Tang Da Wu (唐大雾) | |
---|---|
Born | 1943 (age 80–81) |
Nationality | Singaporean |
Education | BFA (Birmingham Polytechnic, 1974); MFA and doctorate (Goldsmiths' College, University of London, 1985 and 1988) |
Known for | Drawing, painting, sculpture, installation art, performance art |
Movement | Contemporary art |
Awards | 1995: Japanese Chamber of Commerce and Industry Foundation prize 1999: Arts and Culture Prize, 10th Fukuoka Asian Culture Prizes |
Tang Da Wu (Chinese: 唐大雾; pinyin: Táng Dàwù, pronounced [tʰɑ̌ŋ tâ.û]; born 1943) is a Singaporean artist who works in a variety of media, including drawing, painting, sculpture, installation art and performance art. Educated at Birmingham Polytechnic and Goldsmiths' College, University of London, Tang gave his first solo exhibition, consisting of drawings and paintings, in 1970 at the Singapore Chinese Chamber of Commerce and Industry. He began engaging in performance art upon returning to Singapore in 1979 following his undergraduate studies.
In 1988, Tang founded The Artists Village. The first art colony to be established in Singapore, it aimed to encourage artists to create experimental art. Members of the Village were among the first contemporary artists in Singapore, and also among the first to begin practising installation art and performance art. There, Tang mentored younger artists and informed them about artistic developments in other parts of the world. He also organized exhibitions and symposia at the Village, and arranged for it to collaborate with the National Museum Art Gallery and the National Arts Council's 1992 Singapore Festival of the Arts.
In January 1994, the National Arts Council (NAC) stopped funding unscripted performance art following a controversial performance by Josef Ng that was regarded as obscene by many members of the public. From that time, Tang and other performance artists mostly practised their art abroad, although some performances were presented in Singapore as dance or theatre. For his originality and influence in performance art in Southeast Asia, among other things, Tang won the Arts and Culture Prize in 1999 at the 10th Fukuoka Asian Culture Prizes. The NAC eventually reversed its no-funding rule on performance art in September 2003. Tang was one of four artists who represented Singapore at the 2007 Venice Biennale. Tang's work is part of the collection of the Singapore Art Museum, Queensland Art Gallery and the Solomon R. Guggenheim Museum.[1][2][3]
Tang has expressed concern about environmental and social issues through his art, such as the works They Poach the Rhino, Chop Off His Horn and Make This Drink (1989) and Tiger's Whip (1991). He believes in the potential of the individual and collective to effect social changes, and his art deals with national and cultural identities. Tang has participated in numerous community and public art projects, workshops and performances.
Education and personal life
Tang Da Wu was born Thang Kian Hiong in Singapore in 1943,[4] the eldest of four sons. His second brother Thang Kiang How is himself a visual artist based in Singapore.[5] His father was a journalist with the Chinese daily newspaper Sin Chew Jit Poh[6][7] He studied at a Chinese-medium school,[8] but disliked English and mathematics and was often scolded by his teachers. He preferred playing after school with neighbourhood children and learned to speak Malay and Chinese from them. He also enjoyed drawing, and gained confidence when his secondary school paintings were accepted in art competitions.[9]
In 1968, Tang was awarded a diploma in youth and community works from the National Youth Leadership Institute. Two years later, in 1970, his first solo exhibition of drawings and paintings sponsored by the Singapore Art Society was staged at the Singapore Chinese Chamber of Commerce and Industry.[10] Subsequently, he went to the United Kingdom to study, majoring in sculpture. He graduated with a Bachelor of Fine Arts (BFA), with first class honours, from the School of Fine Art, Birmingham Polytechnic, in 1974. While abroad he changed his name to Da Wu, which is Mandarin for "big mist".[6][11] Tang later returned to the UK and attended advanced courses at the Saint Martins School of Art.[12] He received a Master of Fine Arts (MFA) in 1985 from Goldsmiths' College, University of London,[4] and a doctorate in 1988.[13]
Tang is married to an Englishwoman, Hazel McIntosh.[14] They have a son, Ben Zai, known professionally as Zai Tang, who is a sound artist living in the UK.[4][6][15]
Career
Early career and founding of The Artists Village
Returning to Singapore in 1979 after completing his undergraduate studies, Tang engaged in performance art,[4] works of art that are composed of actions performed by the artist at a certain place and time. The following year, he staged a work of installation art called Earthworks at the National Museum Art Gallery. This comprised two works, The Product of the Sun and Me and The Product of the Rain and Me, which were made up of dishes of earth, lumps of soil, and pieces of soiled and water-stained linen which he had hung in gullies at Ang Mo Kio, a construction site in the process of being turned into a public housing estate.[6] Installation art uses sculptural materials, and sometimes other media such as sound, video and performance, to modify the way a particular space is experienced.
