A public bath on the museum’s front lawn

28 10 2013

In what is probably a first in Singapore, some 100 people were seen to be taking a very public bath together at the National Museum of Singapore’s (NMS) front lawn on Saturday evening. The public display of cleansing was actually carried out as part of the Singapore Biennale 2013 on its opening weekend – a public performance put up by Malaysian artist Sharon Chin named Mandi Bunga, which literally means Flower Bath.

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Taking a flower bath, although not necessarily a public one in a crowd, is actually a ritual practiced across much of east Asia – as a means to cleanse body and soul of evil and ill luck, or as I was told in my younger days, to “buang suay” or throw out bad luck. The idea for the performance did in fact come from a call to cleanse, one which the Bersih movement in Sharon’s country of origin calls for, with the artist dreaming it up in 2012 after her experience of two Bersih street rallies – hence the yellow that is prominent throughout the display that is seen in the basins used as well as in the sarongs which the participants wore.

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While what most of us got to see was the public display, the 100 or so participants did actually attend workshops which were carried out on several weekends preceding during which participants got to design their sarongs for the event. The performance also involved the participants gathering at another Singapore Biennale venue, the Singapore Art Museum (SAM) – assembling at the courtyard where school assemblies (when the buildings were used by the original occupants, St. Joseph’s Institution) had once been held. The participants then walked in their sarongs over to the NMS.

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While the performance – at which all involved seemed to have tremendous fun at, is a one evening event, the project’s process and outcomes have been documented and will be installed at SAM for the Singapore Biennale which runs until 16 February 2014. More information on the Singapore Biennale 2013 can be found at the event’s website.

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Playing with fire

22 08 2013

Photographs taken at last evening’s media preview of the Singapore Night Festival of a performance, Redux, by Starlight Alchemy – one of the highlights of the annual festival which be held over two weekends in the Bras Basah precinct this year which will see a nocturnal extravaganza of performances over four days.

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Describing themselves as “a constellation of international artists orbiting around Singapore that manipulate light, fire and skill toys to bring a sense of wonder to the performing arts” it was indeed with much wonder that a sneak peek of their performance – set against the façade of the National Museum, Redux, was greeted last evening.  Their performances will take place during the first weekend on 23 and 24 August 2013 at 8.45 pm, 10 pm and 11.15 pm. The last performance of each night will allow some interactivity with a free jam-and-play session at the end during which visitors will get to play with LED manipulation tools the group will use in their performances along with fire.

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Interactivity will be a feature of this year’s edition of the festival – the Night Lights segment of it will see several projections which will permit interaction.  The festival also promises to be bigger and better with the participation of an increased number of stakeholders and partners from the area – more than twice that of 2012. It will also see the addition of several more venues stretching from Plaza Singapura to Raffles City. New venues this year include the two malls mentioned, as well CHIJMES, 222 Queen Street and Sculpture Square. This year will also see lots of food on offer with Hawker Food Alley set up at the alleyway between The Substation and Armenian Street and So Sedap at the SMRT Walkway along Stamford Road.

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Re-branded from “Night Festival” to the “Singapore Night Festival” to reflect it being a platform to highlight and showcase local talents, this year’s festival runs over two weekends on the evenings of 23 and 24 August 2013 and 30 and 31 August 2013. There is also late night free admission to the participating museums to look out for during the festival. These museums are the National Museum of Singapore, the Peranakan Museum, and the Singapore Art Museum and will be on the festival nights from 7 pm to 2 am.  Do stay tuned for more festival highlights see at the preview for the first weekend. More information on the Singapore Night Festival can be obtained from the festival’s website.

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Information on Singapore Night Festival






Whispers of an otherwise silent world

26 03 2012

The streets around the Singapore Art Museum (SAM) are ones that once spoke to me. It was on these streets and some that are no more that as a schoolboy, I had spent four years wandering through a little more than three decades ago, developing a strong attachment to them as they were back then. My schooldays in the area ended at the end of 1980, and leaving that behind me, I did not realise that that it was the world around it that I so loved that I was to leave behind as well.

