spur (renamed Serapong Battery) after a review in 1936 and this was operational up to the final days before the fall of Singapore. Both guns were spiked and destroyed, No. 2 on 14th and and No. 1 on 15th February 1942.

With the development of Sentosa today, it may perhaps be surprising that extensive remnants of the installations scattered over Mount Serapong – just a stone’s throw away from the luxury developments at Sentosa Cove – can still be found today. The remnants include a underground magazine built for the 9.2 inch spur battery that was converted for use for Serapong Battery’s 6 inch No. 1 Gun, the battery’s gun emplacements, as well as several other support structures built in the 1930s for the battery. What may be more surprising are casemates, thought to have been built around 1885 can be found along with mountings for the 9.2 inch guns and best of all, a bunker 20 metres under the casemates that served as the Blakang Mati Command Centre. The bunker, with several chambers is in a damaged condition and has a vertical escape shaft at the top of which is a hatch.

The National Heritage Board, through a series of guided tours to mark the 75th Anniversary of the Fall of Singapore, offers an excellent opportunity to learn more about and see these remnants. One tour, Fort Serapong @ Fort Siloso, for which 3 sessions on the 25 February, 4 and 11 March (from 9.30 am to 12 noon) will be held. Places are limited. More  on the tours and other programmes can be found below.

For more on the guns at Serapong, on Sentosa and also across Singapore, do visit Peter Stubbs excellent FortSiloso.com site.


Photographs of the ruins on Mount Serapong

On the spur, the Gun No. 1 Gun duty personnel rooms and gunners’ shelter.

On the spur, the Gun No. 1 Gun duty personnel rooms and gunners’ shelter.

The collapsed structure of the 6 inch Gun No. 1 emplacement on the spur.

The collapsed structure of the 6 inch Gun No. 1 emplacement on the spur.

The underground 6-inch Gun No. 1 magazine on the spur, converted from that for the 9.2 inch spur battery.

The underground 6-inch Gun No. 1 magazine on the spur, converted from that for the 9.2 inch spur battery.

Inside the Other Ranks shelter in the magazine.

Inside the Other Ranks shelter in the magazine.

In the 'courtyard' of the magazine.

In the ‘courtyard’ of the magazine.

Inside the magazine.

Inside the magazine.

The 1936 kitchen complex.

The 1936 kitchen complex.

More of the kitchen complex.

More of the kitchen complex.

Another view.

Another view.

The 1936 bathroom.

The 1936 bathroom.

Fort Connaught's Battery Command Post (BCP), positioned on the highest point.

Fort Connaught’s Battery Command Post (BCP), positioned on the highest point.

Another view.

Another view.

9.2 inch gun mounting studs.

9.2 inch gun mounting studs.

A close-up.

A close-up.

The 9.2 inch shell hoist.

The 9.2 inch shell hoist.

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Nature reclaiming the space.

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Stairs at the casemate.

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Space inside the casemate.

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Part of the casemate.

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Inside a casemate space.

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Another collapsed structure.

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A underground reservoir.

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Magazine inside the casemate.

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Another view.

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The Blakang Mati Command Centre.

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Another view.

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The view up the escape shaft.

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The hatch at the end of the escape shaft.



Commemoration of the 75th Anniversary of the Fall of Singapore

This 15 February will mark 75 years since the Fall of Singapore, an event that brought about 3½ years of occupation by the Japanese and a period of immense hardship.  The National Heritage Board is commemorating the anniversary with  “Battle for Singapore – Years under the Sun Empire: Tales of Resilience” that will see guided tours, talks and activities organised by various Museum Roundtable museums from 16 February to 12 March.

There would be 12 different tours with a total of 49 tour runs to look out for. These will cover 11 World War II related sites and structures, including some rarely opened places such as the former Fort Serapong and the former Command House. There is an opportunity to also hear accounts of battle and survival and learn about the contributions and courage of the local population to the effort to defend Singapore.

Also to look forward to is the re-opening of the Former Ford Factory, which has been closed for a year-long revamp. This will reopen to the public on 16 February 2017 and see a new exhibition gallery with never-been-seen-before archival materials, There is also an interactive component offering a more immersive account of the days of war and suffering. Special exhibitions and programmes are also being put up by the Army Museum, Battlebox, the Singapore Discovery Centre. the Eurasian Heritage Centre, and Reflections at Bukit Chandu. More information is available at  www.museums.com.sg. Sign-ups for the Battle for Singapore 2017 programmes can be made at this link: https://www.eventbrite.sg/o/national-heritage-board-9384989257 (available from 6 February 2017 at 10.00am onwards). Slots are limited and will be allocated on a first-come first-served basis.






The William Farquhar collection comes alive

7 12 2016

Two years in the making, Story of the Forest – an interactive digital installation that brings 69 drawings of the William Farquhar Collection of Natural History Drawings alive, makes it public debut on Saturday 10 December 2016. The work was commissioned as part of the revamp of the permanent galleries of the National Museum of Singapore for the Glass Rotunda. The scale and curvature of the venue presented huge challenges to the Japanese digital art collective behind it, teamLab and required team of 30 to be assembled. Much of the task, including pre-production, was carried out at teamLab’s base in Japan and this included the construction of a full scale mockup. A large enough warehouse – there apparently was the only one in Tokyo that the mock-up could fit into – was used for the mockup.

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Story of the Forest, by teamLab.

Cascading flowers of Story of the Forest's first segment.

Cascading flowers of Story of the Forest’s first segment.

The interactive second segment that takes visitors down a 170m walkway to the lower rotunda.

The interactive second segment that takes visitors down a 170m walkway to the lower rotunda.

More of the second segment.

More of the second segment.

Deeply inspired by the set of drawings on which the installation draws on for its images, teamLab’s has come up with one of the most amazing of installations that takes visitors on a journey of rediscovery through the rich assembly of flora and fauna that the Farquhar collection so beautifully captures. The Glass Rotunda, an architectural response of the Neo-Palladian rotunda of the museum’s main building, is a huge space to fill. It has a 15 metre high ceiling and a spiral walkway that requires the installation to be stretched across some 170 metres. teamLab response to this is a three segment installation. Cascading flora greets the visitors at the entrance, before the journey begins down the walkway with animals serving as a guide. A mobile app is available to enhance this experience. The app allows the “capture” of animals through the phone’s camera. The climax of the installation is a very dynamic one that takes place at the lower rotunda. Running animals, blooming trees, shooting stars and falling fruits make the experience especially immersive.

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The lower rotunda is also where a second installation can be viewed – that of Robert Zhao’s Singapore, Very Old Tree. 17 photographs of the 30 photographs in the collection are one display. The photographs explore the nation’s identity and uncovers the personal relationships between people and trees.

Singapore, A Very Old Tree.

Singapore, A Very Old Tree.

Admission to the Glass Rotunda (and Permanent Galleries) will be free to all visitors during the opening weekend on 10 and 11 December 2016 (it is also free on a permanent basis for Singaporeans and PRs). A host of activities for the family is also being lined up, more information on which can be found at www.nationalmuseum.sg.

A Patek Phillippe 'Farquhar Collection' Dome table clock donated by Hour Glass. Proceeds from an auction have gone to the revamp of the Glass Rotunda.

A Patek Phillippe ‘Farquhar Collection’ Dome table clock donated by Hour Glass. Proceeds from an auction have gone to the revamp of the Glass Rotunda.

