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Wei-Ling Gallery

Private Gallery
Art Stage Singapore 2017 (31.12.2016)
  Wei-Ling Gallery is delighted to announce their participation in Art Stage 2017 in Singapore. Art Stage Singapore is hailed as the most prominent art fair in South East Asia, and will bring together over 120 galleries from 27 countries. This marks the gallery’s 6th time participating in Art Stage, following Art Stage Jakarta in August 2016.

The gallery will be showing works from two of their represented artists namely, Ivan Lam and Rajinder Singh.

Southeast Asia Forum
For Ivan Lam, one of Malaysia’s leading contemporary artists, Wei-Ling Gallery will be presenting a project of his entitled, For those who believe, no proof is necessary. For those who don’t believe, no proof is possible. 56/200 in conjunction with the fair’s second Southeast Asia Forum, which will focus on the theme of capitalism, titled Net Present Value: Art, Capitial, Futures. ‘Net Present Value’ is a method commonly used to forecast the profitability of future returns on investments made today. Simply put, it is a future value expressed in today’s terms. The second Southeast Asia Forum seeks to explore the values of art, imagination and progress and the price of doing business as usual in the global capitalist system. It examines relationships between money, ideals and some of the fault lines in the present financial age, including the Forum’s immediate sphere of influence – the art market and the value of art.

The project is one that has been ongoing since 2012 and this will be its second showing internationally since Art Basel Hong Kong in 2013. For this project, Ivan Lam has extended invitations to practicing artists throughout the entire region of South East Asia. Photographic prints of the artworks received are encased in a Perspex box and will be vended. This would shift the boundary of its definition from art to commodity. The vending machine inherently vends products for consumption. Now it vends art. At the same time, by it being in a vending machine, it totally bypasses the need for middlemen. Or operators that sell art. And when the vending machine is placed in the art fair, it will be subverted and turned into a covert art object/installation.

Booth Number (B1)
For Rajinder Singh, the gallery will be presenting recent works of his that are concerned with his impending and inevitable death, which will consist of figurative paintings and photographs. Recognition of one’s finitude is perhaps the most traumatic event one experiences in a lifetime. Rajinder, his body ready but his spirit unresolved and unreconciled, is determined to be prepared. He has set himself on a path to pierce together his own song and ceremony of farewell. With these works, he delves into his nomadic past and a lifetime of unanswered questions to pull together his fragmentary gods, rituals and ceremonies. In search of a lifting of some spiritual burden, Rajinder returns especially to his distant past to a life in Malaysia, to an unusual annual pageantry of human spirit triumphant over flesh, in order to construct spacious cages in his paintings, free to roam about in, their oceanesque tranquillity oblivious to the trauma transcribed onto their very walls.
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