The Padang Sessions

Welcome to Padang Spotlights! These special episodes are dedicated to unearthing our archives to bring to life the rich narratives of Southeast Asian artists and art spaces. In this spotlight, our researcher and host Tan Yen Peng traces the legacy of female artist and educator Sun Yee (b. 1919, d. 2010), a pivotal but lesser-known figure in Singapore’s early art scene. As the former head of the Singapore Academy of Arts, and an artist with nearly 100 exhibitions to her name, Sun Yee played a vital role in shaping art education in Singapore but over time, her contributions have quietly faded from public memory. Through heartfelt conversations with her former student, artist-designer Eng Siak Loy, and long-time friend and gallerist Johnny Yu Ching Chung, Yen Peng pieces together Sun Yee’s contributions to Singapore’s artistic landscape and reflects on the importance of remembering those who laid the groundwork for today’s creative communities. Researcher, Host & Co-editor: Tan Yen Peng Co-editors & Producers: Adele Tan, Kelysha Cheah Kassim, Ng Zheng Hong Audio production, Music & Sound design: Chong Li-Chuan - If you’ve enjoyed Padang Spotlights, please take a moment to leave us a review. Follow us on Instagram and Facebook. Go to www.nationalgallery.sg for more podcasts and Southeast Asian art! 

Can we conceive of exhibitions as a medium? Are exhibitions only neutral spaces for the display of artworks, or do they have agency as an aesthetic, contested and epistemic site Can we conceptualise the exhibition as a medium that generates new ways of thinking about and making art?  When talking about methodology, there is a dilemma in terms of how we can develop approaches to study exhibitions that extend beyond just art history. As part of October Gathering, “Towards a Mystical Reality: A Documentation of Jointly Initiated Experiences by Redza Piyadasa and Sulaiman Esa” (Malaysia, 1974) was restaged. It was used as a case study that could be reconstructed, reconsidered and propositioned as an exhibitionary medium, method, and “conceptual performance” that is participatory, critical and reflexive all at once. Reconstructing such exhibitions proposes a way of thinking that sees the exhibition as method and the exhibition as medium approaches as ways to demystify the original exhibition. This discussion was part of a workshop that accompanied the restaging of “Towards a Mystical Reality: A Documentation of Jointly Initiated Experiences by Redza Piyadasa and Sulaiman Esa”. Art historian Simon Soon and independent curator Biljana Ciric explored how we could develop approaches to studying exhibitions that extended beyond what we have from art history. This conversation was moderated by then Senior Curator Seng Yu Jin.This discussion took place at National Gallery Singapore on 7 October 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Bringing together Malaysia-based American artist Ray Lagenbach, Filipino artist and musician Kaloy Olavides and the Indonesian film historian David Hanan, this panel sought to explore the intersections between performance and time-based media which emerged during the 1970s which have largely been left outside the ambit of current art histories in Southeast Asia. Through the diverse perspectives and experiences of the invited speakers, the panel sought to locate early collaborative and interdisciplinary instances of art-making from the 1970s to the 1990s in order to search for a more multi-modal approach to reading art in relation to the moving image in the region.The programme opened with a screening of ‘Meta Ekologi’, an experimental film by artist-filmmaker Gotot Prakosa which captures a performance choreographed by Sardono Kusomo, and which was held at the Taman Ismail Marzuki in Jakarta, Indonesia in 1979. This programme was moderated by Clarissa Chikiamco and Cheng Jia Yu, Curators at National Gallery Singapore. Due to copyright restrictions, we are unable to publish the film online. This film screening and discussion took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Digital access to collections is an important function of many Southeast Asian art archives. As digital resources and nodes for peer-to-peer sharing, these archives play an important role in seeding new research and cultivating a regional historical consciousness. Focusing on the Southeast Asia Performance Collection and Indonesia Visual Art Archive as case studies, curators Annie Jael Kwan and Farah Wardani examined how these archives have used digital tools to grow their discursive communities, collaborating with organisations and navigating intellectual property regimes in this conversation moderated by gallery curator Kathleen Ditzig.This discussion was part of an online workshop, “Archival Intelligence,” that brought together artists, researchers and archivists from the region alongside lawyers and Arweave, a blockchain seeking to create a ‘permanent Internet’. Together, they discussed about sustainable Web3 solutions that could serve marginalised artists, independent spaces and cultural histories which are at risk of being lost. This programme took place at National Gallery Singapore on 9 Oct 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Join Joel Sherwood-Spring, Simon Soon and Tammy Nguyen as they advocate for open-access knowledge. This session explored different strategies for reclaiming and granting greater access to knowledge. From institutional partnerships, to leveraging the public domains of specific nations, and to the individual labour involved in creating resource guides and artworks, this panel delved into the techniques and urgencies that have empowered individuals and collectives to resist the legacies of neocolonialism. The conversation also touched on the increasing levels of exclusivity when it comes to who gets to study, write and speak about our cultural histories. This discussion was moderated by Gallery Curator Kathleen Ditzig. This discussion was part of an online workshop, “Archival Intelligence,” that brought together artists, researchers and archivists from the region alongside lawyers and Arweave, a blockchain seeking to create a ‘permanent Internet’. Together, they discussed about sustainable Web3 solutions that could serve marginalised artists, independent spaces and cultural histories which are at risk of being lost. This programme took place at National Gallery Singapore on 9 October 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