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Second Nature, an interactive and immersive “secret garden” exhibit that features elements from the William Farquhar Collection of Natural History Drawings and reacts to your movements! Visitors are encouraged to participate and engage with the exhibit, as well as contribute to the installation by folding origami flowers and attaching them to a flowering board

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Wings of a Rich Manoeuvre. A permanent installation by Suzann Victor for Swarovski, which was unveiled on 30 Nov 2016.

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We have lift-off, NASA – A Human Adventure opens today

19 11 2016

Space exploration, fuelled by the cold war rivalry between the United States and the Soviet Union, made significant progress in the 1950s and 1960s. As a child of the 1960s, I was caught up in its excitement of it and especially of its most significant outcome – the landing of the first man on the moon in July 1969. The space programmes that led to the landing had itself generated huge interest during the decade. It was a space exploration flavoured decade in many ways and I took great satisfaction in rocket shaped ice-lollies, ice-cream packed in a Mercury spacecraft inspired container and on getting my hands on moon-landing inspired action transfer sets. For a child it seemed a most exciting of times; times that certainly came back to me visiting a preview of NASA – A Human Adventure, which opens today (19 November 2016) at the ArtScience Museum.

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A Mercury Spacecraft, the first US manned spacecraft.

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The exhibition, which is arranged around five galleries, takes visitors into a fascinating journey through space exploration and starts with the dreams humankind had long had of venturing into the unknown. There is an amazing collection of over 200 artefacts on display, several of which have flown in space, connected with both the Soviet and the NASA efforts. There also is get a chance to get up close to several training modules and full or large scale reconstructions of space craft including one of the Space Shuttle’s front section in which the flight deck and the mid-deck – where the crew eats, sleeps and works, complete with a vacuum toilet.

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The first gallery – which tells us all about the Dreamers.

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A re-creation of the Space Shuttle’s Flight Deck.

The Space Race, prompted by the Cold War rivalry between the Soviet Union and the US, is well documented in the second gallery, Go Fever. The intense rivalry provided much impetus for the rapid progress made by both countries in  space exploration and resulted in the first manned flights and the eventual moon landing. A model of Sputnik, the first satellite, which started the Space Race in earnest is on display. The early lead that the Soviets took is also seen in several rarely seen Soviet space artefacts and in a remembrance of the first human in space, cosmonaut Yuri Gagarin.

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A model of Sputnik – the very first artificial satellite, launched by the Soviet Union. The reflection on it is that of Go Fever, the second gallery.

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The Soviet Space programme put the first man in Space – Yuri Gagarin, who is remembered in Go Fever.

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Soviet space programme artefacts – including a briefcase carried by Yuri Gagarin into space.

The exhibition has three other galleries, Pioneers, Endurance and Innovation – tracing the evolution of rocket technology, how the challenges of space travel were overcome and how ground breaking technologies have been created through the programme. There is also a rather interesting art installation, The Indonesia Space Science Society by Indonesian artist, Venzha Christ that includes a 3 metre sculpture and invites visitors to listen to space.

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A scale-model of the very long Saturn V rocket.

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The Jupiter nose cone – launched into space and recovered from the sea – the experimental nose cone was a crucial step in development of re-entry vehicles – necessary for manned space flights.

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Titan I LR-87 rocket engine.

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The installation by Venzha Christ.

A highlight of the exhibition is the G-Force Astronaut Trainer ride, which simulates the flight of the 1961 Liberty Bell 7 with forces of up to 2G. The ride takes up to four and costs $6 on weekdays (Mondays to Thursdays) and $9 during the weekends.

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The G-Force Astronaut Trainer Ride.

In conjunction with the exhibition, the ArtScience Museum is also running the Art and Science of Space season. Several programmes are lined up including an Insights Tour during the opening weekend, given by Jukka Nurminen – an avid aeronautics enthusiast and the producer and curator of the exhibition. Two sessions will be held at 11.30am  lasting an hour on 19 and 20 Nov, which will be complimentary to ticket holders but limited to 25 per session (stickers will be given out 5 minutes before the tour begins). There are also public guided tours on 25 Nov at 3-4pm and on 27 Nov at 11.30am-12.30pm. A series of workshops will also be held. The exhibition runs until 19 March 2017 and more information on it, its programmes and ticketing can be found at the exhibition’s website.

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Jukka Nurminen, Producer and Curator of the exhibition.


More exhibits:

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Spacesuits.

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A Soviet lunar vehicle.

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Apollo Lunar Roving Vehicle.

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Moon rock collection case, bags, a glove and a boot.

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An Apollo survival kit.

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Command compartment of a Gemini Spacecraft.

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A command module.

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Apollo Command Module.

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Space Shuttle front section.

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An actual unused leg for the Apollo lunar landing module

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Film shot by Apollo astronauts.

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A Hasselblad camera of the type used for lunar operations.

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TV camera of type used for lunar operations.

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Lithium hydroxide canister for removing carbon dioxide. This featured in the Apollo 13 near tragedy that left the Command Module with limited electricity supply. To save power in the Command Module that was crucial for reentry, the Lunar Module was kept attached as a “lifeboat”. The Lunar Module did not have sufficient LiOH canisters and ground engineers very quickly found a way make join the rectangular canisters from the Command Module to the cylindrical canisters of the Lunar Module.

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An flight computer – which weighed about 100 kg.

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A photograph of the Apollo Lunar Module.

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A replica of the module with the triangular window seen in the photograph above.

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An actual Command Module parachute for descent back to earth – notice the burns from reentry on it.

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A heavily built Command Module front hatch.

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Models of Hubble and the ISS.





The Singapore Biennale 2016

2 11 2016

The 5th edition of the Singapore Biennale,”An Atlas of Mirrors”,  opened last week. Running until 26 February 2017, this year’s edition features works by 63 artists and art collectives from 19 countries and territories across Southeast Asia, East and South Asia that have a strong element of history in them. Curated around nine sub-themes the works are being displayed across eight locations with the Singapore Art Museum and SAM at 8Q as anchor venues. More information on the programmes, venues, artwork and ticketing can be found at the Singapore Biennale 2016’s website.

The Great East Indiaman by David Chan on the National Museum of Singapore's front lawn.

The Great East Indiaman by David Chan on the National Museum of Singapore’s front lawn.

Giving art a finger - Lim Soo Ngee's Inscription of the Island.

Giving art a finger – Lim Soo Ngee’s Inscription of the Island.


A selection of installations

Titarubi - History Repeats Itself at SAM. Featuring robes of gold coated nutmegs, it recalls the legacy of colonial conquest. to facilitate the control of the valuable trade in a spice said to have been worth its weight in gold.

Titarubi – History Repeats Itself at SAM. Featuring robes of gold coated nutmegs, it recalls the legacy of colonial conquest. to facilitate the control of the valuable trade in a spice said to have been worth its weight in gold.

The dreams of a Shaman's wife. Tcheu Siong, a Hmong shaman's wife has her dreams reinterpreted as 'story' clothes in which one finds the spirits she sees in her dreams, represented by the lanky figures alongside representations of mountains, humans and animals.

At SAM, the dreams of a Shaman’s wife. Tcheu Siong, a Hmong shaman’s wife has her dreams reinterpreted as ‘story’ clothes in which one finds the spirits she sees in her dreams, represented by the lanky figures alongside representations of mountains, humans and animals.

