singapore dada proposal draft

LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17

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the spirit of the times “SINGAPORE DADA” EXHIBITION BRIEF

AN INTRODUCTION

The propagators of the Dada movement reacted against the World War and

formalised norm in the Western civilisation. To the Dadaist, they have “lost

confidence in their (our) culture”. For them, their society has entered into a dark age

of bleak values, twisted morality and distorted perception of things in their lives. Art

represented the contemporary academic and cultured values of art. It also represents

a higher authority who has gone astray. Hence, Dada has been known to be “anti-

art”. Dada does not merely exist within the framework of an art form. Dada, to me,

is just like a spirituality or an attitude. It does not confine within the realms of a

painting, a sculpture or a poem. Dada is transcendent and posses the possibility of

manifesting in any form comfortable to the artist or suitable in the context.

Presently, Singaporeans lack interest and knowledge of the workings of their

Government. More often than not, they would rely on their sole source of information

spoon-fed to them through National Education – a product of the Government. As

such, most educated Singaporeans have handicapped in critiquing the Government

and the policies they have implemented. Furthermore, there are many strict laws set

in place, monitoring any form of Governmental opposition from the citizens.

Prosecution and imprisonment is the outcome for anyone who dare try. In such a

situation, even the most vocal and socially conscious citizens have been cowered into

silence.

All around we’ll notice that Singapore has taken a plunge into fast-paced

commercialisation. All around commercial areas have been identified and included into

the Big Plan. Old things are giving way for the spanking new. Commercial value takes

precedence over what Singaporeans consider as real tradition and culture. Culture

has been handpicked for tourist value. Prices of commodities are skyrocketing and

the economic divide has become so painful wide. Yet there is still a prevalent

materialistic culture among young Singaporeans today. Out of the blue, Singapore is

also teeming with the brand new permanent residents. With all these happening

around us, there is a pressing need for Singaporeans to speak out.

Dada presents a way out for Singaporeans who has a voice and the eagerness to say

‘No!’ to the vices set in motion by the Authorities within Singapore today. With the

exhibition, Singaporean artists take the lead in making their stand through their

artwork. Through the exhibited works, it is my hope that Singaporeans can become

aware of the larger scenario and spur within Singaporeans courage to speak up

before our society develops into one that we would not recognise anymore.


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VISION

To invite Singaporeans to critique their society out of the prescribed knowledge

taught to us through National Education

MISSION

· To introduce little known Dada cultural movement to Singaporeans

· To eradicate misconceptions of the Dada movement

· To inspire Singaporean artists in exploring the Dada expression

· To help Singaporeans identity and critique the sign of our present time at

this juncture of Singapore’s rapid commercialisation / urbanisation

VALUES

· Aiding Singaporeans in truly developing a sense of culture

through exposure and education

· To provide a medium for Singaporeans to express themselves


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COMMUNICATION OBJECTIVE

I hope that Singaporeans will be able to be inspired by the spirit of the Dada

movement (more specifically, Berlin Dada Movement) and what they were trying to

say as a community of artists to a society of materialism and decadence. Through this

exhibition, I hope to foster Singaporean’s awareness to what is happening in our

country and to promote social change in Singapore.

The information I would include in this exhibition consists of four parts – introduction

to the Berlin Dada movement, exhibition of John Heartfield’s artworks, an exhibition

of 10 art pieces by Singaporean artists and finally an interactive section where visitors

can make their own Dada art pieces.

In the introduction to the Dada movement, visitors will be immersed into the political

and social situation of Zurich, Switzerland in 1916 in an interactive multimedia setup

that will simulation the precarious situation then. After which, visitors will walk into

this little small bar called, Cabaret Voltaire where they will hear of Dada’s literary

inception in 1916 by poet Hugo Ball at the Cabaret Voltaire. At the simulated Cabaret

Voltaire, visitors will be greeted by a soundscape of sound poetry, manifestos and

experts from their periodicals to get a sense of Dada’s rationale and fundamental

beliefs.

