Art Seasons

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Art Seasons Contemporary & Fine Art Gallery
Art Advisory & Art Collection ART SEASONS is founded in September 2001 by Terry Lee, an ardent art fan and collector.

With our initial mission in mind: to explore and to promote contemporary Chinese and Asia art, Art Seasons has been dedicated to presenting talented Asian artists for more than ten years. Now, as one of the pioneers in the field to represent emerging contemporary Chinese and Asia artists, Art Seasons has gained a reputation as one of the most important galleries in Contemporary Asian art, and especially in contemporary Chinese art. Placing strong emphasis in showcasing new and interesting work, Art Seasons has come to be associated with only the best of contemporary Asian Art. With a particular interest in the contemporary visual arts of China, we were one of the first galleries in Singapore to promote contemporary Chinese work. We have since carved our niche in this area. Now, the public looks to us to introduce them to the forerunners of the contemporary Chinese art scene. The discovery, promotion, and support of young Asian artists have always been critical to our success. Many young contemporary artists, for example, Chen Ke, Feng Zhengjie, Zhang Peng, Chi Peng, Yim Taekyu, David Chan and Phunk, who started with Art Seasons, continue to evolve and develop with and with other galleries. Many of these artists have gone on to be recognized by the international art community, auction houses and are cherished by collectors and art institutions.

Than Htay’s solo exhibition, Untitled – Memory and the Reimagining of Homeland, at Art Seasons GalleryThan Htay’s “Untit...
25/09/2026

Than Htay’s solo exhibition, Untitled – Memory and the Reimagining of Homeland, at Art Seasons Gallery

Than Htay’s “Untitled”transcend national identity to address universal questions concerning belonging, displacement and hope. They remind us that landscapes need not describe physical terrain; they may instead chart emotional and ethical worlds. His imagined Myanmar is neither nostalgic fantasy nor political manifesto. Rather, it is an act of cultural preservation through imagination, where painting becomes a space in which peace can still be envisioned even when reality appears fractured.

In this series of works, Than Htay transforms abstraction into an instrument of remembrance and reconciliation. Every brushstroke resist despair, every colour suggests renewal, and every imagined landscape preserves the possibility of a homeland yet to be realised. Seen through the eyes of a diaspora artist, Myanmar becomes not merely a place left behind but a continually evolving vision sustained by memory, compassion and unwavering hope.

Art Seasons 25th Anniversary Event

Co-presented by Myanmar Ahla Art

Art Seasons
50 Genting Lane, Cideco Industrial Complex, #03-02.
Singapore 349558.

Art Galleries Association Singapore

LASALLE College of the Arts will be venue host and partner for 𝗥𝗲𝗳𝗿𝗮𝗺𝗶𝗻𝗴 𝗡𝗮𝗿𝗿𝗮𝘁𝗶𝘃𝗲𝘀: 𝗔𝗦𝗜𝗔𝗡 𝗔𝗥𝗧 𝗛𝗜𝗦𝗧𝗢𝗥𝗜𝗘𝗦 𝗖𝗼𝗻𝗳𝗲𝗿𝗲𝗻𝗰𝗲 𝟮𝟬𝟮𝟲...
22/09/2026

LASALLE College of the Arts will be venue host and partner for 𝗥𝗲𝗳𝗿𝗮𝗺𝗶𝗻𝗴 𝗡𝗮𝗿𝗿𝗮𝘁𝗶𝘃𝗲𝘀: 𝗔𝗦𝗜𝗔𝗡 𝗔𝗥𝗧 𝗛𝗜𝗦𝗧𝗢𝗥𝗜𝗘𝗦 𝗖𝗼𝗻𝗳𝗲𝗿𝗲𝗻𝗰𝗲 𝟮𝟬𝟮𝟲, organised by LASALLE MA Asian Art Histories alumnae Plural Art Mag in collaboration with ArtwithTee and brave new worlds and convened by fellow alumna Theresa Tan.