Also presented alongside are the works of Tcheu Siong's husband, Phasao Lao.

Also presented alongside are History, the works of Tcheu Siong’s husband, Phasao Lao.

Paracosmos by Harumi Yukutake at the SAM.

Paracosmos by Harumi Yukutake at the SAM.

Rubbish by Kentaro Hiroki, which features recreated items of rubbish picked by the artist.. On display at both SAM and 8Q.

Rubbish by Kentaro Hiroki, which features recreated items of rubbish picked by the artist.. On display at both SAM and 8Q.

Rubbish attrracting a crowd at SAM.

Rubbish attrracting a crowd at SAM.

Another view of Inscription of the Island, by Lim Soo Ngee.

Another view of Inscription of the Island, by Lim Soo Ngee.

Freakily leeky - Chia Chuyia's Knitting the Future at 8Q. The artist knits leeks to create a body length garment over a five week period. Leeks, as a food item, hold significance to the Teochew community to which the artist belongs.

Freakily leeky – Chia Chuyia’s Knitting the Future at 8Q. The artist knits leeks to create a body length garment over a five week period. Leeks, as a food item, hold significance to the Teochew community to which the artist belongs.

Knitting the Future.

Knitting the Future.

Rathin Barman's Home, and a Home, inspired by the experiences of the migrant Bangladeshi community in Singapore.

Rathin Barman’s Home, and a Home, inspired by the experiences of the migrant Bangladeshi community in Singapore.

Melissa Tan and her If you can dream a better world you can make a better world or perhaps travel between them.

Melissa Tan and her If you can dream a better world you can make a better world or perhaps travel between them.

Music boxes - which feature impressions made by physical features are part of teh installation.

Music boxes – which feature impressions made by physical features are part of the installation.

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The Great East Indiaman features a recreation of the whale skeleton that once hung inside the National Museum of Singapore in wood.

The Great East Indiaman features a recreation of the whale skeleton that once hung inside the National Museum of Singapore in wood.





Nights out during the ghost month

19 08 2016

If you are not being kept indoors by what traditionally is a time of the year during which one hesitates to venture out into the dark, you should take a pause this and next weekend from trying to catch’em all to catch this year’s edition of the Singapore Night Festival. This year’s festival, revolves around the spirit of innovation with its theme of Inventions and Innovation and will be an enlightening experience with light installations and performances inspired by fantasy, and science fiction as it is be invention.

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As with recent editions of the much anticipated festival, this year’s, the ninth, is laid out across five zones, each packed with installations and performances that will certainly light up one’s weekend. Besdies those I  had a chance to have a peek at listed below, there are several rather interesting installations, performances and goings-on during the nights of the festival. Installations and performances to look out for include: Invasion by Close-Act (Netherlands)A Kaleidoscope of Spring by NAFA (Singapore)The Story Box by A Dandypunk (US)Les AquamenS by Machtiern Company (France)Into Pulsar by Ryf Zaini (Singapore), and The Peranakan Museum Variety Show by Main Wayang (Singapore).

Members of Main Wayang.

Members of Main Wayang.

Once again, a party atmosphere will descend on Armenian Street, the difference being that the roar of Harleys will be heard with Rrready to Rrrumble! by Harley Davidson Singapore, Mod Squad and Speedzone (Singapore) – recalling perhaps the roar of the hell riders who once tore down nearby Orchard Road and Penang Road.

There are also no shortage of opportunities to indulge in food and even shopping with Eat @ Festival Village and Shop @ Festival Village. The offerings by Steamhaus (Halal) and The Ugly Duckling, which I had a chance to savour, are particularly yummy. For those who like it sweet, sinful and frozen, do look out for Husk Frozen Coconut.

For the brave, there also is a Night Heritage Tour by National Parks Board. Registration is required for this. As of the time of writing, tours for the first weekend are booked up and only slots for 26 August are available. Along with these, there are also items being put up by the partners of the Bars Basah Bugis precinct such as PoMo, Prinsep Street and Rendezvouse Hotel, including a free Movie Nights at Rendezvous Hotel. There will also be a chance to go behind the scenes with some of the artists and participate in workshops  in Behind the Night.

The festival runs over two weekends on 19 and 20 August and on 26 and 27 August 2016. More information on the festival and programmes on offer can be found at at festival’s website.


JOURNEY, Feat soundtrack by Ed Carter  | NOVAK (United Kingdom)

Front Lawn, Singapore Art Museum
19, 20, 26, 27 August 2016, 7.30pm – 2am | 21 – 25 August 2016, 7.30pm – 11pm

Journey by NOVAK, which is inspired by the world of Jules Verne.

Journey by NOVAK, which is inspired by the world of Jules Verne.

A dynamic projection-mapping performance inspired by the world of Victorian novelist Jules Verne, known for his creation of a world reflecting the future of Victorian invention and fantasy. NOVAK reinterprets seven of his novels to create a unique adventure dynamically projection-mapped to fit the façade of SAM, including an exploration of Singapore’s art and culture. Highlighting the use of invention to enable adventure, the viewer will be taken on a magical adventure through a series of scenes, each depicting a different landscape, relating to the environments that feature so vividly in Verne’s classic novels.

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The Wheel House | Acrojou (United Kingdom)

Mainground (near National Museum of Singapore)
19 and 20 August 2016 | 8pm – 8.25pm, 9.25pm – 9.50pm, 10.50pm – 11.15pm

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A “tender, post-apocalyptic love story”, The Wheel House is a unique, rolling acrobatic theatre show, which unfolds inside and around a stunning circular home as it travels with the audience walking alongside. The enchanting story is set in a gently comic dystopian future at a time where survival depends on sharp eyes, quick hands and, above all, friendship. Join these traveller-gatherers on the road to nowhere: treading lightly, enduring quietly and always moving onwards.


KEYFRAMES | Groupe LAPS (France)

National Museum of Singapore Façade
19, 20, 26, 27 August 2016, 7.30pm – 2am | 21 – 25 August 2016, 7.30pm – 11pm

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Through micro-stories weaved upon the stately National Museum of Singapore facade, KEYFRAMES offers narration in the city – urban stories where bodies and their movements play main roles. Part animation and part moving sculpture, the LED figures and their routine imbue static buildings with energy and excitement. This new installation – part of the KEYFRAMES series – brings glimmers of the past to life.


HOUSE OF CURIOSITIES | Sweet Tooth by CAKE (Singapore)

(Ticketed Performance)

Cathay Green (field opposite The Cathay)
19, 20, 26, 27 August 2016 | 6pm – 8pm, 8.30pm – 10.30pm, 11pm – 1am

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Tickets are available for purchase from 27 July onwards via SISTIC or at the door (while stocks last)
Adults: $16 (inclusive of $1 SISTIC fee) | Concession: $13 (inclusive of $1 SISTIC fee) Students (full time, with valid student pass issued by enrolled institution), senior citizen (60yrs and above, with valid identity pass showing proof of age), NSF (with valid 11B pass)

The House of Curiosities is an event featuring performance, activities and more. Based on the storyline of The Mechanical Heart, it is a story of adventure, curious man-made machines and the wonderful capacity of the human mind and spirit to discover and invent. Professor Chambers is a celebrated explorer and inventor. With his son Christopher, he builds a time machine that takes them on an expedition to find crystal caves in the subterranean depths. On the journey back, a monstrous octopus attacks them, injures Christopher and escapes. The devious octopus is a man-made contraption, but who is behind it? Find out in this exhilarating performance.