The streets around the Singapore Art Museum are ones that were familiar to me from my school days at the end of the 1970s. The streets are colourless and silent now, a silence that is broken by the sounds of traffic that pass it by.

I often wander down the same streets today, hoping to find that world that in the distractions of my passage into adulthood was swept away by the winds of change that blew over the area in the decade that followed my last days of school. It is not the voices that I had been familiar with that now greet me, but the screams of a deafening silence that I am unable to close my ears to. The world that was coloured by the uniforms of school children scurrying to school or thronging the many book shops the area had a reputation for; its silence broken by the passing of those who lived, worked and shopped along the well worn sidewalks and five-foot ways; is but a pale shadow of its former self, rendered silent and colourless by the world we have chosen to embrace.

A world that has changed.

Once a world dominated by the towering spires and domes that flavoured the area, it is now a world where the same spires and domes have become mere reflections on the glass and steel edifices that now tower over the area. It is in these reflections that the voices of that old world are sometimes heard. They no longer are the loud and confident voices I had grown accustomed to, but fading whispers which I struggle to hear over the loudness of the silence that has befallen the area.

A world once dominated by the spires and domes, is now one where the spires and domes have become mere reflections of that world in the glass and steel of the new world.

A reflection on a world that I once knew - the SAM reflected on the polished walls of the NTUC INCOME Centre.

One whose whispers I can sometimes hear is the soul of the magnificent domed building that is today’s SAM. The building, gazetted as a National Monument in 1992, was where I attended school – St. Joseph’s Institution (SJI), one that I spent four wonderful years going to. Although a lot has changed since it held airy classrooms behind the green louvered wooden doors that are now painted grey, it is a building that I still have a deep attachment to. Beyond the coolness of the climate controlled galleries that now fill the spaces behind the grey doors, there are many areas in which I can hear those whispers of its forgotten past.

The buildings of the former St. Joseph's Institution now houses the Singapore Art Museum.

It is no longer through gates manned by school prefects identifiable by the green ties that stood out against the all white uniforms we wore that I now pass through – the half height walls on which iron grilles had stood are no more, but across a lawn that I rebelliously can now walk across to arrive at the portico on top of which a famous statue stands. The lawn had been a garden populated not just by shrubs, but also a weather station and a fountain that I don’t remember seeing come on.

SJI in the 1970s

St. Joseph's Institution by night in the 1970s.

The garden in front of the school building in the 1980s.

The famous statue is that of St. John the Baptist de la Salle, showing what seems to be the way to two boys beside him. St. John the Baptist de la Salle was the founder of the De La Salle Brothers – a Catholic missionary organisation dedicated to the education of boys from poor backgrounds. Aside from the many jokes we heard about the statue that wore a coat of silver paint back then, it was famous as a landmark for the area, having stood in its place above the portico since 1913. The bronze statue was cast with money donated, coincidentally it may seem, by an old boy of the school John La Salle on the occasion of the school’s Diamond Jubilee in 1912. The statue is a replica a marble sculpture by Cesare Aureli that stands in Saint Peter’s Basilica.

The statue of St. John the Baptist de la Salle above the portico of the former school building (seen here in 1980), served as a landmark for the area.

To the right of the portico is another area that whispers loud enough to be heard. The shallow fishpond coloured green by algae lay and the guava tree which lent its shade to the pond is now an area that has been paved. The pond had been a convenient point for several of us to meet. Immediately behind the area where the pond was, the corridor beyond the arches of the building had been one that led towards first the staff room and turning left at the end of it, the tuck-shop. The tuck-shop was on the ground level of a building which had above it, the Brothers’ Quarters, along Queen Street. The building is one that has since been replaced by a new building. The Brothers’ Quarters with flagpoles mounted on the ledge on the second level was where we faced as we said our prayers, sung the National Anthem and recited the Pledge during our school assemblies that were held on the tarred surface of a courtyard that has now been made much smaller. At right angles to the Brothers’ Quarters with its back to the Church of Sts. Peter and Paul, was another building that lined the courtyard that has been replaced. This held rooms for several societies including the Co-op and the 2013 Hippo Scout troupe’s den.