In 1988, Tang founded The Artists Village, originally located at 61B Lorong Gambas in rural Ulu Sembawang, in the north part of Singapore. The first art colony to be established in Singapore, its goal was to inspire artists to create experimental art.[14] Tang described the Artists Village as:
... [an] alternative venue dedicated to the promotion and encouragement of experimental and alternative arts in Singapore. It endeavors to establish an open space for artists to mature at their own pace, and to provide a conducive environment which allows them to experiment, experience and exchange ideas.[16]
T.K. Sabapathy noted: "The Village was a beacon, and Da Wu both a catalyst and mentor."[17] Among the artists who moved to the Village were Ahmad Mashadi, Faizal Fadil, Amanda Heng, Ho Soon Yeen, Lim Poh Teck, Tang Mun Kit, Wong Shih Yaw, Juliana Yasin and Zai Kuning.[18] They were among the first contemporary artists in Singapore, and also among the first to begin practising installation art and performance art. Tang mentored younger artists and exposed them to artistic developments in other parts of the world.[14] He also organized exhibitions and symposia at the Village, and arranged for collaborations with the National Museum Art Gallery and the National Arts Council's 1992 Singapore Festival of the Arts.[18] Although The Artists Village lost its original site in 1990 due to land development,[19] it was registered as a non-profit society in February 1992 and now stages events in various public spaces.[20]
Difficulties with performance art
In January 1994, artist Josef Ng cut off his pubic hair with his back to the audience during a performance protesting the media's coverage of gay issues. The event was reported by The New Paper, and the resulting public outcry over its perceived obscenity led the National Arts Council (NAC) to cease funding unscripted performance art. After that, Tang and other performance artists practised their art mostly abroad, although some performances were presented in Singapore as dance or theatre. Interviewed in August 2001, T. Sasitharan, co-director of the Practice Performing Arts School, said that a review of the NAC's policy was "long overdue" and noted that although Tang had received the Fukuoka Asian Culture Prize in 1999, "the art form he practises is de facto banned in Singapore". The NAC eventually reversed its no-funding rule on performance art in September 2003.[21]
In August 1995, the President of Singapore Ong Teng Cheong visited Singapore Art '95, an exhibition and sale of artworks by Singapore artists. Tang wore a black jacket emblazoned on the back with "Don't give money to the arts" in yellow and handed a note to the President that read, "I am an artist. I am important."[22] Although Tang was prevented from speaking to the President by an aide-de-camp, he later told the media he wished to tell the President that artists are important and that public money funded the "wrong kind of art", art that was too commercial and had no taste.[23]
Recent activities
Tang was the subject of one episode of artist Ho Tzu Nyen's documentary television series 4x4 Episodes of Singapore Art, which was broadcast on Arts Central (present-day Okto channel) in October 2005.[24] He was also one of the four artists representing Singapore at the 2007 Venice Biennale. He presented an installation, Untitled, consisting of two beds positioned upright, the trunks of plantain trees, a portable ancestral altar, a handmade album of drawings and photographs, and other found objects. Drawings of people and faces were strapped to the beds and wrapped around the tree trunks. The installation was accompanied by a recording by Tang's son, Zai Tang, of sounds captured in Venice during a single day. The work was described by the National Arts Council as suggestive of "the restlessness, rootlessness, spiritual wandering and emotional estrangement that mark the travelling life".[4][25] In 2007, a work by Tang consisting of ink paintings around a well, and representing the erosion of village communities by urban development, was acquired by the Queensland Art Gallery for its Gallery of Modern Art.[26] From January to June 2016, Tang presented Earth Work 1979 at the National Gallery Singapore, a re-staging of his 1979 exhibition, the first recorded instance of Singapore land art. The exhibition includes "Gully Curtains", where Tang placed large pieces of fabric between gullies and let the rain and sun mark the fabric.[27] His work Tiger's Whip (1991) is also displayed at the National Gallery's DBS Singapore Gallery.[28] In 2017, Tang started the performance-art group Station House Da Opera, comprising more than 60 art educators, students, and fellow local artists.[29]