:Samara | Max Pagel & Jonathan Hwang

Armenian Church
19, 20, 26 and 27 August 2016, 7.30pm – 2am | 21 – 25 August 2016, 7.30pm – 11pm


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:Samara reflects on the duality of progress and sacrifice. What are we willing to give up in order to advance? Sometimes we regret accepting the cost of progress and try to recreate past experiences that have been lost forever. Inspired by the loss of the artist’s favourite tree, :Samara is an interactive illuminated tree sculpture created to give closure to a lost space. :Samara invites us to reflect on the authenticity of using modern technology to recreate what we lose in our fast-changing environment. At the same time, it gives us the opportunity to acknowledge and let go of these losses.

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The tree, lost to development at Paya Lebar Central, that inspired :Samara. 


Shifting Interactions | LASALLE College of the Arts

Glass Atrium, Level 2, National Museum of Singapore
7.30pm – 2am (dance performance at 8pm – 11pm) 21 – 25 August 2016 | 7.30pm – 10pm

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Tying together electronic media, sculpture and dance, LASALLE College of the Arts presents Shifting Interactions, a performance installation. Dancers will traverse a dynamic performance space dotted with a series of static and animated objects. Conceptualised as a durational and improvised performance piece, participants will shape, change and vitalise the space over time through sound, light and movement.


Singapore Night Festival 2016 ‘Tap to Donate’ | Xylvie Huang (Singapore)

Platform, Level 2, National Museum of Singapore
19, 20, 26, 27 August 2016 | 7pm – 12.30am 21 – 25 August 2016 | 7pm to 10pm

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The Singapore Night Festival is turning ten next year and we would like you to join us in “building” the 10th Singapore Night Festival!

Come by the National Museum at level 2 from 19 to 27 August 2016, make a donation of $2 by tapping your ez-link card and you will be given a LEGO brick to add on to a wall installation of LEGO Bricks by Singapore artist Xylvie Huang. All donations go towards “building” the Singapore Night Festival 2017.

Help build our Singapore Night Festival LEGO Wall Installation (located on Level 2 of the National Museum of Singapore) with four easy steps:

1. Tap your ez-link Card

2. Collect your LEGO brick

3. Build on the wall installation of LEGO Bricks

4. Collect your Candylious candy and watch the wall being built

The first 250 festivalgoers who ‘tap to donate’, gets a generic designed ez-link card (of no loaded value)!

This programme is supported by Ms Xylvie Huang Xinying, Brick Artist, EZ-Link, Wirecard and Candylicious.






Cate Blanchett visits a gem of an exhibition in Singapore

23 04 2016

A gem of an exhibition – literally, Van Cleef & Arpels: The Art and Science of Gems, opens at the ArtScience Museum today.  Brought in by the famed Parisian house of high jewellery, with the participation of the French National Museum of Natural History, the drool-worthy exhibition see over 400 of Van Cleef & Arpels’ exquisite works of love as well as 250 minerals from the Natural History Museum’s extensive collection.

Model of the Varuna Yacht, c. 1907.

Model of the Varuna Yacht, c. 1907.

Founded in 1906, the Maison’s beginnings is in itself a work of love, following on the 1895 marriage of Estelle Arpels – the daughter of a dealer in precious stones to Alfred Van Cleef, the son of a lapidary and diamond broker. Together with Estelle’s brothers, they opened their first boutique at 22 Place Vendôme – an address that the house maintains to this day in serving a clientele that has over the years included the likes of Maharajahs, Queens, Princes and Princesses.

A replica of the crown created by the Maison for the coronation of Empress Farah Pahlavi of Iran.

A replica of the crown created by the Maison for the coronation of Empress Farah Pahlavi of Iran.

The house’s rich history is one of the main themes of the exhibition, an introduction to which is given to visitors as they enter. The entrance is also where one of the Maison’s iconic pieces and one of my favourite pieces at the exhibition, a pendant with a flying bird carrying a huge 96.62 carat yellow diamond once owned by Polish opera singer and socialite, Gianna Walska, is showcased. The piece, commissioned by the then new owner of the diamond in 1971 to celebrate the birth of her son, adorned the cover of the Van Cleef & Arpels catalogue in 1972, where it was seen flying over the Place Vendôme. The piece is also transformable – a feature in many of the house’s pieces with the bird becoming a pair of winged earrings and the diamond worn as a pendant.

An iconic masterpiece, Van Cleef and Arpels' Bird Clip and Pendant, which features a 96.62 carat yellow diamond once owned by Polish opera singer Gianna Walska, greets visitors to the exhibition.

An iconic masterpiece, Van Cleef and Arpels’ Bird Clip and Pendant, which features a 96.62 carat yellow diamond once owned by Polish opera singer Gianna Walska, greets visitors to the exhibition.

Beyond the bird that flew over the Place Vendôme, the exhibition proper is arranged across eight galleries, which are all full of delight and discovery, seven of which have displays of Van Cleef and Arpels’ creations arranged according to seven themes: Couture, Abstractions, Influences, Precious Objects, Nature, Ballerinas and Fairies and Icons.   Each gallery also contains a parallel exhibition relating to the science of precious stones and feature gems and minerals from the French National Museum of Natural History’s renowned collection. These are arranged according to eight themes, representing the Earth and the seven major principles critical to the formation of precious stones: Pressure, Temperature, Transport, Water, Oxygen, Life and Metamorphism.

A 21,560 carat blue topaz crystal from the French National Museum of Natural History's collection.

A 21,560 carat blue topaz crystal from the French National Museum of Natural History’s collection.

One of the largest uncut black diamonds to be found.

Also from the French National Museum of Natural History’s collection – one of the largest uncut black diamonds to be found.

A diamond encrusted in a stone.

A diamond encrusted in a stone.

Amongst the seven galleries, one that I found particularly interesting was Influences in which the fascination Europe had with the orient that started in the 1920s, is seen in the pieces on display – some of which are very recent creations.

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Griffon Clip, 1971 with amethysts, coral, emeralds, diamonds on gold.

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Dragon vanity case, 1923.

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Dragon mystérieux clip, 2013 featuring garnets, emeralds, Mystery set rubies, sapphires and diamonds on gold.

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Carpe Koi bracelet watch, 2014.

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Table Clock, 1957.

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Egyptian Inspiration Bracelet, 1924, which features sapphires, rubies, emeralds, onyx and diamonds on platinum.

An especially delightful gallery is Ballerinas and Fairies, featuring ballerina clips that were born out of Louis Arpels’ passion for dance dating back to the early 1940s. The dainty and exquisitely crafted clips feature gemstone laden tutus  – which have grown shorter with time. The clips also have very fine details in the rose-cut diamond faces crowned with headrests of precious stones and gemstone dancing shoes.

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The dainty Ballerinas and Fairies clips will delight any visitor.

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Another area worth dwelling (not that the others aren’t) has to be the last gallery, Icons. Here is where several the icons  of the twentieth century ranging from royalty and to stars of the silver screen, have icons of the Maison created for them, displayed. This part of the collection includes several pieces made for the Duchess of Windsor, Princess Faiza of Egypt and starlet turned princess, Grace Kelly of Monaco.

A 1929 collaret created for Princess Faiza of Egypt - on display for the very first time.

A 1929 collaret created for Princess Faiza of Egypt – on display for the very first time.