Assembly at the Courtyard.

The 2103 Hippo Scout Unit had its den at a building that lined one side of the courtyard.

Prize giving during school assembly. The doors led to the school's tuck-shop on the ground level of the building that housed the Brothers' Quarters.

Across from the Brothers’ Quarters was the building (still there) which held the dark school hall (now the very bright Glass Hall) on the lower floor, and the school’s chapel (now the Chapel) on the upper floor. The chapel was where as schoolboys we could sit in quiet contemplation. The chapel stripped of its benches and Sanctuary does still fill me with a sense of calm and peace. It does still thankfully bear some reminders of its days as the school’s chapel: the floor tiles; the ceiling panels; and the plaques that served as the 14 Stations of the Cross a Catholic place of worship is never usually without.

The chapel in 1977.

The building we see today, wasn’t always how it had looked like. It took on its distinctive appearance in 1903 when the curved wings and the portico were added. The school the building was home to dates back long before 1903. It started its illustrious life as Saint John’s School on 1 May 1852 on the premises of an old Catholic church on the same grounds. It establishment in 1852 was due largely to the efforts of a French missionary priest, Father Jean Marie Beurel. Father Beurel, who arrived in Singapore in October 1839, had spared no effort in the early years of his posting to Singapore in trying to enlist the services of the De La Salle Brothers to set up what was to be the first De La Salle school in the Far East. Father Beurel was also instrumental in the construction of the new prior to that – the Church of the Good Shepherd (which is the present Cathedral of the Good Shepherd) and also in bringing the Convent of the Holy Infant Jesus (CHIJ) to our shores two years later in 1854.

Fr Jean Marie Beurel, a French priest whose efforts were instrumental in the setting up of not just SJI, but also the setting up of the Convent of the Holy Infant Jesus and the construction of the Church (now Cathedral) of the Good Shepherd.

A view of CHIJ as it was in its early days. Father Beurel is credited with bringing the Convent in two years after his efforts brought the De La Salle Brothers to our shores.

The complex of buildings that housed CHIJ and also the Cathedral are ones where the spires that dominated the area stands, along with that of the Church of Sts. Peter and Paul (then referred to as ‘Chinese Church’) on Queen Street. The three (or parts of then in the case of CHIJ) have also been gazetted as National Monuments. The most beautiful of the buildings that hold up the spires is the beautiful Gothic styled former chapel of CHIJ – now the CHIJMES complex. It is however the other two whose whispers I hear, having interacted with them both as a child and during my days in school when we attended many school Masses in both churches. The earliest of the buildings to be gazetted as a National Monument, the Cathedral of the Good Shepherd (gazetted in 1973) is one that is perhaps one that is most in need of attention. The structure of the building has suffered not just from its age (it was opened on 6 June 1847), but also from more recent construction activity in the area – ironically ones that were to have a minimal impact on the character of the area, the tunnelling work for the MRT as well as the construction of the Singapore Management University campus which was to blend in with the surroundings (some think it otherwise).

Temporary shoring of the Cathedral's structure is obvious when seen from Victoria Street.

Stepping into the Cathedral, one can’t help but notice the large crack at the wall at the far end to the right above the Sanctuary, and behind that – very obvious temporary shoring can be seen supporting the building’s structure on the outside. Being a National Monument that is run by a religious or non-profit organisation, the Cathedral is only able to draw on the limited public funds available to such monuments badly in need of repair. Based on information on the Preservation of Monuments Board’s (PMB) website, the funds available for the 29 monuments run by a religious or non-profit organisations for such urgent repair work is limited to a total of $5 million that is to be distributed to qualifying monuments over a five-year period (i.e. $1 million per year) from 2009. A pre-requisite for monuments to qualify for the funding is that the organisations involved must first have the means to fund the required work. The amount does seem rather misery considering the amounts being spent on some of the other National Monuments. The repair has been estimated to cost up to some $35 million. As of now only a fifth of the amount needed has been raised. The Cathedral is attempting to raise the remainder of the much-needed funds privately with fund raising activities organised at the Cathedral.

