Singapore Dada Proposal Draft
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Singapore Dada Proposal Draft Singapore Dada Proposal Draft Document Transcript

  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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. 1
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 2
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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. 3
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 John Heartfield 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. 4
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 5
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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) 6
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 7
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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. 8
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 9
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 10
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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 11
  • LIM WEI YE BRYAN • YEAR 2 VISUAL COMMUNICATIONS • 071487C17 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). 12
  • SCHEDULE FOR “SINGAPORE GAGA” 01 15 01 15 01 15 01 15 01 05 OCT OCT NOV NOV DEC DEC JAN JAN FEB FEB CONCEPTUALISATION STAGE 1 Oct – 5 Oct Exhibition planning 5 Oct – 10 Oct Seeking sponsorship & venue 5 Oct – 10 Oct Laising with artists & for artwork 10 Oct – 15 Oct Opening party planning DESIGN STAGE 10 Oct – 25 Oct Designing of graphic identity 25 Oct – 20 Nov Exhibition & set design 25 Oct – 20 Nov Multimedia & sound design 25 Oct – 20 Nov Web design 1 Nov – 10 Nov Copywriting for exhibition PRODUCTION STAGE 20 Nov – 1 Jan Construction of set 20 Nov – 1 Dec Photography of exhibits 20 Nov – 1 Jan Production of all promo materials PUBLICITY STAGE 15 Dec – 1 Jan Installation of banners & buntings 15 Dec – 1 Jan Distribution of invites 15 Dec – 1 Jan Laise with press for advertising & opening party coverage EXHIBITION STAGE 1 Jan – 20 Jan Installation of set & artwork 20 Jan – 1 Feb Final check Opening Party 13