Known for his reticence, Tang remains an enigmatic person. In an August 2008 interview with the Straits Times, fellow artist Vincent Leow said of Tang: "He's a very hands-on person, very improvisational and has good ideas. But he doesn't really talk much. You can't really tell who he is."[6]
Art
Tang has expressed concern about environmental and social issues through his art, such as the works They Poach the Rhino, Chop Off His Horn and Make This Drink (1989), Under the Table All Going One Direction (1992) and Tiger's Whip, also known as I Want My Penis Back (1991). He first presented the latter work, an installation and performance piece, in 1991 in Singapore's Chinatown. It consisted of ten life-sized tigers made from wire mesh covered with white linen. Tang, wearing a sleeveless white garment, would perform amidst them as poacher, tiger, and man consuming the tiger's penis.[18]
A modified version of the work was further developed as an installation during the two-week A Sculpture Seminar organised by Tang in 1991 to discuss ideas about sculpture, with many artists from The Artists Village participating.[30] Tang brought one of the tigers from his earlier performances of Tiger's Whip as a teaching tool, and participants contributed their thoughts on its form and structure.[30] This process led to the creation of the final form of the installation, collaboratively developed and exhibited during A Sculpture Seminar, as a single tiger pouncing on a rocking chair, with a trail of red fabric akin to a stream of blood.[30] In February 1995, the Museum chose Tiger's Whip to represent Singapore at the Africus International Biennale in Johannesburg, South Africa.[31] Another of Tang's works in the Singapore Art Museum is an untitled sculpture often called Axe (1991), which is an axe with a plant growing out of its wooden handle.[32] It is regarded as an early example of found object art in Singapore.[33]
A focus of Tang's art is the theme of national and cultural identities, I Was Born Japanese (1995) being an example.[4] Tang notes that he has had four nationalities. He was issued with a Japanese birth certificate as he was born during the Japanese Occupation of Singapore. He became a British national after World War II, a Malaysian citizen when Singapore joined the Federation of Malaysia in 1963, and a Singaporean citizen when Singapore gained full independence in 1965.[9] While living in the UK he was conscious of his Chinese identity, but later on he took the view that he might not be fully Chinese since China had been occupied by the Mongols and Manchurians: "I'm not sure if I'm 100% Chinese blood. I'm sure my ancestor has got mixture of Mongolian and even Thai and Miao people [sic]. We are all mixed, and this is true. But I always like to think that there is only one race in the world. We are all one human race."[8] Another of Tang's performances, Jantung Pisang – Heart of a Tree, Heart of a People,[34] centres around the banana tree. He was inspired by the fact that the banana is used widely in Southeast Asia as an offering to bring blessings, but is also feared as it is associated with ghosts and spirits.[8][9] He also sees banana trees as a reminder of the lack of democracy in certain parts of the world: "Democracy in many Asian countries and Third World countries is as shallow as the roots of a banana tree. We need to deepen [democracy]."[35]
Tang has participated in numerous community and public art projects, workshops and performances, as he believes in the potential of the individual and collective to effect social changes.[4] He has said: "An artist should introduce to others what he sees and learns of something. His works should provoke thoughts, not to please the eyes or to entertain, much less for decoration."[11]
Awards
Tang received a Singapore International Foundation art grant to participate in the International Art Symposium in Meiho, Japan, in October 1994.[36] In March the following year, he received a trophy and S$20,000 from the Japanese Chamber of Commerce and Industry Foundation.[37] For his originality and influence in performance art in Southeast Asia, among other contributions, Tang won the Arts and Culture Prize in 1999 at the 10th Fukuoka Asian Culture Prizes which were established by Fukuoka and Yokatopia Foundation to honour outstanding work of individuals or organizations to preserve and create the unique and diverse culture of Asia.[6][8][38]
Major exhibitions and performances
Dates | Title | Medium | Location |
---|---|---|---|
1970 | Drawings and Paintings (first solo exhibition) |
Drawing, painting | Singapore Chinese Chamber of Commerce and Industry Singapore |
1972 | Touch Space Midland Art 72 |
Sculpture | Dudley Museum Dudley, England, UK |
1973 | Crowds Forward Trust Painting Competition |
Painting | Birmingham, England, UK |
1975 | Marking over Marks | Painting | Royal Overseas League London, England, UK |
1978 | Marks – Black Powder Falling Through Muslin | Installation | ACME Gallery London, England, UK |