There are also several programmes being held in conjunction with the exhibition to look forward to including a talk at 2pm today on gemology and artistry. Punlic guided tours are also available on 23, 24, 29, 30 April and 2, 6, 8 13, 15, 20 and 27 May, 3, 10 , 17 and 24 June. A workshop on gemstones is also being held. The exhibition runs until 14 August 2016. More information on the exhibition, as well as a downloadable audio app, can be found at: The Art and Science of Gems website.

A surprise visitor to the exhibition - the beautiful Cate Blanchett.

A surprise visitor to the exhibition – the beautiful Cate Blanchett.

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The wild rose minaudière, 1938, inspired by a cigarette box.

The wild rose minaudière, 1938, inspired by a cigarette box.





The unseen passageway in the National Gallery

4 04 2016

One of the functional spaces now can a glimpse of within the former Supreme Court in its reincarnation as a wing of the National Gallery Singapore, are the two prisoner cells. Once part of what I often refer to as the caged passageway – a unseen network of spaces under the courtrooms through which defendants in criminal cases could be bought for their court appearances with a minimum of fuss and away from public spotlight, the cells are the most visible of the parts of this network that are still with us today.

The entrance to the Holding Cells.

The Holding Cells today – a popular spot for a photograph to be taken.

Much of it, including interview rooms and office spaces arranged around the cells, have since been converted. Part of a corridor, I am told, and the two cells – once part of a row of twelve, are all that is left today to remind us of the unseen passageway. Now a popular spot to have a photograph taken at, the two cells are now the unseen passageway’s most visible part, serving to remind us of the building and its short but eventful history.

The caged passageway seen with indicted Japanese soldiers being tried for war crimes being led to the courtroom from the holding cells (source: Imperial War Museums © IWM (IND 4999).

The caged passageway seen during the post-war war crimes trials (source: Imperial War Museums © IWM (IND 4999).


Photographs of the “caged passageway” taken in 2010

The entrance - the steel doors opened up to the service road being the courthouse and ii was through them that vehicles ferrying defendants from prison to the Supreme Court entered.

The entrance – the steel doors opened up to the service road being the courthouse and ii was through them that vehicles ferrying defendants from prison to the Supreme Court entered.

Entry to an office space.

Entry to an office space.

Another office space.

Another office space.

A filing cabinet.

A filing cabinet.

A caged stairway.

A caged stairway.

The row of cells.

The row of cells – there would have been twelve such cells.

Inside a cell.

Inside a cell.

The WC inside the cell.

The WC inside the cell.

The passageway leading to the courtrooms.

The passageway leading to the courtrooms.

The stairway up to a courtroom, entry to which was through a trapdoor (which can still be seen in their closed positions).

The stairway up to a courtroom, entry to which was through a trapdoor (which can still be seen in their closed positions) placed behind the dock.


 

 





The 16th century sailor seen wandering at the National Museum

30 01 2016

With all that’s been rumoured about the National Museum, the curious sight of a lost soul dressed in the manner of a 16th century Portuguese sailor wandering around one of its galleries would not be unexpected. Strangely though, rather than stay well away from the sailor – as one might expect, those present in the gallery seemed instead to be drawn to him.

The Level 2 galleries.

The National Museum – where the past comes alive in more ways than one.

There is little that is sinister about the sailor who roams the basement gallery with two muses in tow. On a quest to find what he thinks will offer an escape from the curse of his long but lonely existence – attributed to the consumption of the Elixir of Life, the sailor enlists the help of those around. The sailor, the two muses, and his quest – to find the greatest treasure in the world, is all part of the fun of an experiential play, “The Greatest Treasure in the World”.

A muse and Aesop (as well as several other characters from the past), also help Afonso in his quest.

A pair of muses and several other characters from the past, also help Afonso in his quest.

The experiential play also has the audience take part.

The experiential play also has the audience take part.

The play, created by Peggy Ferroa, has the audience, embark on a rather enjoyable adventure through time with Afonso, the Portuguese sailor – whose full name sounds as long as the life he has had. The search for the treasure takes place in the in the Treasures of the World from the British Museum exhibition –  where Afonso suspects he would, with the help of the audience, find what he seeks.

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Tickets to join Afonso on his quest cost $38 and can be booked through SISTIC. Two sessions of the hour-long experience will be held on the evenings of 30 January, 25, 26 and 27 February, 24, 25, and 26 March and 28, 29 and 30 April 2016. More information on the The Greatest Treasure in the World can be found at the National Museum of Singapore’s website.

The cast with Peggy Ferroa (standing second from right).

The cast with Peggy Ferroa (standing second from right).

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Treasures of the World from the British Museum

8 12 2015

The British Museum’s Keeper of the Department of Asia, Ms. Jane Portal, speaking at the opening of the Treasures of the World from the British Museum exhibition.  The exhibition, which opened on 4 Dec 2015, has been brought in by the National Museum of Singapore in collaboration with the British Museum. It features 239 exceptional artefacts from the British Museum’s collection, representing a period of some 2 million years and runs to 29 May 2016. Further information on the exhibition can be found at : Highlights: Treasures of the World from the British Museum.

Ms. Jane Portal, Keeper of the Department of Asia, British Museum at the opening of the exhibition.

Ms. Jane Portal, Keeper of the Department of Asia, British Museum at the opening of the exhibition. The picture in the backdrop is of one of two Lewis Chess Piece made of Walrus Ivory from about AD 1150-1200, measuring about 9 cm in height, found on the Isle of Lewis that is on display at the exhibition.

 

 





Highlights: Treasures of the World from the British Museum

4 12 2015

It is from the treasure trove of what our ancestors have left behind that we find out much of what makes us who we are, the remarkable progress of the human race, and perhaps the common values that binds humans even the most diverse of cultures together. We have now an opportunity in Singapore to have a look at some very significant artefacts that have help to tell us the colourful and eventful story of humankind’s existence when the Treasures of the World from the British Museum exhibition opens on 5 December 2015. The exhibition, which will run for six months until 29 May 2016 , brings some of the best from the British Museum’s rather sizeable collection to the National Museum of Singapore.

Bust of Emperor Hadrian. From Tivoli, Italy. Around AD 125–130. Marble.

Bust of Emperor Hadrian. From Tivoli, Italy. Around AD 125–130. Marble.

The British Museum’s repository of history provides us with a view that spans a period of more than two million years. For the exhibition, the oldest object being brought over is an 800,000 year old hand axe. The Quartzite axe, dates to the lower Palaeolithic period and originates from the Olduvai Gorge in Tanzania. Said to be the “Cradle of Mankind”, the gorge is where some of the earliest evidence of existence of our ancestors has been found.

Stone handaxe. Olduvai Gorge, Tanzania. Lower Palaeolithic, about 800,000 years old. Quartzite.

Stone handaxe. Olduvai Gorge, Tanzania. Lower Palaeolithic, about 800,000 years old. Quartzite.

The exhibition has been laid out such that it spans out from the axe, much as humankind has spread out from the African continent. Objects are presented at a regional or continental level, providing a taste of the evolution of the diverse cultures in regions such as Africa, the Middle East, Asia, Europe, the Americas and Oceania.

The exhibition spans out from the 800,000 year old axe.

The exhibition spans out from the 800,000 year old axe.