Hugo Ball reciting Karawane at Cabaret Voltaire, June 1916

Walking out of Cabaret Voltaire, visitors will walk through a tunnel filled with images

of essential art pieces that will help visitors understand the spread of Dada to other

European cities, and eventually to Berlin. Artists featured here include Marcel

Duchamp, Kurt Schwitters, George Grosz.


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Berlin March, 1919

Following that, visitors will enter an office space that belongs to the Nazi party some

time in the 1930s. In that office, visitors will discover that John Heartfield is on the

Nazi’s secret list of enemies. On the office desk, visitors can read the biography of

John Heartfield and document on his life and why he had anglicised his name. In the

office would, of course, be an exhibition of the compelling images produced by Berlin

Dadaist John Heartfield. The central image that the exhibition will be built upon –

“This is the Peace They Bring” (1938) is introduced here. With these images, the

visitors would be introduced to the highly intense socio-political situation of Berlin.

The next section would draw the link between the situation between 1917 Zurich,

1919 Berlin and present-day Singapore. Visitors, after exiting the Nazi office, will

enter a dark room. This dark room will be divided into 2 sections – an inner space

and an outer space.

In this outer space that allows the visitors the walk around the border of the room,

fast-forwarded image of the various commercialisation plans and construction will be

projected all around. Weaved into the myriad of video images will also be how

important traditional buildings have been destroyed and the lives of the poor and the

outcast. A repeated image of scenes from the aerial display of the annual National

Day Parade ghosted with John Heartfield’s “This is the Peace They Bring” also be

projected. To complete the entire projection, there will be excerpts from the Prime

Minister and Minister Mentor put together like an eerie soundscape. Visitors will later

find a door which will lead them into the inner room where there would be an

exhibition of images produced by 10 Singapore artists of various disciplines who have

been inspired by the signature photomontage style of the Dada movement and are

eager to critique about Singapore’s rapid commercialisation.

Finally, the visitors would come to the last part of the exhibition, in a light-hearted

and relaxed environment where they are able to have a go at photomontage. Stacks

of old magazines and newspapers, scissors and glue would be provided for visitors to

cut up and stick together with whatever manner they like. There will be a wall where

they can put up their completed art pieces.

John Heartfield


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CONTENT

From John Heartfield

· “This is the Peace They Bring” (1938)

· “Adolf the Superman: Swallows Gold and Spouts Junk” (1932)

· “The Hand Has 5 Fingers” (1928)

· “Hurrah, The Butter Is All Gone!” (1935)

· “Blood and Iron” (1934)

· “As in the Middle Ages... So in the Third Reich” (1934)

· “And Yet It Moves” (1943)

· “The Cross Was Not Heavy Enough” (1933)

· “Don't Be Frightened. He’s A Vegetarian.”

· “The Meaning of Hitler’s Salute” (1934)

This is the Peace They Bring John Heartfield, 1938


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From top left:

Adolf the Superman: Swallows Gold and Spouts Junk (1932),

The Hand Has 5 Fingers (1928), Hurrah, The Butter Is All Gone! (1935),

Blood and Iron (1934), And Yet It Moves (1943),

As in the Middle Ages... So in the Third Reich (1934)

The Cross Was Not Heavy Enough (1933), Don't Be Frightened. He’s A Vegetarian,

The Meaning of Hitler’s Salute (1934)


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The central image, as mentioned earlier, is John Heartfield’s “This is the Peace They

Bring” because the image is frightening similar to the annual aerial display at the

National Day Parade. For me, it creates the important link between the situation in

1919 Berlin and present-day Singapore.

Singapore National Flypast of RSAF’s F16s By Stephen_AU ( www.flicker.com/photos/stephen_au )

Accompanying the 10 images by John Heartfield will be 10 art pieces by local artists

of various disciplines, inspired by the message and montage style of the Dada

movement, and also eager to share their opinions about the situation in Singapore

today. The artworks can be executed in the medium that the artists desire. The 10

invited Singaporean artists would be:

· Donna Ong – Interdisciplinary artist

· Jason Wee – Photographic artist

· :Phunk Studio – Digital media and graphic arts

· Oi Chai Hoo – Collage artist

· Christine Mak – Collage artist

· Hazel Leong – New Media artist

· Lim Tiong Ghee – Collage artist

· Eng Joo Heng – Printmaker

· Kay Kok Chung Oi – Painter

· Dr Chong Chee Pang – Mixed media collage artist


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MARKET POSITION

“Singapore Dada” would be held 8Q sam, the new extended contemporary wing of

the Singapore Art Museum.