1980 | Earthworks (works from Earthworks, 1979–1980) |
Installation | National Museum Art Gallery and Sin Chew Jit Poh Exhibition Centre Singapore |
1981 | Save the Forest | Performance | Epping Forest, Greater London and Essex, England, UK |
1982 | Five Days at NAFA; Five Days in Museum | Performance | Nanyang Academy of Fine Arts and National Museum Singapore |
1983 | Sumi | Performance | Lyndhurst Hall Studio London, England, UK |
Movement in a Circle | London Musician Collective London, England, UK | ||
Flying Marks ALTERNATIVA III, Festival of Performance |
Almada, Portugal | ||
In Between; Change 4th Performance Platform |
Nottingham, England, UK | ||
1984 | The 1984 Show | Performance | Brixton Art Gallery Brixton, London, England, UK |
You're Welcome; The Door – The Birth Second International Festival of Performance |
Brecknell, England, UK | ||
Jufu – Best Wishes | Ikebana Trust London, England, UK | ||
A Fish/A Path; Responding to You | Townhall Studio Swindon, England, UK | ||
Every Other Move | Painting | Oporto, Portugal | |
1985 | The Support | Performance | Woodland Gallery Greenwich, London, England, UK |
Steaming Laundry | Brixton Art Gallery London, England, UK | ||
1986 | No Fancy Brushes | Performance | Royal Festival Hall London, England, UK |
New Life | Painting | ||
In the End, My Mother Decided to Eat Dogfood and Catfood Orchard Road Weekend Art Fair |
Performance | Orchard Road, Singapore | |
1987 | Four Days at the National Museum Art Gallery | Performance | National Museum Singapore |
People | Painting | The Oval Gallery London, England, UK | |
1988 | In Case of Howard Lui; Incident in a City Singapore Festival of Arts Fringe |
Performance | Old St. Joseph's Institution building Singapore |
Who Polluted the Canal? Islington City Art '88 |
London, England, UK | ||
1989 | To Make Friends is All We Want in 1989 Big O Concert with music performance by Joe Ng of Corporate Toil, Singapore Music Festival 1989 |
Performance | Orchard Road, Singapore |
Life Boat | Cuppage Village Singapore | ||
The Artists Village Show Home Documentation | Drawing, painting | Art Base Gallery Singapore | |
Gooseman; Open the Gate; Dancing UV; Selling Handicaps; In the End, My Mother Decided to Eat Dogfood and Catfood The Artists Village 2nd Open Studio Show |
Performance | The Artists Village Lorong Gambas, Singapore | |
They Poach the Rhino, Chop Off His Horn and Make This Drink | National Museum Art Gallery, National University of Singapore and Singapore Zoo Singapore | ||
The Third Asian Art Show | Painting | Fukuoka Art Museum Fukuoka, Japan | |
1989–1990 | Dancing by the Ponds; Sunrise at the Vegetable Farm; The Time Show – 24 Hours Continuous Performance Show | Performance | The Artists Village Lorong Gambas, Singapore |
1990 | The Death of the Philipino Maid Singapore Festival of Arts Fringe 1990 |
Performance | Shell Theatrette Singapore |
Stop that Tank – One Year Anniversary of 4 June Singapore Festival of Arts Fringe 1990 |
PUB Auditorium Singapore | ||
Noah's Ark for Plants Singapore Festival of Arts Fringe 1990 |
Wisma Atria Singapore | ||
Serious Conversations Singapore Festival of Arts Fringe 1990 |
Raffles Place, Singapore | ||
T or P? That is the Question The Arts for Nature exhibition commemorating World Environment Day |
Empress Place Museum Singapore | ||
1990–1999 | North-East Monsoon – A Water Game | Project | Singapore and other places |
1991 | Tiger's Whip | Performance | National Museum and Chinatown Singapore Fukuoka Art Museum |
Four Persons in One Suit, in the Streets of Singapore A Sculpture Seminar |
National Museum Singapore | ||
The Ark for Plants Tree Celebration |
The Substation Singapore | ||
Chinese Restaurant II National Sculpture Exhibition |
National Museum Singapore | ||
World's Number One Pet Shop National Sculpture Exhibition | |||
Just in Case National Sculpture Exhibition | |||
Switch Off the Lights, Please[39] Raw Theatre I |
The Substation Singapore | ||
Asian Artist Today – Fukuoka Annual V: Tang Da Wu Exhibition (They Poach the Rhino, Chop Off His Horn and Make This Drink, In the End, My Mother Decided to Eat Dogfood and Catfood, and Tiger's Whip) |
Fukuoka Art Museum Fukuoka, Japan | ||
1992 | Under the Table All Going One Direction New Art from Southeast Asia 1992 |
Tokyo Metropolitan Artspace Tokyo, Japan Fukuoka Art Museum Hiroshima City Museum of Contemporary Art Kirin Plaza | |
1993 | Who Owns the Cock Baguio Arts Festival |
Performance | Baguio, Philippines |
And He Return Home When You Least Expected 2nd ASEAN Workship, Exhibition and Symposium on Aesthetics |
Philippines | ||
1994 | Sorry Whale, I Didn't Know that You Were in My Camera Creativity in Asian Art Now, Part 3 – Asian Installation Work |
Installation | Hiroshima City Museum of Contemporary Art Hiroshima, Japan |
