000			02754cam a22003377i 4500
001			19101403
003			OSt
005			20251113124416.0
008			160520s2016 si a 000 0deng
010			_a 2016326115
020			_a9789810984335
035			_a19101403
040			_beng _cFoundation University _erda
042			_alcode
050	0	0	_aNX 430 .S56 _b.2016 F33
110			_aNational Gallery Singapore _912611
245	0	2	_aA fact has no appearance : _bart beyond the object / _cby Clarissa Chikiamco, Russell Storer, Adele Tan; editors and Joleen Loh; project editor
264		1	_aSingapore : _bNational Gallery Singapore, _c2016. _42016.
300			_a98 pages : _billustrations (chiefly color) ; _c28 cm
336			_atext _2rdacontent
336			_astill image _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
500			_aAn art exhibition
504			_aIncludes biodata and acknowledgment
505			_aA fact has no appearance : art beyond the object -- Making "marks" and leaving "evidences" : the art of Johnny Manahan 1971-82 -- Redza Piyadasa in the 1970s : cerebral maneouvres, cultural assertions -- Melting into air : Tan Teng-Kee in Singapore
520			_aNational Gallery Singapore is proud to present A Fact Has No Appearance: Art Beyond the Object, an exhibition that looks at the impact of new ideas on art in Southeast Asia during the 1970s. This is explored through case studies of the work of Johnny Manahan (Philippines), Redza Piyadasa (Malaysia) and Tan Teng-Kee (Malaysia/Singapore), all of whom have been recognised for breaking new ground in Southeast Asian modern art.The 1960s and 1970s were pivotal decades when artists around the world began to reject standard ideas of art making and presentation, and resisted the role of commercial galleries and institutions as arbiters of value and merit. Steeped in the conceptualism of the period, Manahan, Piyadasa and Tan questioned the notions of permanence in their work, each offering powerfully inventive ways to readdress the concretising of ideas as aesthetic objects. The three took established artistic forms-photography, painting and sculpture-and turned them on their heads, introducing interactivity, text, moving images and everyday materials to open up a range of possibilities and slippages within the art object. Although many of their works from the '70s have not survived, or have survived in degraded conditions, due often to their ephemeral conception and construction, they remain important in the art history of the region.
546			_aIn English.
650			_2LC _aArt fairs _y20th century _zSoutheast Asia _912612
942			_2lcc _cBK _hNX 430 .S56 _i.2016 F33 _k(DAFA-FA)
999			_c5130 _d5130