8Q sam, 8, Queen Street

8Q sam, set at the side of the old Catholic High School, is a contemporary art space

wth fresh, multi-disciplinary, interactive and community oriented programming. Part of

8Q sam’s aims is make art accessible to all by allowing the public to interact and

experience the work and ideas of living artists. The featuring of local artists and their

expression in Dada will be the fulfilment of such an aim of the art space. Also a key

focus of this new art space is their desire to help Singaporeans understand the

historical, social and cultural context of the art of our time. “Singapore Dada” is a

historical exhibition that embraces the past. It is also an exhibition that speaks very

much about the present.

Under the baton of Ms Jane Ittogi, who supports experimental art forms and

possesses the openness for a diverse range of artistic expression, the marriage

between 8Q sam and “Singapore Dada” is impeccable. Having the exhibition at such

a conducive environment will facilitate both “Singapore Dada” and 8Q in achieving

the aims that we each have set out to achieve.

At the present moment, 8Q is having their inaugural exhibition titled “School”

featuring young contemporary Singaporean artists and their exploration of the theme

“school”. The works featured are unconventional new media art pieces.

Concurrently, 8Q also has an exhibition titled “Masriadi: Black is My Last Weapon”,

showcasing Indonesian artist Nyoman Masriadi’s paintings.

The last time there was an exhibition remotely related to the Dada movement was

back in 1997, at the Singapore Art Musuem. Dada art pieces from the Guggenheim

Museum were exhibitied alongside other Modernist art pieces.


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TARGET AUDIENCES

Primary target audience: Pre-university students to Undergraduates

(17 to 25 years old)

Secondary target audience: Young working adults

(25 to 35 years old)

Characteristics: Young and educated

To target audiences, the exhibition will provide for them a new perspective to the

current situation here in Singapore. In addition, the target audiences will learn of how

people responded according the conditions in their country, and witness how some

Singaporeans have responded similarly. Hopefully, this exhibition would inculcate

within them the desire to take interest in the governance and the planning of the

future of Singapore.

The measure of success of this exhibition will primary be based on the number of

people who will come to the exhibition since exposure is the main purpose of the

exhibition. To enhance this measurement is a short survey that visitors will be asked

to fill up after the exhibition. A free gift will be given for the completed surveys.

DELIVERABLES

World War I set: Tunnel-like setup with lighting

Motion-sensitive, multimedia projection of World War

War-time soundscape

Text and images of World War I

Cabaret Voltaire set: Small 1910s Swiss bar setup with lighting

Soundscape of sound poetry, manifestos and excerpts from Dada editorials

Transition Tunnel set: Text and images describing the spread and influence of Dada to other European cities

Selected images of art work by from Marcel Duchamp, Kurt Schwitters and George Grosz

Ambient lighting setup

Nazi Office set: 1930s Nazi Office setup

Aged biography of John Heartfield

Aged information of John Heartfield10 of John Heartfield’s art work


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Dark Room set: Room setup with two sections – inner and outer room

Video projection (inner room)

Soundscape (inner room)

Artwork from Singaporean artists

Fun Area: Room setup with tables and chairs

Old magazines and newspapers

Scissors and glue supplies

Gallery wall for placing art pieces

Invitation: An invitation in a postcard form (200mm x 140mm)

that will sent to various educational institutions that

cover the target audience group. The front side of the

postcard would be covered completely by Velcro. They

will be pieces that look like they are cut out from

magazines that can be removed and rearranged on

the invite.

Exhibition Booklet: An accompany booklet guide that serves a memoir of

the exhibition and provides additional information to

the visitor for their reference.