Contemporary Shopping[40] | Sculpture | Faret Tachikawa Tokyo, Japan | |
Colours Don't Help Artists Against AIDS |
Singapore | ||
No! I Don't Want Any Black Monsoon | Performance | Mojosongo, Solo, Indonesia | |
1994–1995 | Tapioca Friendship Project | Project | Osaka International Peace Center Osaka, Japan; and Singapore |
1995 | Meeting with the Real Chiang Maian 3rd Chiang Mai Social Installation |
Performance | Chiang Mai, Thailand |
I was Born Japanese | Mojosongo, Solo, Indonesia | ||
Don't Buy Present for Your Mother on Mother's Day | The Substation Singapore | ||
Don't Give Money to the Arts[23][41] Asian International Art Exhibition and Singapore Art '95 |
National Museum Art Gallery; Suntec City Singapore | ||
1996 | Root Sculpture | Sculpture | Nanao International Artist's Camp '96 Nanao, Japan |
One Hand Prayer Project | Project | Hiroshima City Museum of Contemporary Art Hiroshima, Japan | |
Subject Matter | Project | Japan, Malaysia, Singapore and the UK | |
Life in a Tin | Malaysia, Singapore and others | ||
Rubber Road No U-Turn | Malaysia, Singapore and others | ||
1998 | Sorry Whale, I Didn't Know that You Were in My Camera[42] Contemporary Art in Asia: Traditions/Tensions |
Installation | Art Gallery of Western Australia Perth, Australia |
1999 | Don't Worry Ancestors | Project | Singapore |
Life in a Tin First Fukuoka Asian Art Triennale |
Fukuoka Asian Art Museum Fukuoka, Japan | ||
2000 | Tapioca Friendship Gwangju Biennale |
Gwangju, South Korea | |
2001 | Under a Banana Leaf Echigo Tsumarigo |
Japan | |
2002 | Singapore Pools – Water Games | Project | Singapore |
2003 | Many Heads and Local Heroes | Project | Singapore |
2004 | Satsuma Brilliance | Sculpture (stained glass) |
Kirishima Open Air Museum Kirishima, Japan |
Interakcje | Performance | Piotrków Trybunalski, Poland | |
2005 | Art Brickfest[43] | Sculpture | Wheelock Place Singapore |
Your Head | Your Mother's Gallery Singapore | ||
January–February 2006 | Jantung Pisang – Heart of a Tree, Heart of a People[44] Ran |
Painting | Jendela visual arts space, Esplanade – Theatres on the Bay Singapore |
9–25 February 2006 | Tang Da Wu: Heroes, Islanders[13][45] | Painting | Valentine Willie Fine Art Kuala Lumpur, Malaysia |
10 June – 7 November 2007 |
Untitled[4] Singapore Pavilion at the 52nd Venice Biennale International Art Exhibition |
Installation | Istituto Veneto di Scienze, Lettere ed Arti, Palazzo Cavalli Franchetti Venice, Italy |
29 January – 2 May 2010 |
Classic Contemporary: Contemporary Southeast Asian Art from the Singapore Art Museum Collection[46] (group exhibition) |
Installation | 8Q SAM, Singapore |
4 August – 29 August 2010 |
Singapore Survey 2010: Beyond LKY[47] (group exhibition) |
Installation | Valentine Willie Fine Art, Singapore |
5 August – 28 August 2011 |
(龍婆缝衣) First Arts Council[48][49] |
Installation, painting | Valentine Willie Fine Art, Singapore |
8 – 14 September 2011 |
Jaga Anak Baik-Baik |
Installation, paintings | Goodman Arts Centre Gallery, Singapore |
15 March – 10 April 2013 |
Situationist Bon Gun (二十年目睹现象)[50][51] |
Installation, performance | Institute of Contemporary Arts Singapore |
22 February 2013 – 20 July 2014 |
No Country: Contemporary Art for South and Southeast Asia[52] (group exhibition) Guggenheim UBS MAP Global Art Initiative – Volume 1: South and Southeast Asia (Our Children, 2012) |
Installation | Solomon R. Guggenheim Museum,[53] USA, Asia Society Hong Kong Centre,[54] China and NTU Centre for Contemporary Art,[55] Singapore |
5 August – 13 September 2015 |
Singapore Survey 2015: Hard Choices[56] (group exhibition) |
Installation | Artspace@Helutrans, Singapore |
22 January – 19 June 2016 |
Earth Work 1979[27] |
Installation, painting | National Gallery Singapore |
27 August – 7 September 2016 |
Paintings[57] | Paintings | artcommune gallery, Singapore |
4 August – 8 October 2017 |
Hak Tai’s Bow, Brother’s Pool and Our Children (学大弓麦脑池和我们的孩子)[58] |
Installation, performance, seminar | Nanyang Academy of Fine Arts, Singapore |
10 October 2018 – 15 September 2019 |
Awakenings: Art in Society in Asia 1960s–1990s[59] (group exhibition) (They Poach the Rhino, Chop Off His Horn and Make This Drink, 1989 and Gully Curtains, 1979/2016) |
Installation | National Museum of Modern Art, Tokyo,[60] Japan; National Museum of Modern and Contemporary Art,[61] South Korea; and National Gallery Singapore,[62] Singapore |
12 – 31 January 2019 |
Contending Boundaries: Tang Da Wu, Wong Keen & Yeo Hoe Koon[63] |
Paintings | Artspace@Helutrans, Singapore |
6 September – 3 November 2019 |
Sembawang: The D.D. Land and Sembagraphie[64] |
Installation, performance, workshop, video | Nanyang Academy of Fine Arts, Singapore |
Some of the information in the table above was obtained from [Tang Da Wu: Artist CV], Valentine Willie Fine Art, 2006, archived from the original on 10 February 2008, retrieved 18 October 2008.