“SEMBUH” is an expanded version of Kamal Sabran’s Ssegar Angin performance, presented at the Venice Biennale in April 2022. Based on Kamal’s sound therapy research on performance as a method for Malay traditional healing, the project offered an alternative take on the revitalisation of the angin (wind) transpiring within the panggung (physical space) through an immersive sound and dance experience. Anchoring the panggung and charging the space with aural energy, the performance moves the public towards healing and recovery.About Concert for the Haunted As the sonic programme accompanying October Gathering, Concert for the Haunted invited sound artists, musicians and movement artists to respond to the thematic threads and inquiries arising across its sister programmes. How do binaries of self/other, nature/culture, body/mind continue to haunt us even in the present? Through encouraging deep listening, sound becomes a seeding moment for healing, cross-pollination and the unearthing of neglected but deep connections between the human and non-human. Concert for the Haunted proposed a re-alliance with intuitive and embodied ways of knowing and encouraged expanded imaginings of togetherness through modes of listening.This performance took place at National Gallery Singapore on 15 October 2022, as part of October Gathering. Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Welcome to Padang Spotlights! These special episodes are dedicated to unearthing our archives to bring to life the rich narratives of Southeast Asian artists and art spaces.In this spotlight, Gallery curator Cheng Jia Yun continues her research journey following her curation of well-loved Singaporean artist Chng Seok Tin’s exhibition Drawn Through a Press (2021). Through intimate conversations with artists Tan Sock Fong, Dahlia Osman, Chen Shitong, and archivist Koh Nguang How, Jia Yun delves deeper into the impact of Chng’s work and how her collaborative spirit has allowed the printmaking community in Singapore to thrive.As an added bonus, listen out for the harmonica melodies by the artist, which she performed for her student Dahlia Osman’s birthday celebration!-Researcher, Host & Co-editor: Cheng Jia YunCo-editors & Producers: Erica Lai, Joleen Loh, Kelysha Cheah KassimAudio production, Music & Sound design: Chong Li-Chuan-If you’ve enjoyed Padang Spotlights, please take a moment to leave us a review.Follow us on Instagram and Facebook.Go to www.nationalgallery.sg for more podcasts and Southeast Asian art!

This lecture performance by artists Zarina Muhammad and Tini Aliman draws from and unfolds from fragments from each of the auto-ethnographic aspects of Zarina and Tini's respective practice. The performance was presented as part visual conversation, part pragmatic prayer, part eulogy, part temporal installation that traverses the hiding places of love, grief and queer spirits, the soundscapes of trees as conduits, the inventories of intimacies, the necessary spaces of silence and the ways love loves difficult things. Following this is a conversation between the artists, historian Chris Baker, economist Pasuk Phongpaichit and curator Adele Tan.This performance lecture took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Desire is both powerful and fundamental. In old Siam, the expression of desire in words and pictures was open, celebratory and humorous. Among non-elite women, sexuality was seen as a strength and was something that was not confined to the young. Royals were portrayed as passionate. However, modernity brought about change. Some sought to deny the power of desire and to limit its expression, and female sexuality was seen as dangerous. Yet, old currents still swirl under the surface and defy this denial of sexuality. Historian Chris Baker and economist Pasuk Phongpaichit explore the power of desire: from temple murals in the 18th century, to poetry in the 15th century, and protest in the 21st century. This talk took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.Disclaimer: This talk contains some sexual references. Listener discretion is advised. The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

“To be an artist is ... just like shit in a clogged toilet, stubborn shit that can’t decide whether it wants to be flushed or to stick around…”Composed as an irreverent dialogue between masculine and feminine narrators, this book of essays by Araya Rasdjarmrearnsook is an uncategorisable fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. This first English translation of her essays was prepared by eminent translator Kong Rithdee and edited with an accompanying essay by Roger Nelson and Chanon Kenji Praepipatmongkol.This event marked the launch of the new research publications imprint, National Gallery Singapore: Art Writing. This peer-reviewed imprint celebrates the diverse voices and genres of writing that create the discourse of art in Southeast Asia, both historically and in the present. Going beyond conventional art history, books in this imprint include compilations of artist writings, art criticism and experimental approaches to the image.This live reading and discussion took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.This is a recording of a live reading of extracts from Araya’s compelling and humorous writings by artist Heman Chong, writer Amanda Lee Koe and Araya Rasdjarmrearnsook herself, and a sharing on the development of the book by Roger Nelson.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Photography has been seen on the walls of the art museum since the 1930s. However, since then, questions have continued to be raised as to what sort of photography and whose photography should be collected and displayed? The role of photography within an art museum is often complicated by its varied, multiple roles in daily life – its non-art functions, which have caused confusion, arguments and schisms. Artists Sean Lee, Mintio, and librarian Janice Loo revisit this medium with respect to a museum’s role in society. This discussion was moderated by Gallery Senior Curator Charmaine Toh. This panel discussion took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