Among the exhibits, all of which have more than a story to tell, several caught my eye. There is the must-have mummy plus objects from the tomb from the museum’s well-known collection of Egyptian antiquities. The 2nd Century mummy, that of an adolescent boy, is particularly interesting for its “mummy portrait” – which shows the influence of the Greco-Roman tradition. The portrait – an Egyptian practice, is Roman in terms of style and technique. Such naturalistic portraits are thought to be among the finest surviving works of art from classical antiquity.

Mummy of an adolescent boy. Hawara, Egypt Roman period, AD 100–120 Human tissue, linen, gold, wax.

Mummy of an adolescent boy. Hawara, Egypt Roman period, AD 100–120
Human tissue, linen, gold, wax.

Among the funerary objects is 900 BC mummy board that gained the reputation of being an Unlucky Mummy. A series of misfortunes were attributed to the board – including a suggestion that it was onboard the ill fated SS Titanic when she sank on her maiden voyage.

Mummy-board. Probably from Thebes, Egypt Late 21st or early 22nd Dynasty, 950–900 BC Wood, painted detail on plaster.

Mummy-board. Probably from Thebes, Egypt Late 21st or early 22nd Dynasty, 950–900 BC Wood, painted detail on plaster.

Another exhibit that is worth looking at is a memorial portrait bust of a priest from Palmyra – especially so with the recent destruction of the antiquities there. The limestone bust dates from AD 150 to 200 and is identified as that of Yedibel, the son of Oge Ya’ut. The hat identifies him as a priest.

A memorial portrait bust of a priest from Palmyra, Syria.

A memorial portrait bust of a priest from Palmyra, Syria.

A set of objects from pre-Columbian America also provide a rare insight into the cultures of the period. One artefact that caught my attention is a deity mask representing Xipe Totec, a principal god of the Aztecs. The stone mask, interestingly, has a decorated inside surface carved with a four-armed figure – thought to represent a priest or the deity. Another interesting fact is that Xipe Totec means the “the flayed one”. This apparently alludes to the practice of wearing the flayed skin of sacrificial human victims during springtime planting festivals to ensure the renewal of life – the mask of dead skin was likened to dead vegetation concealing new life beneath it.

Deity mask. Mexico. Aztec (Mexica), around AD 1400–1521. Grey volcanic stone. (The reflection shows the carved inside surface).

Deity mask. Mexico. Aztec (Mexica), around AD 1400–1521. Grey volcanic stone. (The reflection shows the carved inside surface).

Lintel showing a Maya ruler. Yaxchilán, Mexico. Maya, AD 600–900. Limestone.

Lintel showing a Maya ruler. Yaxchilán, Mexico. Maya, AD 600–900. Limestone.

Besides the Aztec mask, the funerary and memorial objects, many other representations of human forms and deities are noticeable throughout the exhibition. There are some of the tallest and heaviest exhibits that are found amongst these. One seemingly friendly chap is a 2.4 metre Welcome figure of the Kwakwaka’wakw people from Vancouver Island, who holds a hand out in welcome. Another tall object and striking form is one that was one half of a pair of door posts from a New Caledonian chief’s house.

Welcome figure. Vancouver Island, Canada. Kwakwaka’wakw people, 19th century AD. Wood.

Welcome figure. Vancouver Island, Canada. Kwakwaka’wakw people, 19th century AD. Wood.

Door post. New Caledonia. 19th or early 20th century AD. Wood.

Door post. New Caledonia. 19th or early 20th century AD. Wood.

The Oceania section.

The Oceania section.

A skull holder from New Guinea.

A skull holder from New Guinea.

Two Young Explorers’ Zones, designed for children aged 7 to 12, will provide the younger ones with an excellent learning opportunity to. The zones feature activity sheets and learning stations. Also, in conjunction with the exhibition, public programmes such as workshops, curated tours, lectures by representatives from the British Museum and other historians, and theatre performances will be held. More information on this can be found at the National Museum of Singapore’s exhibition page. Admission charges apply.

An activity sheet for young explorers.

An activity sheet for young explorers.

A young explorer zone (in the foreground).

A young explorer zone (in the foreground).


Some other highlights:

Figure of a pregnant woman. Cyclades, Greece. Early Bronze Age, 2600–2400 BC. Marble.

Figure of a pregnant woman. Cyclades, Greece. Early Bronze Age, 2600–2400 BC. Marble.

During the third millennium BC, relatively prosperous and wellpopulated settlements flourished on the Cycladic islands in the central Aegean Sea. Among the most striking artistic creations of this period are schematic figures carved in marble. Most are female and are typically shown with their arms folded across the chest, the right arm always placed under the left. This well-carved example is notable for its swollen abdomen, which suggests pregnancy.

The significance of Cycladic figures has been the subject of considerable debate. Many come from graves, perhaps indicating that they were made particularly for funerary use. However, since numbers of them have also been found in settlements, they may have been important in the rituals of the living as well. The depiction of sexual characteristics, and occasionally pregnancy, points to an emphasis on female fertility.


Early erotica perhaps. Marble group of a nymph escaping from a satyr. Tivoli, Italy. 2nd century AD. Marble.

Early erotica perhaps. Marble group of a nymph escaping from a satyr. Tivoli, Italy.
2nd century AD. Marble.

In ancient Greek myth, satyrs were part-human, part-animal beings closely associated with Dionysos, the god of wine. Given to wild passion, they are often shown in art as sexual predators chasing after nymphs and maenads, the female followers of Dionysos. In this marble group, a nymph struggles to free herself from a rapacious satyr who has locked his arms around her waist. Such images of amorous wrestling couples gave vivid expression to male erotic fantasies.

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The sculpture is one of several known Roman versions of an earlier Greek work of the second or first century BC (now lost). With its complex composition of interacting bodies, designed to be seen in the round, it is typical of Hellenistic (later Greek period) art. The collector Charles Townley acquired the sculpture in 1773 through the English dealer Thomas Jenkins. It appears in the famous painting by Johan Zoffany, Charles Townley’s Library (1781–83), now in the collection of the Townley Hall Art Gallery and Museum, Burnley, England.


The Three Crosses. Rembrandt (Harmensz van Rijn) (Dutch, 1606-1668). AD 1653. Dry point etching.

The Three Crosses. Rembrandt (Harmensz van Rijn) (Dutch, 1606-1668). AD 1653. Dry point etching.

The celebrated Dutch painter Rembrandt made over three hundred etchings, and the present work is one of his masterpieces. This scene of Christ’s crucifixion is extraordinarily dramatic on account of the bold contrast between light and shade, with the frail figure of Jesus spotlighted in the centre. The crowd of figures beneath the cross can just be made out in the gloom, an effect that heightens the sense of confusion and suffering that surrounds Christ’s death.

Rembrandt began training as an artist in Leiden at the age of 15. His skill and imagination led to great success once he moved to Amsterdam in 1631. Printmaking was a central element of his production. It supplemented his income and due to the portability of prints it also won him an international reputation, which was important to him since unlike many Dutch artists, he never travelled to Italy.

The Reformation emphasised the importance of private prayer, and prints such as this were both great works of art and a means of bringing Biblical stories vividly to life.


The heaviest treasure, approximately 1100kg. Grave Relief. Probably from Athens, Greece. 4th century BC; head re-cut in the early 1st century AD. Marble.

The heaviest treasure, approximately 1100kg. Grave Relief. Probably from Athens, Greece. 4th century BC; head re-cut in the early 1st century AD. Marble.