A large crack is clearly visible on the wall of the Cathedral's Sanctuary.

The Cathedral is attempting to raise much needed money - some S$35 million is needed, to repair and restore the building.

A close-up of an information board providing the progress of the fund raising shows that only about a fifth of the money required had been rasied as of December 2011.

As I leave behind the whispers of familiar voices, the contrast that the silent new world is becomes apparent. In the coldness and greyness and in the hush of that new world, I can sometimes hear the silent screams of the faces of the old. The screams are ones that fade with the passage of time. The whispers are ones that in the decrescendo of voices that I hope I would still be able to listen to, in a world where the only other sounds are the sounds of traffic that passes it by, much as the new world that has now passed it by.

The Cathedral is an oasis of calm in a sea of deafening silence.





Putting life back on the footpaths

2 12 2011

An interesting project that is being rolled out by the National Heritage Board (NHB) this weekend is Heritage Along Footpaths, which seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). On this weekend and on the next, members of the public will find tradesmen such as traditional street barbers, ice-ball sellers, fortune tellers and kacang puteh sellers peddling their trades and wares at prices that we were used to in the heyday of street tradesmen – a haircut will cost a mere 50 cents and a stick of kacang puteh will go for 20 cents. The tradesmen will be present at the two locations on 3 and 4 December 2011 as well as 10 and 11 December 2011 from 10.00am to 5.00pm each day (more information including a map of the locations of the two sites can be found at www.nhb.gov.sg/brasbasahbugis/BBB_KeyEvents.html). See also more recent posts on the Five-Foot-Way Barber and Cobbler.

The Heritage Along Footpaths project seeks to re-introduce trades that were common in the past such as traditional street barbers ...

... fortune tellers ....

... and cobblers.

About The Heritage Along Footpaths project:

The Heritage Along Footpaths project seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). At each of the sites, tradesmen that were once commonly found along alleyways or five-foot ways – namely street barbers, cobblers, fortune tellers, ice-ball sellers and kachang puteh sellers – will ply their wares at prices of the past. Research conducted on these once-common trades will also be on display for the public to learn more about Singapore’s history and heritage.

Heritage Along Footpaths is part of the NHB’s initiative to inject greater vibrancy into the Bras Basah and Bugis precinct, an area rich in the arts and heritage. Said Mr Alvin Tan, Director, Heritage Institutions & Industry Development: “Through this project, NHB hopes to re-introduce once familiar street sights and businesses in the arts and cultural district and in doing so, re-acquaint Singaporeans with trades that were once an integral part of our community heritage. It also presents the perfect opportunity for younger Singaporeans to experience first-hand the early lives of their grandparents, and, in the process, reinforce bonding across the generations who share a common history and identity.”





A mountain of faceless white-collar workers and a last cannibal supper

9 11 2011

An exhibition will open on the 11th of November at the Singapore Art Museum (SAM) which would feature 15 contemporary works of art, finalists in the Asia Pacific Breweries (APB) Foundation Signature Art Prize shortlisted from over 130 nominations from 24 countries in the Asia-Pacific. Together with several other bloggers, I had a sneak preview of the exhibition yesterday evening, during which we were not just given an excellent guided tour by Senior Curator Joyce Toh, but also had a chance to hear the first hand explanations of three of the artists: Kim Jongku, Michael Lee and Bui Cong Khanh, about their shortlisted works.

A striking piece by a New Zealand photographer of Samoan origin, Greg Semu, who uses iconic images in western art, such as, in this case, the Pietà, to depict the religious colonisation of the Kanak people of Noumea in a series of 9 images.