"An Uncommon History of the Common Fence" is a research project that suggests that the common fence—often used as a protective safety urban device or as a boundary marker demarcating permissible and non-permissible movement—has had an uncommon history within the biography of Singapore. The fence is so commonplace within the urban environment that it recedes from active vision. In fact, the common fence has been a participant in key events in the history of Singapore: as a witness to history, as a site of its making and as its casualty. In these ways, the fence, as an urban design element, has enacted key dimensions of citizenship within this city. To account for these various dimensions, the research in "An Uncommon History" is manifested as equal parts design and photographic history, sculptural and installation objects, as well as text and speech. Singaporean artist and writer Jason Wee explores the common fence as a participant in key events in the history of Singapore.  “A Prologue” was part of a larger programme titled: “An Uncommon History of the Common Fence: A Prologue + Reading Spiral”.This talk took place at National Gallery Singapore on 16 Oct 2022, as part of ‘October Gathering’.  

To dwell on the questions concerning Islam and Islamic religiosity/spirituality is to acknowledge its position in mainstream art historical narratives and museological practices. Islam is rarely discussed in this largely secular field and the circles of modern and contemporary art. There are only a few scholarships on art in Southeast Asia that address the continuing role of Islam in the region's modern and contemporary artistic practices.This conversation highlighted this "neglected dimension" by focusing on how Islam and Islamic objects are contextualised within museums. It observed how artists have worked with religious-derived principles, spiritual dimensions and how they are preoccupied with the ritual and performative aspects of their devotional experience, inseparable from a larger cultural system. Artists, curators, and scholars looked at the absence of Islam and Islamic religiosity/spirituality in modern and contemporary art historical narratives in Southeast Asia, and how its aspects have been packaged and framed within international exhibition spaces.This panel discussion took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.This talk formed part of research for the Gallery's 2023 exhibition The Neglected Dimension curated by Anissa Rahadiningtyas.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

In this episode, art historian Jeffrey Say explores one of the most important phases in the development of Singapore’s modern art history—the 1950s to the 1970s. This period saw the emergence of distinctive movements like the Nanyang Style, visual imagery that drew from the lives and struggles of the common people, and the first sculpture show in Singapore. This session was held in July 2017 at National Gallery Singapore.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Founder and editor of the Indonesian magazine Tempo, Goenawan Mohamad recalls one of Indonesia’s most cherished poets, Chairil Anwar, and offers perspectives on possible genealogies that have constituted modern Southeast Asian literary production since the 1950s.    This session was held in December 2018 as part of the symposium How Easily Modernism Could be Disturbed in conjunction with the exhibition Latiff Mohidin: Pago Pago (1960-1969). This travelling exhibition by National Gallery Singapore was also presented at Centre Pompidou, Paris.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Writer and literary translator Pauline Fan traces the literary frontiers in Latiff Mohidin’s travel writings and poetry from the 1960s in this conversation with Gallery Director of ILHAM Gallery Rahel Joseph.This session was held in December 2018 as part of the symposium How Easily Modernism Could be Disturbed in conjunction with the exhibition Latiff Mohidin: Pago Pago (1960-1969). This travelling exhibition by National Gallery Singapore was also presented at Centre Pompidou, Paris.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Co-curators of the Nam June Paik exhibition Rudolf Frieling (of SFMOMA) and Sook-Kyung Lee (of Tate Modern) briefly trace Paik’s legacy by focusing on some of his key works. They also address multiple intersecting narratvies of music and performance, collaboration and artistic networks as well as transnational interests and trajectories. This talk was held online on the Gallery's YouTube and Facebook channels on 17 December 2021 in association with the exhibition Nam June Paik: The Future is Now.This programme was made possible with the support of U.S. Embassy Singapore.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Roger Nelson (Assistant Professor at Nanyang Technological University and Curator) and Seng Yu Jin (Deputy Director, Curatorial & Exhibitions, National Gallery Singapore) discuss how we can account for the allure of the exotic in depictions of crowds in Southeast Asian places and people through Louis Rollet’s Market at Memot and U Ba Nyan’s At the Jetty.  This talk was held online on Zoom in June 2021 in association with the In-Gallery Sessions programme series.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Associate Professor of History Dr Timothy P. Barnard (National University of Singapore) explores how animals fit into colonial society in Singapore, an aspect of the period’s history that is often overlooked. While animals no doubt played an important role in everyday life by providing transportation, labour and food, they also symbolically represented the colonisation of nature. They were used as metaphors for imperial control in media like paintings and photographs, and became integral to perceptions of Singapore and how its place in the tropics was understood.This talk was recorded live in September 2019 at National Gallery Singapore in association with the Art in Singapore programme series.Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.

Architecture historian Dr Lai Chee Kien examines murals and architecture produced during the heady years just before and after independence in Singapore and Malaysia from 1945 to 1969, and also into the 1970s. This talk was recorded live in March 2020 at National Gallery Singapore as part of the programming for Suddenly Turning Visible: Art and Architecture in Southeast Asia (1969–1989).Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.All copyright within this recording, without limitation, are retained by their respective owners.