25 YEARS OF THE SUBSTATION features the accounts of 25 artists and people who have been associated with The Substation since its founding in 1990. The book is organised around 25 words, which serve as entry points for an extended conversation about The Substation, its stakeholders, and Singaporean society and the arts.

Citation: 
Wong, Audrey. 25 Years of the Substation: Reflections on Singapore’s First Independent Art Centre. Ethos Books, 2015.

Research involving fashion theory, or the consumption and use of fashion products, requires a study into material culture as the communication of symbolic values. Within the study of fashion, material culture is defined as a meaning-making process developed through the exchange of symbolic values embedded within fashion objects (Crane & Bovone, 2006).

This article focuses on the encounters and exchanges between French and Chinese artists, art critics and curators from 1985–90 and their impact on the development of two important presentations of the ’85 New Wave movement in France: Magiciens de la Terre (1989) and Chine Demain pour Hier (1990). Drawing on interviews with French and Chinese artists, critics and curators, it argues how the politics of intercultural encounters influenced the curatorial frameworks of both these exhibitions.

In the recent decade, a downward trend of employment has been observed in the animation and VFX industry globally. This trend is observed in Singapore as the domestic industry is integrated through international studios and markets. Tertiary institutions in Singapore, particularly media related courses, turn out a pool of talented graduates every year. Of those, only two tertiary institutions are equipped to cater to students seeking a career in animation and VFX industry in Singapore.

In the 1970s, Gilbert Gimon discovered the daguerreotype work of Jules Itier and subsequently published two articles: one in French in 1980 and one in English in 1981. The historical importance of this discovery is now firmly established and the two articles have become key sources of reference. However, a close study of these publications reveals mistakes and assumptions that require resolution. Part one of this article considers two phases of gathering and dispersal of this body of work, first in the mid-nineteenth century and subsequently in the twentieth century.

Yvonne Spielmann diskutiert in ihrer Studie den Stellenwert indonesischer Kunst der Gegenwart, die seit den 1990er Jahren zunehmend an Kunstereignissen im asiatisch-pazifischen Raum und weltweit an Biennalen, Auktionen, Messen und internationalen Ausstellungen mit wachsendem Erfolg beteiligt ist. Diese Initiativen von Kuratoren, Galerien, alternativen Kunstprojekten und Sammlern verändern die weltweite Perspektive hin zu einem asiatisch konnotierten Umfeld und steigern den Marktwert.

The time period of the late twentieth and early twenty-first centuries has brought significant changes and tough challenges to post-war Yugoslav countries (i.e. Wachtel 1998; Dragićević Šešić and Dragojević 2006; Švob-Ðokić 2011; Brkić 2014). Forced and willing migrations, intensified ethnic distances, destroyed industries, and the combined consequences of globalisation, the economic crisis, and the process of European integration have changed not only the ingrained way(s) of life but also the appearance and perception of life in urban environments in former Yugoslav countries.

Published to accompany the group exhibition Artists imagine a nation: SG50.Pictures of people and places from the collections of Koh Seow Chuan and friends, including Abdullah Ariff, Boo Sze Yang, Chen Cheng Mei (aka Tan Seah Boey), Chen Shou Soo, Chen Wen Hsi, Cheong Soo Pieng, Chia Yu Chian, Chng Seok Tin, Choo Keng Kwang, Chuah Thean Teng, Chua Mia Tee, Foo Chee San, Ho Khay Beng, Khaw Sia, Koeh Sia Yong, Kuo Ju Ping, Lee Boon Wang, Lee Cheng Yong, Lim Mu Hue, Lim Tze Peng, Mohammad Din Mohammad, Ng Eng Teng, Ong Kim Seng, Tumadi Patri, Phua Cheng Phue, Anthony Poon, Se

Published by Association Rendez-vous, la jeune création contemporaine to accompany the group exhibition Rendez-vous, including Lina Adam, Mathilde Barrio Nuevo, Sophie Bonnet-Pourpet, Thibault Brunet, Chun Kaifeng, Jean-Alain Corre, Hasan and Husain Essop, Dan Finsel, André Fortino, Joo Choon Lin, Nikita Kadan, Karim Kal, Paula Krause, Charles Lim, Guillaume Louot, Lu Yang, Angelica Mesiti, Paribartana Mohanty, Nicolas Momein, Nelly Monnier, Sherman Ong, İz Öztat, Ruben Pang, Part-time Suite and Mathilde du Sordet, at the ICA Singapore
Foreword by Bala Starr

Published to accompany the solo exhibition Ana Prvački: Finding comfort in an uncomfortable imagination, at the ICA Singapore
Foreword by Bala Starr
Texts by Carolyn Christov-Bakargiev, Raimundas Malasauskas, Chus Martinez and Bala Starr
Artists’ statements by Ana Prvački
Biographical information
Catalogue of works in the exhibition
Softback, 135 pages, 29.7 x 21 cm, 140 illus. (colour), ISBN 978-981-09-7821-1
Stock level: high