Amongst the works that caught my attention was Korean artist Kim Jongku’s ‘Mobile Landscape’, Vietnamese artist Bui Cong Khanh’s ‘The Past Moved’, Aida Makoto’s ‘Ash Color Mountains’ and a striking collection of 9 photographs by a New Zealand photographer of Samoan origin, Greg Semu, ‘The Last Cannibal Supper’. ‘Mobile Landscape’ is interesting from the perspective of the use of steel powder which the artist had painstakingly ground to add a third dimension to two-dimensional traditional calligraphy and landscape ink paintings showing the meeting between the horizontal and vertical plane through a camera on a ground and a projection on a screen.

Kim Jongku speaking about 'Mobile Landscape', as Senior Curator, Joyce Toh looks on.

Vietnamese artist, Bui Cong Khanh, on the other hand, uses two-dimensional backdrops – almost life-size charcoal-on-paper sketches of soon to be demolished areas of his hometown Ho Chi Minh City in front of which he invites residents as well as outsiders to pose for photographs (which are also on display), to document a space and time. What is interesting is his observation of the reactions of the different individuals that pose for a photograph – with residents being easier to photograph as they felt at home in the recreated surroundings, compared to non-residents who took more time to be at ease.

Joyce Toh with Bui Cong Khanh in front of the charcoal on paper backdrop created by the artist.

One work that certainly was thought-provoking for me is Aida Makoto’s ‘Ash Color Mountains’ which resembles a traditional depiction of a soft mountainous landscape, which on closer inspection, reveals a pile of bodies – that of faceless white-collar workers. We are told that this conveys an underlying sense of violence and destruction that often characterises many of the artist’s works.

Aida Makoto's 'Ash Color Mountains' - piles of bodies of faceless white-collar workers in the depiction of a traditional mountainous landscape (image courtesy of SAM).

A close-up of 'Ash Color Mountains'.

The most provocative work was for me Greg Semu’s ‘The Last Cannibal Supper’, a series of 9 photographers which features Semu himself at the centre of the work which explores the religious colonisation of the Kanak people of Noumea at a symbolic last supper in which the people leave their traditional and cannibal ways to adopt the ways of their colonial masters. Central to the work is the re-enactment of Leonardo da Vinci’s Last Supper using local actors and with a local setting with palm branches, flax walls, and shells. Semu grew up in a religiously indoctrinated family, and recalls everyday of his childhood looking at a wall size rug of Leonardo Da Vinci’s masterpiece hanging above the fireplace in the family home. The other photos include the use of other iconic images in western art, including the re-enactment of a Pietà.

The central photograph in Semu's work - a re-enactment of Leonardo da Vinci's masterpiece (image courtesy of SAM).

The exhibition is on until 4 March 2012. The winner of the Grand Prize (SGD 45,000) and three Jurors’ Choice Award recipients (SGD 10,000 each) will be announced on 17 November 2011, selected by an international jury which comprises a panel of five eminent art experts: Mr. Fumio Nanjo, Director, Mori Art Museum; Mr. Gregor Muir, Executive Director, Institute of Contemporary Arts London; Mr. Hendro Wijanto, leading Southeast Asian writer, critic and curator; Mr. Ranjit Hoskote, Curator of the India Pavilion at the Venice Biennale in 2011 and leading South Asian poet-writer, curator and critic, and Mr. Tan Boon Hui, Director, SAM. A People’s Choice Award will also be presented to the public’s most loved work and the public is encourage to nominate their favourite finalist work for the award online at www.singaporeartmuseum.sg/signatureartprize from 1 October 2011 or cast their votes in person at the Asia Pacific Foundation Signature Art Prize 2011 Finalists Exhibition. Those who vote will stand the chance to win an Apple MacBook Air, or receive one of 20 limited edition commemorative catalogues about the Prize, the finalists and their artwork.





