art central e-catalog

Grinsing Father 2014 Charcoal on paper collage

Art Central 2015

March 14 2015

16 2015

Booth B6 Central Harbourfront Hong Kong

Natee Utarit

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Art Central 2015 Hong Kong

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An old traditional European painting from the Middle Ages titled Danse Macabre or Dance of Death inspired this altarpiece painting. The original socio-critical theme of the painting presents Death as the divine equalizer, leveling di!erent classes such as the peasants, the royalties and beggars onto one plane.

This work, which is originally inspired by the Western concept, is embellished with Buddhist imageries and contents derived from the “Tripitaka” or the Buddhist scriptures. The steps at the bottom of every "gure are painted with the 5 words of ABHINA-PACCAVEKKHANA, which are the 5 subjects that all Buddhists should constantly bear in mind at all times.

The "ve words are:

JA!DHAMMATA We are subject to aging and can not escape it. BYADHIDHAMMATA We are subject to pain and illness and cannot escape them. MA!NADHAMMATA We are subject to death and cannot escape it. PIYAVINABHAVATA We must inevitably be separated from all people and things that we love. "MMASSA"TA We have #MMASSA#TA as our own; whatever deeds we do, be they good or evil, of those we will surely be the heirs.

A section of the altar painting presents a pier or riverbank in which the visual information is obtained from a trip made last year to the Ayutthaya ancient city in Thailand. I studied the architecture of the city as well as the ancient Portuguese and Dutch villages near the river. Incidentally, the discovery of a strategically placed church and cemetery overlooking the river in the center of one of the villages has served as the scenic background of this painting and alluding to the river as the idea of traveling to a place that can’t be denied.

The viewer who looks at this painting is intended to share my perspective of looking at these "gures consolidating with their impending future as though the observer is standing on the river. Thus, the audience becomes one of those who have already traveled.

Natee Utarit2015Bangkok

Passage To The Song Of Truth And Equality2014 Oil on canvas 212 x 510 cm 5

Natee Utarit (b. 1970, Bangkok) studied at the College of Fine Art in 1987 and graduated in Graphic Arts at the Painting and Sculpture Faculty at Silpakorn University, both in Bangkok, Thailand in 1991. Recent solo exhibitions include Illustration of The Crisis at ARNDT Berlin, Germany (2012) and at Art Season Gallery, Zurich, Switzerland (2011), After Painting at the Singapore Art Museum, Singapore (2010) and The Amusement of Dreams, Hope and Perfection at the Art Center of Chulalongkorn University, Bangkok, Thailand (2007). Selected group exhibitions include Negotiating Home, History and Nation: Two decades of Contemporary Art in Southeast Asia 1991-2011 at the Singapore Art Museum, Singapore (2011) and Clouds, Power of Asian Contemporary Art at the Soka Art Center, 798, Beijing, China (2010). His work is a part of many renowned collections, such as the Bangkok University, Bangkok, Queensland Art Gallery and Gallery of Modern Art, Brisbane, Singapore Art Museum, Singapore, as well as private collections in Europe and Asia.

Initially influenced by German Expressionism and abstract art in his early body of work, Utarit has undergone an exploration on the medium of painting connecting it with photography and classical Western art. Light and perspective are some of the elements the artist chose to work with, focusing on painting as a means to explore image making. His complex pictures, juggle wide-ranging metaphors usually in the format of the traditional still life and allude to Thailand’s current social and political landscapes.

Natee Utarit

Education1987 College of Fine Art, Bangkok, Thailand1991 BFA Graphic Art, The Faculty of

Painting, Sculpture and Graphical Arts, Silpakorn University, Bangkok, Thailand

Selected Solo Exhibitions2013 Optimism is Ridiculous, Gallery Hyundai,

Seoul, South Korea Optimism is Ridiculous, Richard Koh Fine Art, Kuala Lumpur, Malaysia

2012 Illustration of the Crisis, ARNDT Berlin, Germany

2011 Bourgeois Dilemma, Finale Art File, Philippines Illustration of The Crisis, Art Season Gallery, Zurich, Switzerland

2010 A!er Painting, Natee Utarit’s survey exhibition, works from 1992 – 2008, Singapore Art museum, Singapore

2009 Tales of yesterday, today and tomorrow, Richard Koh Fine Art, Kuala Lumpur, Malaysia

2008 Transparency Happiness, Soka Art Center, Beijing, China

2007 The Amusement of Dreams, Hope and Perfection, The Art Center , Center of Academic Resources, Chulalongkorn University, Bangkok, Thailand

