This lecture performance by artists Zarina Muhammad and Tini Aliman draws from and unfolds from fragments from each of the auto-ethnographic aspects of Zarina and Tini's respective practice. The performance was presented as part visual conversation, part pragmatic prayer, part eulogy, part temporal installation that traverses the hiding places of love, grief and queer spirits, the soundscapes of trees as conduits, the inventories of intimacies, the necessary spaces of silence and the ways love loves difficult things.

Following this is a conversation between the artists, historian Chris Baker, economist Pasuk Phongpaichit and curator Adele Tan.

This performance lecture took place at National Gallery Singapore on 16 Oct 2022, as part of October Gathering.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

Desire is both powerful and fundamental. In old Siam, the expression of desire in words and pictures was open, celebratory and humorous. Among non-elite women, sexuality was seen as a strength and was something that was not confined to the young. Royals were portrayed as passionate.

However, modernity brought about change. Some sought to deny the power of desire and to limit its expression, and female sexuality was seen as dangerous. Yet, old currents still swirl under the surface and defy this denial of sexuality. Historian Chris Baker and economist Pasuk Phongpaichit explore the power of desire: from temple murals in the 18th century, to poetry in the 15th century, and protest in the 21st century.

This talk took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.

Disclaimer: This talk contains some sexual references. Listener discretion is advised. The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.

“To be an artist is ... just like shit in a clogged toilet, stubborn shit that can’t decide whether it wants to be flushed or to stick around…”

Composed as an irreverent dialogue between masculine and feminine narrators, this book of essays by Araya Rasdjarmrearnsook is an uncategorisable fusion of art criticism, feminist theory, art pedagogy, gossip and autofiction. This first English translation of her essays was prepared by eminent translator Kong Rithdee and edited with an accompanying essay by Roger Nelson and Chanon Kenji Praepipatmongkol.

This event marked the launch of the new research publications imprint, National Gallery Singapore: Art Writing. This peer-reviewed imprint celebrates the diverse voices and genres of writing that create the discourse of art in Southeast Asia, both historically and in the present. Going beyond conventional art history, books in this imprint include compilations of artist writings, art criticism and experimental approaches to the image.

This live reading and discussion took place at National Gallery Singapore on 15 October 2022, as part of October Gathering.

This is a recording of a live reading of extracts from Araya’s compelling and humorous writings by artist Heman Chong, writer Amanda Lee Koe and Araya Rasdjarmrearnsook herself, and a sharing on the development of the book by Roger Nelson.

Disclaimer: The comments and opinions expressed are those of the speaker/s, and do not represent the views of National Gallery Singapore.

All copyright within this recording, without limitation, are retained by their respective owners.