Notes
- ↑ "Collection Online - Tang Da Wu". Guggenheim. Archived from the original on 6 October 2014. Retrieved 1 October 2014.
- ↑ Shetty, Deepika (13 March 2014). "Artist Tang Da Wu is the only Singaporean with works in Guggenheim show". The Straits Times. Singapore Press Holdings. Archived from the original on 6 October 2014. Retrieved 1 October 2014.
- ↑ "Tang Da Wu - Queensland Art Gallery". Queensland Art Gallery. Archived from the original on 1 October 2014. Retrieved 1 October 2014.
- 1 2 3 4 5 6 7 8 About the Artists: DA WU TANG (b. 1943, Singapore), National Arts Council, 2007, archived from the original on 18 January 2008, retrieved 19 October 2008.
- ↑ Thang Kiang How, Modern Art Society, Singapore, archived from the original on 25 March 2011, retrieved 7 April 2011.
- 1 2 3 4 5 6 Adeline Chia (7 August 2008), "Tang's dynasty", The Straits Times.
- ↑ It is not known whether he has any sisters: Chia, "Tang's Dynasty".
- 1 2 3 4 Arts and Culture Prize: TANG Da Wu, Asian Month, 1999, archived from the original on 24 April 2009, retrieved 20 October 2008.
- 1 2 3 Sadao, Ogura (1999), Forum: My challenge, my Asia (PDF), Asian Month, archived (PDF) from the original on 31 October 2008, retrieved 20 October 2008.
- ↑ [Tang Da Wu: Artist CV], Valentine Willie Fine Art, 2006, archived from the original on 10 February 2008, retrieved 18 October 2008.
- 1 2 Tang Da Wu, the Artists Village, University Scholars Programme, National University of Singapore, May 2000, archived from the original on 20 November 2007, retrieved 18 October 2008.
- ↑ Tommy Koh, ed. (2006), "Tang Da Wu (1943– )", Singapore: The Encyclopedia, Singapore: Editions Didier Millet in association with the National Heritage Board, p. 547, ISBN 978-981-4155-63-2.
- 1 2 Sharifah Arfah (28 January 2006), "Faces of Singapore", New Straits Times.
- 1 2 3 Adeline Chia (7 August 2008), "First artist colony", The Straits Times.
- ↑ David Chew (8 September 2006), "Pushing boundaries; Familiar sights and sounds get a new twist from local audio-visual artist Zai Tang", Today, p. 58.
- ↑ Quoted in T.K. Sabapathy (1992), The Space: An Introduction, Singapore: Artists Village, p. 1, and in T.K. Sabapathy (1993), "Contemporary Art in Singapore: An Introduction", in Caroline Turner (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific, Queensland: University of Queensland Press, p. 83 at 86, ISBN 978-0-7022-2583-3: see Lynn Gumpert (December 1997), "A Global City for the Arts? – Singapore", Art in America (reproduced on FindArticles), retrieved 23 October 2008 .
- ↑ Sabapathy, "Contemporary Art in Singapore", p. 88: see Gumpert, "A Global City for the Arts?".
- 1 2 3 Lynn Gumpert (December 1997), "A Global City for the Arts? – Singapore", Art in America (reproduced on FindArticles), retrieved 23 October 2008 .
- ↑ Mayo Martin (19 August 2008), "Village people: Their legacy lives on: The Artists Village turns 20. Is it now time to call it a day?", Today, archived from the original on 23 October 2008 .
- ↑ About us, The Artists Village, 2005, archived from the original on 30 June 2007, retrieved 23 October 2008.
- ↑ Clarissa Oon (27 August 2001), "Look back, look forward", The Straits Times; Clarissa Oon (21 October 2003), "Hello, yellow fellow", The Straits Times; Cheah Ui-Hoon (28 November 2003), "Coming in from the cold", The Business Times (Singapore).
- ↑ Sian E. Jay (15 November 2000), "Ironic twist to Substation fund-raiser", The Straits Times.
- 1 2 "Pay more attention to the arts – President", The Straits Times, 12 August 1995.
- ↑ Clara Chow (27 September 2005), "Four to the fore", The Straits Times (Life!); Dana Lam Yoke Kiew (4 November 2005), "Arts series a good show [letter]", The Straits Times (Life!).
- ↑ See also Adeline Chia (26 April 2007), "Bien there, done that ... now what?", The Straits Times (Life!).
- ↑ Recent acquisitions – Australian, International and Asian and Pacific Collections, Queensland Art Gallery, 2007, archived from the original on 29 September 2008, retrieved 21 October 2008.