2006 Kyotek Sae-Wu’s 12 photographs during 1969-1973, Numthong Gallery, Bangkok, Thailand

2005 The Last Description of the Old Romantic, Numthong Gallery, Bangkok, Thailand

2003 Recent Paintings, Numthong Gallery, Bangkok, Thailand

2002 Silent Laughing of Monster, Numthong Gallery, Bangkok, Thailand

2001 Equivalence Second Dialectic, Plum Blossoms Gallery, Singapore

2000 Pictorial Statement, Bangkok University Art Gallery, Bangkok, Thailand

1999 Internal Landscape, Art Forum, Singapore Appearance and Reality, Numthong Gallery, Bangkok, Thailand

1998 Internal Landscape, Numthong Gallery, Bangkok, Thailand

1997 Mother Figure, Numthong Gallery, Bangkok, Thailand

Selected Group Exhibitions2015 Art Central 2015 Hong Kong, Hong Kong

Art Stage 2015, Singapore

2014 Art Taipei 2014, Taipei, Taiwan START, with Richard Koh Fine Art, Saatchi Gallery, London, UK

2013 Asian Art Biennale 2013: Everyday Life, National Taiwan Museum of Fine Arts, Taipei, Taiwan

2012 Beacons of Archipelago, Arario Gallery, Cheonan, South Korea Clouds, Power of Asian Contemporary Art, Soka Art Center,798, Beijing, China

2011 Asia:Looking South, ARNDT, Berlin, Germany Future Pass – From Asia to the World Collateral Event of the 54th International Art Exhibition, la Biennale di Venezia, Palazzo Mangilli- Valmarana, Venice, Italy Negotiating Home, History and Nation: Two decades of Contemporary Art in Southeast Asia 1991 - 2011, Singapore Art Museum, Singapore

2008 Mapping Asia, The Special Project of CIGE 2008, Beijing, China This is not a Fairy-tale, Contemporary Thai Art Exhibition, Soka Art Centre, Taipei, Taiwan

2007 Diversity in Print, Singapore Tyler Print Institute, Singapore Southeast Asian Contemporary Art, Soka Art Centre, Beijing, China

2006 Signed and Dated, Valentine Willie Fine Art, Kuala Lumpur , Malaysia

2005 Portrait, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2005 Next Move, Earl Lu Gallery, Lasalle-Sia College of the Art, Singapore

2002 Fusion Vision, Thai Australian Artistic Connection, The Gallery of Art and Design, Silpakorn University, Bangkok, Thailand

2002 ARS 01, Museum of Contemporary Art, Helsinki, Finland Thai Contemporary Exhibition, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2000 The Third Asia - Paci"c Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia

1998 The 3rd International Mini Print Triennial 1998, Lahti, Poland

1997 Conversing Contemporary, Numthong Gallery, Bangkok, Thailand

1995 Man and the Forest, A Fundraising Exhibition Bene"t The Northern Development, The Art Center, The Center of Academic Resources, Chulalongkorn University, Bangkok, Thailand

1993 Premio Internationzionale Biella Per l’Incisione 1993, Biella, Italy

1992 The Exhibition of Prints, Dialogue Gallery, Bangkok, Thailand

1991 The 19th International Biennial of Graphic Art 1991, Ljubljana, Yugoslavia

1985 The Contemporary Art Competition-90 1990, The National Gallery, Bangkok, Thailand

The Male Formy Gra"ki, Polska-Lodz’89, Poland

Public Collections Queensland Art Gallery/ Gallery of Modern Art,

Brisbane, Australia Burger Collection, Hong Kong and Switzerland Singapore Art Museum, Singapore Lasalle - SIA College of the Arts, Singapore Fine Art Museum of Ho Chi Minh City, Vietnam Canvas Foundation, Amsterdam, Netherlands The Metropolitan Hotel, Bangkok, Thailand Park Nai Lert Hotel, Bangkok, Thailand Silpakorn University, Bangkok, Thailand Bangkok University, Bangkok, Thailand British Council, Bangkok, Thailand Amorepaci"c Museum of Art, Osan, South Korea

Nadiah Bamadhaj

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In mid-2014, during the closest and most polarized presidential campaigns Indonesia has ever seen, the 230-year-old Hoo Tong Bio Temple and the 151-year-old Liong Hok Bio Temple, in the Central Javanese towns of Banyuwangi and Magelang, were burnt to the ground.