Other publicity materials: 1-spot colour full-page press advertisement on The Straits Times, The New Paper, Today and myPaper

Postcard advertisement with ZoCard

E-Mailer through Singapore Art Museum’s mailing list

Banner (5m x 2m) to be placed outside 8Q sam

Buntings (3m x 1m) to be placed around Art and Heritage district

Survey forms: For the purpose of evaluating the exhibition for

success and gain feedback for improvement


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BUDGET

CONSULTANTS Curator $5, 000

Editor $5, 000

Graphic Designer $8, 000

Exhibition Designer $8, 000

Multimedia Designer $8, 000

Sound Designer $8, 000

Photographer $5, 000

Web Designer $8, 000

$55, 000

CONSERVATION Art Conservation $10, 000

Equipment Maintenance $10, 000

$20, 000

INSURANCE In transit $5, 000

On premise $10, 000

$15, 000

CONSTRUCTION OF SET World War I set $2, 000

Cabaret Voltaire set $4, 000

Transition Tunnel set $2, 000

Nazi Office set $8, 000

Dark Room set $8, 000

Fun Area $3, 000

$27, 000

PUBLICITY PRINTING Invitations 800, 000 copies at $0.50 each $400, 000

Exhibition Booklet 4C cover, 1C content of 10pp 100, 000 copies at $1.20 each $120, 000

Survey Forms 100, 000 copies at $0.05 each $5, 000

$525, 000

ADVERTISING COSTS 1-spot colour display on The Straits Times 3 days at $20, 000 per day $60, 000

1-spot colour display on The New Paper 3 days at $12, 000 per day $36, 000

1-spot colour display on Today 3 days at $10, 486 per day $31, 458

1-spot colour display on myPaper 3 days at $12, 000 per day $36, 000


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Zo Cards 20, 000 pcs with distribution $3, 500

Large Banner $300

Buntings 50 pcs at $150 each $7, 500

$174, 758

TRAVEL Transportation $5, 000

Meals $5, 000

$10, 000

OPENING NIGHT PARTY Food and beverage $2, 000

Florists $300

Event Mgmt Crew $2, 000

$4, 300

GRAND TOTAL $1, 617, 078

SPONSORSHIP

“Singapore Dada” will seek the sponsorship of the National Arts Council for their

Presentation & Promotion Grant.

This grant will aid individuals or non-profit organisations who are organising activities

that will promote and display Singapore’s cultural and artisitic diversity and vibrancy.

The amount for each grant will not exceed $50, 000 per financial year. The contact

person for the visual arts cluster in National Arts Council is Nadia Ng (Contact

Number: +65 6837 8465).

SCHEDULE FOR “SINGAPORE GAGA”

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01OCT

15OCT

01NOV

15NOV

01DEC

15DEC

01JAN

15JAN

01FEB

05FEB

CONCEPTUALISATION STAGE

Exhibition planning

Seeking sponsorship & venue

Laising with artists & for artwork

Opening party planning

DESIGN STAGE

Designing of graphic identity

Exhibition & set design

Multimedia & sound design

Web design

Copywriting for exhibition

PRODUCTION STAGE

Construction of set

Photography of exhibits

Production of all promo materials

PUBLICITY STAGE

Installation of banners & buntings

Distribution of invites

Laise with press for advertising & opening party coverage

EXHIBITION STAGE

Installation of set & artwork

Final check

Opening Party

1 Oct – 5 Oct

5 Oct – 10 Oct

5 Oct – 10 Oct

10 Oct – 15 Oct

10 Oct – 25 Oct

25 Oct – 20 Nov

25 Oct – 20 Nov

25 Oct – 20 Nov

1 Nov – 10 Nov

20 Nov – 1 Jan

15 Dec – 1 Jan

15 Dec – 1 Jan

15 Dec – 1 Jan

1 Jan – 20 Jan

20 Jan – 1 Feb

20 Nov – 1 Jan

20 Nov – 1 Dec

singapore dada proposal draft

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