This grave relief depicts the idealised figure of a youth, naked but for a cloak over his left arm and shoulder. He holds a scraper or strigil, identifying him as an athlete. Although the stele and its image are of the 4th century BC, it was reused in the early 1st century AD to commemorate the death of a certain “Tryphon, son of Eutychos”. His name is inscribed on the architrave above the figure in Greek letters of the Roman period. To personalise the stele even further, the head was re-carved in contemporary Roman style. Once again, the “portrait” is idealised and may have borne no resemblance to the actual person it was intended to represent. This recycled artefact has survived in remarkably good condition.


Sir Thomas Stamford Raffles collection. General view of the temple at Borobudur. Around AD 1814. Watercolour on paper.

Sir Thomas Stamford Raffles collection. General view of the temple at Borobudur. Around AD 1814. Watercolour on paper.

The temple complex at Borobudur in Central Java is undoubtedly one of the greatest Buddhist monuments in the world. It was built in the 8th and 9th centuries under the patronage of the kings of the Saliendra dynasty (ruled around AD 775−860) as a Buddhist pilgrimage site. Shaped like a stepped pyramid, the main temple is remarkable for its terraces that are richly decorated with relief carvings and Buddha figures. The site began to decline in the 10th century as royal power shifted away from Central Java to the east, and was eventually abandoned in the 16th century.

Borobudur was brought to the attention of European audiences by Thomas Stamford Raffles (1781−1826) during his time as British Lieutenant-Governor of the island. In 1814, when Raffles was informed about a huge “lost” monument deep in the jungles near Yogyakarta, he dispatched the Dutch engineer H. C. Cornelius to investigate. With a force of 200 workers at his disposal, it took Cornelius two months to clear the site and partially reveal the huge terraced pyramid seen in this drawing. It seems likely that the image was produced for Raffles around this time.


Earliest recorded batik and Sir Thomas Stamford Raffles collection. Batik cloth. Java, Indonesia. Before AD 1816. Cotton.

Earliest recorded batik and Sir Thomas Stamford Raffles collection. Batik cloth. Java, Indonesia. Before AD 1816. Cotton. In the foreground, Dagger and scabbard. Java, Indonesia Before AD 1816. Metal, silver, wood.

Indonesia and the island of Java particularly, is unrivalled for the scope and variety of its batik textile production. Although the technique of patterning cloth through the application of wax is known in other parts of the world, it reached the highest level of refinement and complexity on Java.

This sarong skirt cloth is one of two in the British Museum that are among the earliest known examples of Javanese batik in any collection. It consists of a central panel (kepala) made up of triangular motifs (tumpal) with vertical panels to either side, and a main body (badan) on which the broken knife (parang rusak) design has been drawn. Stylistic traits, particularly the parang rusak pattern that was restricted to royalty, mark it as a piece from the Central Javanese court of Yogyakarta.

As Lieutenant-Governor of Java, Stamford Raffles visited the Yogyakarta court on two occasions, in December 1814 and again in January 1816. It is probable that the British Museum batiks were presented as diplomatic gifts on one of these state visits.

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A kris (or keris) is a type of dagger associated primarily with Indonesia and Malaysia, but also found in other areas of Southeast Asia. It is composed of three parts – the blade, the hilt and the scabbard – each of which may be decorated, with significance coming from the form and patterning. The blade is often, but not always, of a wavy shape. Worn by men, the kris was supposed to correspond with its owner’s physical proportions and temperament. As well as being weapons, kris are also heirlooms, part of ceremonial dress and a marker of social status. They are believed to have numerous magical properties, such as bringing good fortune or enhancing bravery. While a kris might bring back bad luck to one owner and have to be discarded, it could function benevolently with another individual.

This kris was collected by Sir Stamford Raffles during his posting as British Lieutenant-Governor of Java from 1811 to 1816.


Standing figure of the Buddha. Ancient Gandhara, Pakistan. AD 100–200. Grey schist.

Standing figure of the Buddha. Ancient Gandhara, Pakistan. AD 100–200. Grey schist.

Located in the region between modern northwest Pakistan and eastern Afghanistan, ancient Gandhara flourished as a major centre of Buddhism in the early centuries of the first millennium AD. Under the patronage of the ruling Kushan dynasty, numerous monasteries and shrines were constructed and furnished with narratives reliefs and devotional sculptures of the Buddha and bodhisattvas (Buddhas-to-be).

This serene figure, carved in grey schist, is representative of the classic Gandharan image. Draped in an elegant monastic robe, the Buddha assumes abhayamudra, the gesture of reassurance, offering protection to the worshipper with his raised hand (now lost). The halo surrounding the head signals his enlightened status. The sculptural traditions of Gandhara were greatly influenced by Greco-Roman prototypes, as is revealed here in the deeply cut folds of the robe and treatment of the hair.


(L) Painting of the bodhisattva Samantabhadra. Tang dynasty, around AD 750–850. Ink and colours on silk. (R) Painting of Lokapala Virūpākṣa, Guardian of the West. Tang dynasty, around AD 850–900. Ink and colours on silk.

(L) Painting of the bodhisattva Samantabhadra. Tang dynasty, around AD 750–850. Ink and colours on silk. (R) Painting of Lokapala Virūpākṣa, Guardian of the West. Tang dynasty, around AD 850–900. Ink and colours on silk.

The subject of this painting is the bodhisattva Samantabhadra, the special patron of the followers of the Lotus Sutra. He is shown seated on a lotus and riding a six-tusked white elephant, his familiar mount. During the Tang dynasty (AD 618–906) Samantabhadra was closely associated with Mañjuśrī, the bodhisattva of wisdom, and the painting may have been one of a pair of votive banners that were hung together for use in worship. Though the colours are today quite faded, in its original state the painting would have featured sumptuous highlights in blue, yellow, pink and red.

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This painting shows the lokapala Virūpākṣa, one of four heavenly kings who together protect the cardinal points of north, south east and west. He is depicted holding a sword, the jewelled scabbard of which rests directly on a demon’s head, only the sparse red hair of which remains. As with many such banners from Dunhuang, the image originally featured borders down each side and a band of lozenges at the bottom.


One of two brass plaques. Benin, Nigeria. Edo people, 16th century AD. Brass.

One of two brass plaques. Benin, Nigeria. Edo people, 16th century AD. Brass.

The powerful West African kingdom of Benin is famous for its brass castings, and particularly for its relief plaques which are unique in Africa. They were made from around 1550 to 1650 and were probably produced in matching pairs to clad the wooden pillars of the royal palace in Benin City. The palace was the centre of political and religious activities that ensured the well-being of the entire Edo state.

Some of the plaques portray important historical events while others depict scenes from court life and ritual. Both plaques illustrated here are dominated by the imposing figure of the Oba, or king, of Benin. On the left (a), the Oba is shown in the act of sacrificing a cow, assisted by five male priests who hold the animal’s legs and head still for him. He wears several items of royal regalia, including an elaborate headdress and necklace that signify his elevated social status and power. On the right hand plaque (b), the Oba is depicted with a spear in one hand and shield in the other. On his belt is a brass ornament in the form of a leopard’s head; the leopard being one of several creatures closely connected with royal power and authority. In the upper corners a pair of Portuguese traders are shown, each carrying a gift for the king. Depicted below are two attendants wearing pangolin (scaly anteater) skin helmets of the type associated with the leopard hunter’s guild.