I had visited Magelang’s Liong Hok Bio several months before. The sta! were gracious and welcoming to visitors of all faiths, giving a tour of each altar and their origin, describing the history of the building and temple, (which itself was started by a man who had escaped the Batavia Massacre of ethnic Chinese sugar cane labourers by the Dutch in 1740), and inviting us to participate in secular temple activities without religious indoctrination. I was overwhelmed by the inclusivity in their attitude, their value for and sharing of this historic site, and was therefore completely crushed when this temple turned to ashes in July 2014.

In Indonesia the history of violent attacks against ethnic Chinese communities and their places of worship is long and multiplicitous, carried out by many regimes of power since the "rst and second waves of Chinese migration to the archipelago in the 16th and 18th centuries.

The reaction of both temple authorities however, revealed not only a bitter irony, but a continued social phenomena. For despite the victory of President Joko Widodo; known for his values of plurality, concern for human rights, and friendship with Chinese communities; both temple authorities still maintain the demise of these valued historic sites were started by ‘fallen altar candles’, and refused to report the incidents as suspicious.

Contemporary Indonesian society would now shun physical violence against ethnic Chinese communities. However an attack of a historic site is as sharp a knife. Both temples and the altars enclosed were symbols of a community, its history, and its sustainability. Their attack was the preservation of an old order of repression and an expression of an old form power. The silence of the temple authorities proved that this form of power still worked.

Unaltered Country I and II (2014) is my reaction to these recent events. Observing altars and temples in several Javanese cities, I recreated these two ‘closed’ altars in drawing form. I have overlapped elements of Chinese and Javanese characteristics in their design - partly from my memory of the burnt altars, partly because ethnic Chinese and Javanese artifacts in Java appear indistinguishable from each other, but primarily because despite the many attempts to polarize and exclude Chinese communities in Indonesia’s long history, Chinese communities identify as Indonesian (or more speci"cally here Javanese), and a form of repression against a Chinese community is a form of repression against Indonesians as a whole.

Gringsing Father (2014) responds to the same issue from a more ‘open’ perspective. Here I depict a friend of Chinese origin in a de"ant stance, representing stoicism and fortitude. Also being Javanese, he wears a batik of gringsing motif, which as oral histories account symbolises both fertility and worn by those in battle.

Nadiah Bamadhaj2015Yogyakarta

Grinsing Father2014 Charcoal on paper collage 206 x 138 cm

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Unaltered Country I2015 Charcoal on paper collage 132 x 111 cm

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The Bear Hut2014 Charcoal on paper collage 168 x 235 cm

Warung Bensin Siege 2014 Charcoal on paper collage 156 x 110 cm

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Education1992 Bachelor of Fine Arts (BFA), University

of Canterbury, Christchurch, New Zealand

Selected Solo Exhibitions2014 Poised For Degradation, Richard Koh

Fine Art, Singapore

2012 Keseragaman, Richard Koh Fine Art, Kuala Lumpur, Malaysia

2008 Surveillance,Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2004 enamlima sekarang (sixty"ve now), Galeri Lontar, Komunitas Utan Kayu, Jakarta, Indonesia

2003 enamlima sekarang (sixty"ve now), Benteng Vredeburg Museum, Yogyakarta, Indonesia

2001 1965 - Rebuilding Its Monuments, Galeri Petronas, Kuala Lumpur, Malaysia


Art Stage 2015, Singapore

2014 Art Taipei 2014, Taipei, Taiwan START, with Richard Koh Fine Art, Saatchi Gallery, London, UK

2013 Parallax: ASEAN, Changing Landscapes, Wandering Stars, ASEAN-Korea Contemporary Media Art Exhibtion, ASEAN-KOREA Centre, Seoul, South Korea Welcome to the Jungle: Contemporary Art in Southeast Asia from the Collection of Singapore Art Museum, Contemporary Art Museum Kumamoto (CAMK), Kumamoto, Japan

2012 Art Stage Singapore 2012, Marina Bay Sands, Singapore

2011 Its Now or Never Part II,Singapore Art Museum, Singapore

Beyond the Self, Contemporary Portraiture from Asia, National Portrait Gallery, Canberra, Australia