- 1 2 Shetty, Deepika (21 January 2016). "National Gallery's two new exhibitions on groundbreaking South-east Asian modern art includes Tang Da Wu's solo show". The Straits Times. Singapore Press Holdings. Archived from the original on 25 January 2016. Retrieved 10 February 2016.
- ↑ "Tiger's Whip". National Gallery Singapore. Retrieved 10 February 2016.
- ↑ "Letters to Theo". Esplanade. Retrieved 10 September 2019.
- 1 2 3 Toh, Charmaine (2015). "Shifting Grounds". In Low, Sze Wee (ed.). Siapa Nama Kamu? Art in Singapore Since the 19th Century. National Gallery Singapore. p. 92. ISBN 9789810973841.
- ↑ Phan Ming Yen (2 February 1995), "American glass sculptor's work will be on permanent display", The Straits Times; Leong Weng Kam (19 February 1995), "Aces go places – Singapore artists making their mark overseas", The Straits Times.
- ↑ "Five must-see exhibits", The Straits Times (Life!), 7 August 2008.
- ↑ Seng Yu Jin (13 September 2008), "It takes a village to shape an arts scene", The Straits Times (Life!).
- ↑ Jantung is Malay for "core" or "heart", while pisang means "banana": R.J. Wilkinson; A.E. Coope; Mohd. Ali bin Mohamed (1963), "jantong; pisang", An Abridged Malay–English English–Malay Dictionary (Pocket ed.), London: Macmillan & Co., pp. 104, 212.
- ↑ "New Asian artists lauded at events marking Fukuoka culture awards", Yomiuri Shimbun, 6 October 1999.
- ↑ Lee Yin Luen (10 May 1995), "SIF's $230,000 helps smoothen road for talented Singaporeans", The Straits Times.
- ↑ "Japanese business group gives out $211,000", The Straits Times, 31 March 1995.
- ↑ "Tang Da Wu bags Arts and Culture Prize", The Straits Times, 14 July 1999.
- ↑ Kuo Pao Kun (22 October 1993), "Better to have a worthy failure than a mediocre success", The Straits Times.
- ↑ Leong Weng Kam (9 January 1995), "Creating a city through art – a Japanese town of wonder and discovery", The Straits Times.
- ↑ Tan, Eugene. "Tang Da Wu's Audacious Performance 'Don't Give Money to the Arts'". Frieze. Retrieved 10 September 2019.
- ↑ Michael O'Ferrall (1998), "Contemporary Art in Asia: Traditions/Tensions [exhibition review]", Artlink, 18 (2), archived from the original on 31 October 2007, retrieved 21 October 2008; Megan Anderson (25 February 1998), "Gallery puts whale in the frame", The West Australian, p. 6; John Townsend (2 March 1998), "Hands-on is whale of a time", The West Australian, p. 7.
- ↑ Clara Chow (18 October 2005), "Brick-throughs", The Straits Times (Life!).
- ↑ Clara Chow (21 January 2006), "The great hoax of China", The Straits Times (Life!).
- ↑ Tang Da Wu (1943, SG), Artfacts.net, 2005, retrieved 20 October 2008; Tang Da Wu: Heroes, Islanders, Valentine Willie Fine Art, 2006, archived from the original on 11 January 2008, retrieved 19 October 2008.
- ↑ "Classic Contemporary: Contemporary Southeast Asian Art from the Singapore Art Museum Collection". Asia Art Archive. Archived from the original on 23 April 2016. Retrieved 8 April 2016.
- ↑ "Singapore Survey 2010: Beyond LKY". Archived from the original on 19 April 2016. Retrieved 8 April 2016.
- ↑ "龍婆缝衣 | First Arts Council". Valentine Willie Fine Arts. Archived from the original on 19 April 2016. Retrieved 8 April 2016.
- ↑ "Tang Da Wu: First Arts Council". Valentine Willie Fine Arts. Archived from the original on 19 April 2016. Retrieved 8 April 2016.
- ↑ "Situationist Bon Gun (二十年目睹现象) by Tang Da Wu". Arts Republic. Archived from the original on 17 August 2016. Retrieved 8 April 2016.
- ↑ Huang, Lijie (26 March 2013). "In praise of fools". The Straits Times. Singapore Press Holdings.
- ↑ Cotter, Holland (21 February 2013). "Acquired Tastes of Asian Art 'No Country,' New Asian Art at the Guggenheim". The New York Times. Retrieved 6 March 2014.
- ↑ "No Country: Contemporary Art for South and Southeast Asia". guggenheim.org. Guggenheim Foundation. Archived from the original on 26 July 2014. Retrieved 17 July 2014.
- ↑ "No Country: Contemporary Art for South and Southeast Asia". asiasociety.org. Asia Society. Archived from the original on 25 July 2014. Retrieved 17 July 2014.
