Singapore Biennale 2016: the sensorily impactful fifteen (part 2 of 3)

Here are five more of the artworks I find sensorily impactful. To read a short write-up and see five other works in Part 1, click here.

(Download the Exhibition Guide or visit the Digital Exhibition here.)

(Read a good piece, Zoned Out at the Singapore Biennale 2016, for insightful insights here.)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it’s obvious isn’t it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Harumi Yukutake, Paracosmos (2016). Sense: visual (it's obvious isn't it?); audition (footsteps of people walking up and down the stairs, not sure whether this was anticipated during curation, but the sounds somehow blend in)

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Do Ho Suh, Gate (2003). Sense: visual, very visual, and then sometimes you are in awe, sometimes your hair stands, sometimes you want to walk through the Gate, sometimes you wonder about space, place, dimension, and time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Eddy Susanto, The Journey of Panji (2016). Sense: visual; makes my hair stand too, when going very near the words spilled from the book and on the painting, yet amazed by them tiny words at the same time

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one’s perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Pannaphan Yodmanee, Aftermath (2016). Sense: visual (the colours and other things); it stirs clashes of one's perceptions and ideas, it evokes a struggle to make sense of things when in fact differentiation is not a thing of the fluidity, in fact there is no fact

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned.

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned.

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned.

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned.

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned.

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned

Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned

Try pointing out in the first photograph where this open drawer is. Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned

Try pointing out in the first photograph where this open drawer is.
Ade Darmawan, Singapore Human Resources Institute (2016). Sense: visual, visually and intellectually demanding. A good awareness of general knowledge may help. One can never tell how randomly or not randomly each object is positioned

Singapore Biennale 2016: the sensorily impactful fifteen (part 1 of 3)

Initially I had aimed to seek visually impactful artworks, after all, visual art is supposed to be quite visual right? I thought it should be visually artistic too, then again, contemporary art seems to heavily shoulder the mission of reflecting social, political, economical, psychological matters of sort, and to convey certain solemn messages. This has somewhat broaden the meaning of being visually artistic.

Well, when it comes to Singapore Biennale 2016, I was more than fascinated by how my other senses, apart from my sense of sight (ophthalmoception), were aroused and agitated by certain works. These 15 sensorily impactful artworks are selected for their powerful impact on my sensorium in one way and/or another, without any influence from their artist, title, wall text or any review and comments by anyone. I pretend that I am illiterate, and I avoid letting people talk to me about the Biennale. It’s “impact at first sight, love/hate at first sight”.

Works at National Museum of Singapore & Stamford Green, Asian Civilisations Museum, The Arts House, and Singapore Management University are not taken into consideration, because I have not seen them personally. Therefore, the 15 works in this three-part post are shown at Singapore Art Museum, and 1 at Peranakan Museum.

These artworks are attention-grabbing and curiosity-piquing, below are five of them.

(Download the Exhibition Guide or visit the Digital Exhibition here.)

(Read a good piece, Zoned Out at the Singapore Biennale 2016, for insightful insights here.)

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

They look like they are burning, they are not. Hemali Bhuta, Growing (2016). Sense: olfaction, visual

They look like they are burning, they are not. Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Hemali Bhuta, Growing (2016). Sense: olfaction, visual

Martha Atienza, Endless Hours at Sea (2014, 2016). Sense: audition, visual. Emotion-induced sensation: visceral, probably sea sickness

Martha Atienza, Endless Hours at Sea (2014, 2016). Sense: audition, visual. Emotion-induced sensation: visceral, probably sea sickness

Martha Atienza, Endless Hours at Sea (2014, 2016). Sense: audition, visual. Emotion-induced sensation: visceral, probably sea sickness

Watch this YouTube video, fast forward to start from approximately 2:05, and you will get a feel of the artwork in a more integral manner. The on-site sound (think waves rocking, thunder roaring, metal clanging) and lights (or the lack of lights) play an important part in one’s experience of the artwork, which can only be felt there and then.

Martha Atienza, Endless Hours at Sea (2014, 2016). Sense: audition, visual. Emotion-induced sensation: visceral, probably sea sickness

Martha Atienza, Endless Hours at Sea (2014, 2016). Sense: audition, visual. Emotion-induced sensation: visceral, probably sea sickness

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah’s Garden II (2016). Sense: visual (it’s eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Deng Guoyuan, Noah's Garden II (2016). Sense: visual (it's eye-pricking); sense of direction, balancing

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks.

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory)

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks.

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory)

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory)

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory). This is one of 7 pieces of artworks

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory)

Adeela Suleman, Dread of Not Night 1, 3, 4, 7-9 (2015, 2016). Blood Stains the Soil (2016). Sense: visual (beautiful), and then visual again (oh, gory)

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual, curiosity; a by-product sense is touch - warmth from my own breath by cupping my face very near the glass to avoid any reflection on the glass, so as to get a clearer view of the performance art

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual, curiosity; a by-product sense is touch – warmth from my own breath by cupping my face very near the glass to avoid any reflection on the glass, so as to get a clearer view of the performance art

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual, curiosity; a by-product sense is touch - warmth from my own breath by cupping my face very near the glass to avoid any reflection on the glass, so as to get a clearer view of the performance art

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual, curiosity; a by-product sense is touch - warmth from my own breath by cupping my face very near the glass to avoid any reflection on the glass, so as to get a clearer view of the performance art

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual (so this is the final product, wow!); touch (visitors may feel (and even study closely) the material (leeks) and texture of the "knitwear"

Chia Chuyia, Knitting the Future (2015, 2016). Sense: visual (so this is the final product, wow!); touch (visitors may feel (and even study closely) the material (leeks) and texture of the “knitwear”

A video documentation of the performance art. Chia Chuyia, Knitting the Future (2015, 2016)

A video documentation of the performance art.
Chia Chuyia, Knitting the Future (2015, 2016)

Read part 2 here.

Less than a week’s time to get your Early Bird tickets to Singapore Biennale 2016!

Yes it’s back! From 27th October 2016 until 26th February 2017. Without further ado, let’s get straight to the ticketing information with the two tables below.

Early Bird tickets for students, seniors, NS men, and the general public are available until 26th October 2016, the eve of the opening day. All tickets on sale at Singapore Art Museum and at SISTIC.

The second table shows ticket prices after the opening of Singapore Biennale (SB2016) and other ticketing information visitors should take note of.

Early Bird tickets available until 26th October 2016, the eve of the opening day. Prices include GST (where applicable) but not the SGD1 Booking Fee for each ticket priced SGD20 or below. Image source: screenshot from SISTIC website

Early Bird tickets available until 26th October 2016, the eve of the opening day. Prices include GST (where applicable) but not the SGD1 Booking Fee for each ticket priced SGD20 or below. Image source: screenshot from SISTIC website

 

Ticket prices after the opening of SB2016. Prices include the SGD1 Booking Fee for each ticket priced SGD20 or below. Image source: screenshot from SB2016 website

Ticket prices after the opening of SB2016. Prices include the SGD1 Booking Fee for each ticket priced SGD20 or below. Image source: screenshot from SB2016 website

Do keep a lookout for my next post coming up real soon on how I will sieve out my weekly (or fortnightly) picks of artworks this time round. To read my picks in the previous edition, If The World Changed, click here.

To get an idea of the idea behind SB2016, see the screenshot below or explore their website here!

sb-2016-about