2010 Creative Index, The Nippon Foundation’s Asian Public Intellectual Fellowship’s 10th Anniversary, Silverlens Gallery, Manila, Philippines Beirut Art Fair 2010 (Menasaart), Beirut, Lebanon Beacons of Archipelago: Contemporary Art from Southeast Asia, Arario Gallery, Seoul, South Korea

2009 Earth and Water: Mapping Art in Southeast Asia, Singapore Art Museum, Singapore Photoquai 09: 2nd Biennale Photographic Festival, musée duquai Branly, Paris, France Code Share: 5 continents, 10 biennales, 20 artists, Contemporary Art Centre, Vilnius, Lithuania

2008 Wonder, Singapore Biennale, Singapore City Hall, Singapore East-South, Out of Sight, South and Southeast Asia Still and Moving Images, Tea Pavilion, Gouangzhou Triennale, China The Scale of Black, Contemporary Drawings from Southeast Asia, HT Contemporary Space, Singapore

2007 Out of the Mould: The Age of Reason, 10 Malaysian Women Artists, Galeri Petronas, Kuala Lumpur, Malaysia Fetish: Object Art Project #1, Biasa Artspace, Denpasar, Indonesia Selamat Datang ke (Welcome to) Malaysia: An Exhibition of Contemporary Art from Malaysia, Gallery 4A, Sydney, Australia Processing the City: Art on Architecture, The Annex Gallery, Kuala Lumpur, Malaysia

Nadiah Bamadhaj (b. 1968, Petaling Jaya) was initially trained as a sculptor at the University of Canterbury in New Zealand but now produces drawings, sculptures, installations and digital images. She has worked in non-governmental organizations, lectured in art, and has written on both Malaysia and Indonesia. In 2000, she began her full-time art practice and was awarded the Nippon Foundation’s Asian

Nadiah Bamadhaj

Never Mind, Video Art Exhibition, ViaVia Café, Yogyakarta, Indonesia

2006 Fast Futures: Asian Video Art, The Asia Society India Centre, Little Theatre Auditorium, NCPA, Mumbai, India The War Must Go On, Clockshop Billboard Series, Corner of Fairfax and Wilshire, Los Angeles, USA TV-TV, Week 34, Video Art Festival, Copenhagen, Denmark Building Conversations: Nadiah Bamadhaj and Michael Lee, Singapore Art Museum, Singapore Holding Up Half the Sky by Women Artists, National Art Gallery, Kuala Lumpur, Malaysia Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts, Act 3: Faroe Art Museum, Tórshavn, The Faroe Islands, Denmark Biennale Jakarta 2006, Beyond The Limits and its Challenges, Galeri Lontar, Komunitas Utan Kayu, Indonesia Fast Futures: Asian Video Art, Asian Contempo-rary Art Week, Rubin Museum of Art, New York, USA

2005 Home Works II: A Forum on Cultural Practices, Lebanese Association for Plastic Arts, Ashkal Alwan, Beirut, Lebanon Urban Culture, CP Biennale, Museum of the Indonesian National Bank, Jakarta, Indonesia Media in “f ”, The 9th International Interdisciplinary Congress on Women, Ewha Woman’s’ University Campus, Seoul, South Korea

2004 Flying Circus Project: 04, Seeing with Foreign Eyes, Theatreworks, Fort Canning Park, Singapore Living Art: Regional Artists Respond to HIV/ AIDS, Queen’s Gallery, XV International AIDS Conference, Bangkok, Thailand

Gedebook, Group Fundraising Exhibition, Kedai Kebun Forum, Yogyakarta, Indonesia

2002 Asean Art Awards, Bali International Convention Center, Nusa Dua, Bali, Indonesia Pause, Gwangju Biennale 2002, Exhibition Hall 1, Gwangju, South Korea

2001 Philip Morris Art Awards, National Art Gallery, Kuala Lumpur, Malaysia Exhibit X, Taksu Gallery, Kuala Lumpur, Malaysia Flashpoint, WWF Art For Nature Fundraising Exhibition, Rimbun Dahan Gallery, Kuang, Malaysia

2000 Arang, Taksu Gallery, Kuala Lumpur, Malaysia

Awards2004 Asian Public Intellectual Follow-Up Grant,

funded by the Nippon Foundation

2002 Asian Public Intellectual Fellowship-03 funded by the Nippon Foundation,

administered by IKMAS, Universiti Kebangsaan Malaysia, Malaysia

2001 Juror’s Choice, Philip Morris Malaysia Art Awards 2001

2000 Artist-in-Residence, Rimbun Dahan-01 Artist Residency Program, Kuang, Malaysia

Public Collections Petronas Gallery,

Kuala Lumpur, Malaysia Muzium & Galeri Tuanku Fauziah, USM Penang , Penang, Malaysia The National Gallery, Singapore Singapore Art Museum, Singapore

Public Intellectual Fellowship in 2002, electing to spend her fellowship period in Yogyakarta, Indonesia, where she currently lives with her husband and son. Her artwork continues to focus on the social intricacies of Yogyakarta society, using myth, architecture and dwelling to articulate her observations.

