Yusra Martunus
07117T
2007
cast aluminium, aluminium sheet and polyurethane paint
201 x 207 cm
Yusra Martunus
07113A
2007
cast aluminium, aluminium sheet and polyurethane paint
130 x 30 x 20 cm
Yunizar
Black Cloud
1999
acrylic paint on canvas
90 x 110 cm
Nasirun
Abstraction of Nature's Aura
2014
mixed media on canvas
300 x 500 cm
Mohamed Abouelnaga
The Memory of Tress
2014
Handmade Japanese kozo paper
90 x 90 cm
Kyoto My Love
2013
Video Installation
4 minutes 29 seconds
H. Widayat
Fish Abstraction
1967
Oil and collage on canvas
128 x 150 cm
H. Widayat
Night Tree
1983
oil on canvas
88 x 145 cm
Made Wianta
Spatial Caligraphy #8
2011
nails, wire, acrylic paint on board
245 x 480 cm (4 panels)
Mohamed Abouelnaga
The Memory of Trees
2014
Handmade Japanese kozo paper
81 x 81 cm
Mohamed Abouelnaga
The Memory of Trees
2014
handmade Japanese Kozo paper
183 x 66 cm
M. Irfan
Door
1999
acrylic paint on canvas
160 x 110 cm
Lee Ufan
From Line
1977
mineral pigment and glue on canvas
112.1 x 145.5 cm
Lee Ufan
From Line
1979
mineral pigment and glue on canvas
90.9 x 116.7 cm
Lee Ufan
From Point
1978
mineral pigment and glue on canvas
117 x 91 cm
Awang Damit Ahmad
Payarama Angkul
2013
mixed media on canvas
168 x 168 cm
A Study on Abstraction（SINGAPORE）
16 January - 15 February 2015
The exhibition is showcasing abstract works from various generation of artists, mainly from South East Asia as its highlight. The concept of the show is to open a discussion about abstraction studies and its purpose to trace back into its own history, especially through subsequent projects, of its insertion into the broader context of Asian abstraction.
“Study on Abstraction” is featuring 16 works from 10 prominent artists from south east Asia, Korea, Hongkong and Egypt, including H. Widayat (ID), Made Wianta (ID), Nasirun (ID), Awang Damit Ahmad (MY), Lee Ufan (KR), Mohamed Abouelnaga (EG), Alan Chan (HK) and more. The show is curated by Hermanto Soerjanto, Indonesian curator and one of the important people in Indonesia’s art scene.
Hopefully the exhibition will trigger a wider discussion about abstraction’s relevancy in contemporary Asia.