Play it again, SAM

6 05 2011

It did take me a while to go beyond what was on offer at Old Kallang Airport to explore the other venues of the Singapore Biennale 2011. This perhaps, was motivated by a desire to get my fill of the what was Singapore’s first commercial airport before its character is altered by the plans the Urban Development Authority (URA) has for the buildings and the grounds. Having had my feel of the old airport and with a pass courtesy of the Singapore Biennale, I decided to head out to the other venues, which were the Singapore Art Museum (SAM), Marina Bay and the National Museum of Singapore (NAS) recently.

It took me a while to explore what was on offer at the Singapore Biennale 2011 beyond that at the Old Kallang Airport venue.

My first stop was naturally at the SAM, being fond of visiting the magnificent building on Bras Basah Road that now hosts the museum. It was a building that holds many memories for me, having spent four years of the latter part of my schooling when St. Joseph’s Institution occupied the premises. My motivation was of course very different from my previous visits … choosing to have an encounter with what is perhaps some of the more eye-catching exhibits on display at the Singapore Biennale.

The building that now hosts the SAM was one that I have many fond memories of having gone to school there some three decades ago.

I suppose the most eye-catching of the exhibits for me would be a somewhat morbid display of work by Filipino artist Louie Cordero – a set of works entitled My We. This we are given to understand, was inspired by (in the artist’s own words) the “recent spate of murders of Frank Sinatra’s ‘My Way’ in Filipino karaoke bars. The works feature a set of figures, impaled by different objects and a videoke machine that repeatedly plays the song with images relating to reports of bar fights and murders supposedly over how the song should be sung.

Louie Cordero's 'My We' features gruesome cast human forms impaled with all kinds of objects.

... as well as a videoke machine, inspired by "the recent spate of murders of Frank Sinatra's My Way in Filipino Karaoke Bars".

Having a taste of the gruesome, the other exhibits seemed mild in comparison. Simon Fujiwara’s Welcome to the Hotel Mumber was disappointingly closed for reasons not stated, with two other exhibits to be found on the main SAM site which is Ryan Trecartin’s Re’Search Wait’S a four part video installation which as the guide would have it, “features a cast of manic characters, played by Trecartin and close friends, in a series of overlapping realities in which identity is endlessly fluid”. The videos feature subjects in frenetic speech that reflect the effect that “the mass media and new technologies” have on “how we imagine and express ourselves” – something that I can certainly identify with. The other exhibit at the SAM that I could see is German artist Julian Göthe’s Popcorn and Politics, afternoon, two sculptured objects that as the guide would have it “combine minimalist severity and baroque excess”, supplemented by rope drawings on the walls that “construct a theatrical environment for his sculptures”, that supposedly were to “evoke moods of glamour, erotism and danger”, something that I somehow didn’t all feel, feeling only a sense of danger that the angular sculptures and the all encompassing net somehow gave me.

Julian Göthe’s "Popcorn and Politics, afternoon", features two sculptured objects surrounded by rope drawings on the walls.

There was still some time after looking around to reminisce, walking down corridors that I walked some three decades in the past, it was certainly nice to be able to do that and I am grateful that the magnificent building, that despite the maybe somewhat abstract and gruesome installations that have made a short appearance for the Biennale, still welcomes us in the same way with its seemingly outstretched arms. Time then to head out to the next destination of the Biennale’s circuit – SAM at 8Q, on which I will devote another post to …

Walking down the corridors I spent four years of my life some thirty years ago always gives me a chance to reminisce ...





Colours of Bangkok

18 11 2010

As with many other living parts of Asia, there is much to catch the eye wandering around the streets of Asia’s City of Angels, Bangkok. There certainly is a lot more to the city than the abundance of well photographed sights and scenes that the city provides, which often jump out at you without having to strain the eye. Bangkok is a city where there is in fact no shortage of wonderful colours and textures that not just add to the colour of the city, but also brings the city to life …

Local oranges ready for juicing.

Sweetcorn on the steamer.

Groundnuts on the steamer.

Grapes for sale.

Eggs being transported.

Chocolate coated bananas.

Bottled drinks on sale.

In the basket of a food vendor.