Wong Perng Fey

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This body of work explores the idea of human feelings, a sense of dislocation, belonging and ownership and the relationships to living things, nationhood, statehood and authority, from personal and psychological perspectives.

During the time of creation, I o$en re%ect on the meanings of constraints and con"nements, boundaries and limitations, territory, distance, displacement, dislocation and legitimization.

Dislocation is de"ned as the act or process of dislocating or the state of having been dislocated and legitimization is de"ned in relation to the idea of land and place, belonging to, from the point of view of personal feelings.

Most of the works are created through the sense of distance I feel in trying to de"ne everything I know abstractly.

Thing are invisible yet real and solid. The distance, with which, I came to understand closeness, and alienation. Crossing borders, I can’t help but to anticipate, and come to terms with what I have to leave behind. All of which are mostly non-physical, ungraspable.

Nonetheless, these are the elements and evidences where others will use to decipher the validity of my being, whether from here or there; to de"ne East or West, North or South.

The extension of the land and the volume of solid mass, when seen out of its material terms, express our sense of loss and belonging, lineage, and hope.

A sense of loss, sometimes epitomized in our failing to accept, manifests the boundaries that we have built with the land, living things and people, through time, history and memory; and becoming a part of ourselves, inescapable, and undeniable, whether in the obvious or concealed.

Wong Perng Fey2014Beijing

Distance #012014 Oil and enamel on aluminum Dibond 145 x 122 cm

Distance #022014 Oil and enamel on aluminum Dibond 145 x 122 cm 23

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Luminous Red #32014 Oil and enamel on linen 155 x 128 cm

Luminous Pink #52014 Oil and enamel on linen 155 x 128 cm

Education1998 Graduated from Malaysian Institute of Art,

Kuala Lumpur, Malaysia

Solo Exhibitions2014 Equilibrium, Richard Koh Fine Art,

Kuala Lumpur, Malaysia Equilibrium,ARTSEASONS Gallery, Beijing, China

2012 The Other Shore, Debut Artspace, 798 Art Zone, Beijing, China

2011 Transitions,Richard Koh Fine Art, Singapore

2010 Recent Works, Richard Koh Fine Art, Kuala Lumpur, Malaysia

2009 Role Play, ViviYip Art Room, Jakarta, Indonesia

2008 In New Light, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2006 Habitat, B4-4, Binova Industrial Centre and 67 Tempinis Satu, Kuala Lumpur, Malaysia Appearance, Alliance Francaise de Penang, Penang, Malaysia Picturesque, NewAsia Hotel, Penang, Malaysia

2005 Still View, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2004 Works 2003-2004, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2002 New Landscape, Valentine Willie Fine Art, Kuala Lumpur, Malaysia

2000 First Solo, Valentine Willie Fine Art, Kuala Lumpur, Malaysia


Malaysian Art, A New Perspective, Richard Koh Fine Art, Singapore Malaysian Art, A New Perspective, Richard Koh Fine Art, Kuala Lumpur, Malaysia Art Stage 2015, Singapore

2014 Art Taipei 2014, Taipei, Taiwan

Wong Perng Fey (b. 1974, Kuala Lumpur) is an artist that has built his reputation as an experimental and versatile painter since his graduation from the Malaysian Institute of Art under the school’s scholarship in 1998. He was awarded the Artist Residency in Rimbun Dahan, Kuang in 2002. His works are in many prominent public collections such as the National Visual Arts Gallery, Kuala Lumpur; Bank Negara Malaysia Museum Art Gallery, Kuala Lumpur and Galeri Petronas, Kuala Lumpur. He lives and works in Beijing.