- ↑ "No Country: Contemporary Art for South and Southeast Asia". NTU Centre for Contemporary Arts Singapore. Archived from the original on 20 April 2016. Retrieved 8 April 2016.
- ↑ "Art review: TwentyFifteen.sg and Singapore Survey 2015". Archived from the original on 2 April 2016. Retrieved 8 April 2016.
- ↑ "Paintings by Tang Da Wu". SAGG. 13 August 2016. Retrieved 10 September 2019.
- ↑ "Hak Tai's Bow, Brother's Pool and Our Children: Tang Da Wu". NAFA. Retrieved 10 September 2019.
- ↑ Emilia, Stevie (4 July 2019). "'Awakenings' exhibition peeks into Asia's post-war history". Jakarta Post. Retrieved 10 September 2019.
- ↑ "Awakenings: Art in Society in Asia 1960s–1990s". The Japan Foundation. Retrieved 10 September 2019.
- ↑ "Awakenings: Art in Society in Asia 1960s–1990s". MMCA. Retrieved 10 September 2019.
- ↑ "Awakenings: Art in Society in Asia 1960s–1990s". National Gallery Singapore. Retrieved 10 September 2019.
- ↑ "Contending Boundaries". artcommune gallery. Retrieved 10 September 2019.
- ↑ "Tang Da Wu Sembawang: The D.D. Land and Sembagraphie". NAFA. Retrieved 10 September 2019.
References
- About the Artists: DA WU TANG (b. 1943, Singapore), National Arts Council, 2007, archived from the original on 18 January 2008, retrieved 19 October 2008.
- Arts and Culture Prize: TANG Da Wu, Asian Month, 1999, retrieved 20 October 2008.
- Chia, Adeline (7 August 2008), "First artist colony", The Straits Times.
- Chia, Adeline (7 August 2008), "Tang's dynasty", The Straits Times.
- Gumpert, Lynn (December 1997), "A Global City for the Arts? – Singapore", Art in America (reproduced on FindArticles), retrieved 23 October 2008..
Further reading
Articles and websites
- Masahiro, Ushiroshoji (1999), Fast moving Asian contemporary art: Tang Da Wu and his works (PDF), Asian Month, retrieved 20 October 2008.
- Toh, Charmaine (2017). Going Home: Negotiating Identity in Tang Da Wu's work. Cultural Connections. retrieved 17 April 2023
- Toh, Charmaine (2022). Tang Da Wu: Performance and Pedagogy. Southeast of Now: Directions in Contemporary and Modern Art in Asia 6 (1), 195-202. doi:10.1353/sen.2022.0010, retrieved 17 April 2023.
- Yeo, Alicia Kay Ling (7 August 2008), Information on Singapore artist Tang Da Wu, Reference Point Enquiries Bank, National Library, Singapore, archived from the original on 26 August 2011, retrieved 20 October 2008.
Books
- Sabapathy, T.K. (1993), "Contemporary Art in Singapore: An Introduction", in Turner, Caroline (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific, Queensland: University of Queensland Press, pp. 83–92, ISBN 978-0-7022-2583-3.
- Sabapathy, T.K. (1998), Trimurti and Ten Years After, Singapore: Singapore Art Museum.
- Singapore Art Museum (2007), Telah Terbit (Out Now): Southeast Asian Contemporary Art Practices during the 1960s to 1980s, Singapore: National Heritage Board, ISBN 978-981-05-7623-3.
- Tang Da-Wu タン・ダ-ウ展 (in Japanese), Fukuoka: Fukuoka-shi Bijutsukan, 1991.
- Toh, Charmaine (2016). Tang Da Wu: Earth Work 1979, Singapore: National Gallery Singapore. doi.org/10.2307/j.ctv1k3np6j.
- van Fenema, Joyce (1996), Southeast Asian Art Today, Singapore: Roeder Publications, ISBN 978-981-00-6002-2.
News reports
- "Art therapy helps people express their frustrations", The Straits Times, 16 June 1994.
- Leow, Jason (14 June 1996), "Art taken for a ride at HDB estates – around your place", The Straits Times.
- "Through the artists' eyes", Business Times (Singapore), 28 October 2000.
- Sreshthaputra, Wanphen (3 January 2002), "Art fest a big hit with Singaporeans: A diverse range of media is employed but the quality of the works on display is mixed", Bangkok Post.
External links
- Australian Legend [by] Tang Da Wu, Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore, April 2000, archived from the original on 23 December 2007, retrieved 25 February 2009.
- Map of South America [by] Tang Da Wu, Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore, April 2000, archived from the original on 2 July 2007, retrieved 25 February 2009.
- Woman with Snake in a Cage by Tang Da Wu, Postcolonial Literature and Culture Web, University Scholars Programme, National University of Singapore, April 2000, archived from the original on 4 July 2007, retrieved 25 February 2009.