Tuk-tuks ...

Graffiti at a construction site.

Books at a second hand book shop.

Overhead telephone lines against a background of ventilation louvres.

Reflection off a puddle of water.

Parasols of street vendors along Sukhumvit Road.

Display of a street footwear vendor.

Shoes on sale at Chatuchak market.

Charcoal stoves on display.

Roofs of stalls at Chatuchak market as seen from the Skytrain.

Three perspectives of a house through ventilation openings at Makkasan Station.

Roofs of houses.

Lines of the Skytrain.


Cans of milk at a tea vendor at Chatuchak.





Something’s fishy about the old school building

30 09 2010

Somehow, as school boys going to school in the magnificent old school building that housed St. Joseph’s Institution along Bras Basah Road which has since become the Singapore Art Museum (SAM), we always seemed to have a reason to feel that way, after all, the building did have a questionable past, having been used in some capacity by the Japanese occupiers during the Second World War. There were certainly ample reasons as well for suspicion: the sealed second floor of the old toilet block along Waterloo Street and many spots including the dome which had been out of bounds. However, whatever our suspicions were, we were never able to confirm any of them, and were happy to leave them behind when we left the old school. These days, as the SAM, some of the main structures are still there for us to wander into from time to time to satisfy any desire for nostalgia. While the toilet block is no longer there, the dome is – still inaccessible as it had been all those years back … perhaps holding the same mysteries that we had been told of during our schooldays. However, having been there on many occasions, there hasn’t been any reason to fell that there was anything mysterious that is left. Come Saturday however, there is going to be something fishy that would be uncovered …

Children of ages between 4 to 7 and their parents will discover something fishy about the old school building, now the SAM on Saturday 2 Oct 2010.

The SAM would in fact be holding a party specially for Children’s Day on 2 October 2010. The party would be held to also launch SAM’s very first picture book “Salted Fish”, aimed at children between the ages of 3 to 8, a colouring book based on the artworks of the pioneer artist Cheong Soo Pieng. So what so fishy about the party and “Salted Fish” you may ask. Well, in the book, the main character, Lynn visits an art museum for the first time and discovers something “fishy” about an important painting by a famous artist in Singapore … and to help Lynn solve the mystery, the SAM is inviting parents with children between the ages of 4 to 7 to participate. At $35 for a parent-child pair, participants would get the following to help Lynn:

1) A FREE “Salted Fish” children’s storybook (worth $16.10) pre-autographed by the author and artist;

2) A FREE children’s colouring book;

3) FREE entry for adult and child to the Cheong Soo Pieng exhibition – SAM’s most impressive showcase to date!

Do come along for two hours of fun with your kids … details of the party and registration can be found below.


Salted Fish Children’s Book Party

Date: Saturday, 2 October 2010
Time: 2:00pm – 4:00pm
Venue: Singapore Art Museum, Glass Hall
Suitable for Children ages 4-7.

Happy Children’s Day! We are launching our very first picture book, Salted Fish. In the book, Lynn is on her first visit to an art museum and she discovers something strange about an important painting by a famous artist in Singapore. Come join us and learn more about this story of how art touches the life of a child.
The programme includes story-telling performances, interactive art activities and FREE admission to the exhibition.*

Admission fee: $35 for a child and an accompanying parent. Each additional adult pays $12.

The admission includes a pre-autographed copy of Salted Fish, a colouring book based on the artworks of the pioneer artist Cheong Soo Pieng.

Please e-mail to RSVP for the party. Tickets can be paid for upfront or at the registration desk by the Glass Hall on the day.

RSVP and Enquiries:
Masitah Ismail
Education Support Officer
DID: + 65 6332 5274
Fax: + 65 6336 5740
Email: masitah_ismail@nhb.gov.sg

* Admission covers ONE adult only. All children below 7 receive free admission but children aged 7 and above must show their student identity cards to receive a waiver of admission.

Front and Back cover of the book - participants would receive a pre-autographed copy of the book.









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