Perng Fey’s gestural paintings of figures, nature, and natural vistas fluctuate between abstraction and figuration with an acute sensitivity to colors, layers and textures. His body of work, consisting of a diverse subject matter, ranging from traditional landscape and portraiture to abstraction exhibits a talented and confident brush play. The canvas, becoming more than a picture plane, is transformed into a ‘stage’ for the documentation of actions and mistakes. It becomes a space that records gestures and mental states.

Wong Perng Fey

KIAF/14, Seoul, Korea CODES, 1929 Art Space, Shanghai, China

2013 ArtStage 2013, Singapore

2012 Snapshot, Rimbun Dahan, Kuang, Malaysia ArtStage 2012, Singapore

2011 Beirut Art Fair 2011, Menasaart, Beirut, Lebanon Here Today, Gone Tomorrow, Rimbun Dahan, Kuang, Malaysia ArtExpo 2011, Kuala Lumpur, Malaysia

2010 Ruang Berikutnya, Sangking Art Space, Yogyakarta, Indonesia Fresh Decade, The Art Gallery, Kuala Lumpur, Malaysia MAP Art Festival, District Art Box, Kuala Lumpur, Malaysia

2009 Art Bazaar Jakarta, Pacific Place, Jakarta, Indonesia Personal Effects, RogueArt, Kuala Lumpur, Malaysia Headlights, Valentine Willie Fine Art, Kuala Lumpur, Singapore

2008 Shifting Boundaries, Rimbun Dahan, Kuang, Malaysia

2007 Between Generations, Asian Art Museum and Muzium & Galeri Tuanku Fauziah, University Malaya, University Sains Malaysia, Malaysia

2006 Signed and Dated, Valentine Willie Fine Art, Kuala Lumpur, Malaysia Feed Me! An Exploration of Appetites, Rimbun Dahan, Kuang

2005 ArtSingapore, Suntec City Convention Centre, Singapore Petronas Collection Series Three: Narrative Strains, Galeri Petronas, Kuala Lumpur, Malaysia

2004 Paradise Lost, Paradise Found – WWF Art for Nature, Rimbun Dahan, Kuang, Malaysia

2003 ArtSingapore, Suntec City Convention Centre, Singapore Puncak – Alami II, National Art Gallery, Kuala Lumpur, Malaysia

Melbourne Connection Asia, City Tram Shelter, Melbourne, Australia

2002 Touch – WWF Art for Nature, Rimbun Dahan, Kuang, Malaysia

2001 Face the Act, Galeri Petronas, Kuala Lumpur, Malaysia

2000 Landscape to Landscape, Galeri Petronas, Kuala Lumpur, Malaysia

1999 Aku – 99 Self Portraits, Galeri Petronas, Kuala Lumpur, Malaysia

1994 Malaysian Art Open, Galeri Petronas, Kuala Lumpur, Malaysia

Awards & Activities2002 Artist Residency, Rimbun Dahan,

Rimbun Dahan, Kuang, Malaysia Alami II - Science Inspired Arts Camp, UNESCO International Year of Mountain, Sabah, Malaysia, sponsored by UNESCO, National Visual Arts Gallery, Universiti Kebangsaan Malaysia, Sabah Parks, The Ministry of Culture, Art & Tourism, Science & Environment

1996 Scholarship Award, Malaysia Institute of Arts, Kuala Lumpur, Malaysia

Public Collections National Visual Arts Gallery,

Kuala Lumpur, Malaysia Bank Negara Malaysia Museum and Art Gallery, Kuala Lumpur, Malaysia Galeri Petronas, Kuala Lumpur, Malaysia Khazanah Nasional Berhad, Kuala Lumpur, Malaysia

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Yeoh Choo Kuan

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Such delicacy, still, quiet and coiled, represented as canvasses. To refrain from physical connection, from slicing, from opening, from unraveling, from committing to an array of destructions on one hand; peculiarly, great consolation on the other. Stains of splashes, piles of colors, the romantic materials imprinted on fragments of memory. Including the suspended drips that are extremely unstable.

We are losing ourselves, our fragile selves. Bit by bit, beat by beat.