Book of the Dead papyrus. Egypt. 21st Dynasty, 1069–945 BC. Ink on papyrus.

Book of the Dead papyrus. Egypt. 21st Dynasty, 1069–945 BC. Ink on papyrus.

This sheet of papyrus comes from one of the longest illustrated manuscripts of the ancient Egyptian Book of the Dead to have survived. Originally over 37 metres long, it is now cut into 96 separate sheets. The Book of the Dead was a collection of spells, typically written on papyrus and placed in the tomb. These spells ensured that the deceased had access to the knowledge required to be successfully reborn into an eternal life. This sheet records part of spell 17, a long and complex discussion of the nature of the creatorgod. The illustration depicts the falcon headed sun-god Ra-Horakhty wearing a headdress composed of the solar disc.

The manuscript was made for a woman named Nestanebisheru, the daughter of the High Priest of Amun Pinedjem II. In this particular illustration, she is seen kneeling in front of Ra-Horakhty, raising her hands in adoration. She is accompanied by her spirit (ba) in the form of a bird with a human head.


(L) A divine attendant Nimrud, northern Iraq. Neo-Assyrian, 810–800 BC. Limestone. (R) Relief showing a protective spirit. North-West Palace, Nimrud, northern Iraq. Neo-Assyrian, around 875–860 BC. Gypsum.

(L) Second heaviest treasure. A divine attendant Nimrud, northern Iraq. Neo-Assyrian, 810–800 BC. Limestone. (R) Relief showing a protective spirit. North-West Palace, Nimrud, northern Iraq. Neo-Assyrian, around 875–860 BC. Gypsum.

This is one of a pair of guardian deity figures that stand in an attitude of attendance. The figures originally flanked a doorway in the temple of Nabu, an important god of writing, in the Assyrian capital of Kalhu (modern Nimrud). The cuneiform inscription carved around the guardian’s body states that they were dedicated to Nabu by the local governor, on his own behalf and on behalf of king Adadnirari (ruled 811–783 BC) and the queen mother Sammuramat. The inscription ends with the request that the reader should trust Nabu above all others.

The statues were discovered at Nimrud in 1854 by Hormuzd Rassam, who was excavating the site on behalf of the British Museum. According to his account, there was another pair of statues without inscriptions carrying basins, but these were subsequently lost or destroyed.

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This relief from a royal palace shows an Assyrian protective spirit. The winged eagle-headed spirit, originally one of a pair that reached out and touched the “sacred tree”, carries a tree cone or “purifier” that was probably covered in liquid from the bucket. The sacred tree, partly preserved on the left, possibly represents the fertility of the land.

The decoration of Assyrian palaces with extensive stone bas-reliefs was an innovation from the West first found in the palace of king Ashurnasirpal II (ruled 883−859 BC) at Nimrud. While some of the decoration in this palace, particularly in the throne room, was narrative and depicted events, the majority of reliefs depict protective spirits that were designed to ensure the well-being and prosperity of the palace’s inhabitants and Ashurnasirpal’s kingdom.


Ivory figure of St. Joseph. Hispano Philippine. 17th Century AD. Ivory, gilded.

Ivory figure of St. Joseph. Hispano Philippine. 17th Century AD. Ivory, gilded.

This carved ivory figure of St. Joseph, the foster father of Jesus, was produced in a workshop in Manila. Many fine ivory figures of Christian saints like this were produced in the 17th and 18th centuries, when the Philippines was under Spanish control. They were intended for churches, monasteries and wealthy homes in the Americas and Spain.


Ru dish with emperor's inscription. Qingliangsi, Henan province, China. AD 1086-1125. Stoneware with celadon glaze.

Ru dish with emperor’s inscription. Qingliangsi, Henan province, China. AD 1086-1125. Stoneware with celadon glaze.

Ru is the rarest of all the major Chinese ceramic wares. It is greatly admired for its elegant forms and duck egg blue glaze. The pink blushes on the glaze of this dish may have been caused by the great fire at the Chinese imperial palace in Beijing in 1923. On the base is an inscription by the Qianhong emperor (ruled AD 1736-1795), which comments on the quality of the vessel.


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The National Gallery Singapore: a sneak peek

23 11 2015

After five long years, the transformation of two of Singapore most recognisable National Monuments, the former Supreme Court and City Hall into the National Gallery Singapore, is finally complete. The new cultural institution, which oversees the largest collection of modern art in Southeast Asia, will open its doors to the public tomorrow – an event that is being accompanied with a big bash.

Visitors to the gallery can expect to see a display of Singapore and Southeast Asian art drawn from Singapore’s huge National Collection in the permanent exhibitions, Siapa Nama Kamu? – featuring close to 400 works of Singapore art since the 19th Century, and Between Declarations and Dreams, which features close to 400 works of Southeast Asian art from the same period.   There will also be two special exhibitions that can be caught from 26 Nov 2015 to 3 May 2016. One, Beauty Beyond Form, features the donated works of traditional Chinese painter, Wu Guanzhong. The other After the Rain, will see 38 works of one of Singapore’s leading ink painters, Chua Ek Kay on display. Also on display will be the beautifully restored interiors of the two buildings, and the stunning impact the architectural interventions have had on them (see also : The National Gallery, Naked).

More information on the National Museum’s opening celebrations and visitor information can be found on the celebrations brochure (pdf) and also at the National Gallery Singapore’s website. Admission to the National Gallery Singapore will be free for all visitors from 24 November to 6 December 2015.


A Sneak Peek at the National Gallery Singapore

The former Supreme Court, which houses the galleries of the UOB Southeast Asia Gallery

Art in a former courtroom.

Art in a former courtroom.

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The former Courtroom No. 1.

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Manit Sriwanichpoom’s Shocking Pink Collection.

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Reflections on the Rotunda Dome.

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The former Courtroom No. 1.

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The spiral staircase to the main Supreme Court dome.

An art resource centre in the former Rotunda Library.

An art resource centre in the former Rotunda Library.

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Inside the resource centre.

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City Hall, which houses the DBS Singapore Gallery, the Singtel Special Exhibition Gallery, the Wu Guanzhong Gallery and several education centres

The Keppel Centre for Art Education.

The Keppel Centre for Art Education.

Chua Mia Te's Epic Poem of Malaya.

Chua Mia Tee’s Epic Poem of Malaya.

Liu Kang's Life by the River.

Liu Kang’s Life by the River.

The DBS Singapore Gallery.

The DBS Singapore Gallery.

Lots to think about ...

Lots to think about …

City Hall Chamber.

City Hall Chamber.

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The red SG50 Steinway.

The red SG50 Steinway.

Not quite a permanent display.

Not quite a permanent display.


Miscellaneous Views (see also: The National Gallery, naked)

The columns of City Hall.

The columns of City Hall.

Corridors of the former Supreme Court - the original rubber tiles, which contained asbestos, had to be replaced.

Corridors of the former Supreme Court – the original rubber tiles, which contained asbestos, had to be replaced.

Another view.

Another view.

The former City Hall Courtyard.

The former City Hall Courtyard.

Roof terrace bars at City Hall.

The roof terrace bars at City Hall …

... provides stunning views of the cityscape.

… provide stunning views of the cityscape.

The view of the Padang, the Esplanade and Marina Bay Sands from the roof terrace.

The view of the Padang, the Esplanade and Marina Bay Sands from the roof terrace.