As always

Yeoh Choo Kuan2015Kuala Lumpur

Don’t Let Me Be Misunderstood2015 Oil and lacquer on canvas with custom wooden frames 160 x 134 cm

You May Live Thru This Tragic Affair2015 Oil and lacquer on canvas with custom wooden frames 160 x 134 cm 33

I’m Gonna Make Him An Offer He Can’t Refuse2015 Oil and lacquer on canvas with custom wooden frames 160 x 134 cm

Remisniscences Of A Deceased Me2015 Oil and lacquer on canvas with custom wooden frames 160 x 134 cm 35

Education2010 Diploma in Fine Arts, Dasein Academy of Art,


Solo Exhibitions2014 In The Flesh, Richard Koh Fine Art,

Kuala Lumpur, Malaysia 2012 Private Sentiment, House of Matahati,


Group Exhibitions2015 Art Central 2015 Hong Kong, Hong Kong

Malaysian Art, A New Perspective, Richard Koh Fine Art, Singapore Malaysian Art, A New Perspective, Richard Koh Fine Art, Kuala Lumpur, Malaysia Art Stage 2015, Singapore

2014 Art Taipei 2014, Taipei, Taiwan Impartial Origins, House of Frida, Bacolod City, Philippines Catalysis, HOM Art Trans, Kuala Lumpur, Malaysia KIAF/14, Seoul, Korea Arts Kuala Lumpur – Melbourne,Space@ Collins Street Melbourne, Australia Configuration, G13 Gallery, Kuala Lumpur, Malaysia MEAA, White Box, Publika, Kuala Lumpur, Malaysia

2013 50/50 (two man show with artist Zelin Seah), TAKSU, Kuala Lumpur, Malaysia

Yeoh Choo Kuan (b. 1988, Malaysia) is a young artist working in the veins of Abstract Expressionism though he installs narratives and hints of figuration to the formal language of his paintings. He graduated from Dasein Academy of Art, Kuala Lumpur with a Diploma in Fine Arts in 2010. He lives and works in Kuala Lumpur, Malaysia.

Yeoh Choo Kuan

SAGER III (touring exhibition in 3 countries), HOM Gallery (Malaysia), Perahu Art Connection (Indonesia), Orange Gallery (Philippines) Frame of Mind II, Orange Gallery, Bacolod City, Philippines No Random Nonsense, Boston Gallery, Quezon City, Philippines X Individuals-The Explorations, Art Accent Gallery, Kuala Lumpur, Malaysia Figuration Trajectory, G13 Gallery, Kuala Lumpur, Malaysia Up, Group Exhibition, TAKSU, Kuala Lumpur, Malaysia Locals Only, TAKSU, Kuala Lumpur, Malaysia

2012 Young & New Part IV, House of Matahati, Kuala Lumpur, Malaysia A Meter Diameter, House of Matahati, Kuala Lumpur, Malaysia

2011 MEAA, Soka Gakkai Cultural Building, Kuala Lumpur, Malaysia The Malaysian Rice Plate Project, KL Convention Center, Suria KLCC, Kuala Lumpur, Malaysia INSPI#TION OF TOMORROW, Starhill Gallery, Kuala Lumpur, Malaysia

2010 NOW!, Starhill Gallery, Kuala Lumpur, Malaysia Breakthrough, Starhill Gallery, Kuala Lumpur, Malaysia

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He Took Off His Skin For Me2015 Oil and lacquer on canvas with custom wooden frames 160 x 134 cm

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronically, including photocopy, recording or any information storage and retrieval system, without the prior consent from the artist and gallery.

Catalog © 2015 Richard Koh Fine Art, Kuala Lumpur

Artwork and Images © 2015 Richard Koh Fine Art

This catalog is published to accompany Art Central 2015

Hong Kong, Hong Kong on 14 to 16 March 2015.

Pa r t i c i p a t i n g A r t i s t s

Natee Utarit

Wong Perng Fey

Nadiah Bamadhaj

Yeoh Choo Kuan

Richard Koh Fine Art has been in operation since 2005 and is regarded as a pioneer for introducing Southeast Asian contemporary art to Malaysia and the region. Promoting an adventurous roster of emerging and established Southeast Asian artists, the gallery regularly mounts exhibitions locally and abroad with a commitment to emerging practices and challenging media.

T +60 (03) 2283 3677 F +60 (03) 2283 4677

T +60 (03) 2095 3300 @ info@rk"neart.com

RICHARD KOH FINE ARTMAIN GALLERYLot No. 2F-3, Level 2 Bangsar Village II Jalan Telawi 1, Bangsar Baru 59100 Kuala Lumpur Malaysia

229 Jalan Maarof Bukit Bandaraya, Bangsar 59100 Kuala Lumpur Malaysia

SINGAPORE OFFICE10 Ubi Crescent #04-99 Ubi TechparkLobby E Singapore 408564

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