This conference is an opportunity for all interested in Asian art histories—from arts and culture professionals, academics and educators to aspiring or budding historians, curators and more—to meet, discuss the preservation and negotiation of artistic tradition, practice and memory, and network.

Sessions
𝗥𝗲𝗳𝗿𝗮𝗺𝗶𝗻𝗴 𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻: 𝗠𝗼𝗱𝗲𝗿𝗻𝗶𝘁𝘆 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗧𝗿𝗮𝗻𝘀𝗳𝗼𝗿𝗺𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗔𝘀𝗶𝗮𝗻 𝗩𝗶𝘀𝘂𝗮𝗹 𝗖𝘂𝗹𝘁𝘂𝗿𝗲𝘀
Moderated by Dr Michelle Lim

𝗡𝗲𝗴𝗼𝘁𝗶𝗮𝘁𝗶𝗻𝗴 𝗜𝗱𝗲𝗻𝘁𝗶𝘁𝘆: 𝗠𝗲𝗺𝗼𝗿𝘆, 𝗕𝗲𝗹𝗼𝗻𝗴𝗶𝗻𝗴 𝗮𝗻𝗱 𝗥𝗲𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝗮𝘁𝗶𝗼𝗻 𝗶𝗻 𝗔𝘀𝗶𝗮𝗻 𝗔𝗿𝘁 𝗛𝗶𝘀𝘁𝗼𝗿𝗶𝗲𝘀
Moderated by Dr Iola Lenzi

𝗔𝗳𝘁𝗲𝗿𝗹𝗶𝘃𝗲𝘀 𝗼𝗳 𝗖𝗼𝗻𝗳𝗹𝗶𝗰𝘁: 𝗥𝗲𝗳𝗿𝗮𝗺𝗶𝗻𝗴 𝗪𝗮𝗿 𝗮𝗻𝗱 𝗠𝗲𝗺𝗼𝗿𝘆 𝗶𝗻 𝗔𝘀𝗶𝗮𝗻 𝗔𝗿𝘁 𝗛𝗶𝘀𝘁𝗼𝗿𝗶𝗲𝘀
Moderated by Dr Seng Yu Jin

Theresa Tan Art Galleries Association Singapore SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia MA Asian Art Histories - Lasalle College of the Arts

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #9 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒆𝒏 𝒂𝒏 𝒊𝒄𝒐𝒏𝒊𝒄 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉 𝒊𝒔 𝒓𝒆𝒇𝒓𝒂...
21/09/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #9 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒆𝒏 𝒂𝒏 𝒊𝒄𝒐𝒏𝒊𝒄 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉 𝒊𝒔 𝒓𝒆𝒇𝒓𝒂𝒎𝒆𝒅, 𝒘𝒉𝒐 𝒈𝒆𝒕𝒔 𝒕𝒐 𝒄𝒐𝒏𝒕𝒓𝒐𝒍 𝒊𝒕𝒔 𝒎𝒆𝒂𝒏𝒊𝒏𝒈?

𝐴𝑓𝑡𝑒𝑟 𝑡ℎ𝑒 𝐹𝑟𝑎𝑚𝑒: 𝑃ℎ𝑜𝑡𝑜𝑔𝑟𝑎𝑝ℎ𝑖𝑐 𝐴𝑓𝑡𝑒𝑟𝑙𝑖𝑓𝑒, 𝑀𝑜𝑟𝑎𝑙 𝑃𝑖𝑟𝑎𝑐𝑦, 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑅𝑒𝑓𝑟𝑎𝑚𝑖𝑛𝑔 𝑜𝑓 𝑉𝑖𝑒𝑡𝑛𝑎𝑚 𝑊𝑎𝑟 𝐼𝑚𝑎𝑔𝑒𝑠, presented by Ramakrishnan Ramesh

This paper examines the afterlives of two iconic Vietnam War photographs: the 1972 image of Phan Thị Kim Phúc, attributed to Nick Ut, and Eddie Adams’s 1968 photograph of Nguyễn Ngọc Loan executing Nguyễn Văn Lém during the Tet Offensive. Both images entered global circulation as morally forceful documents of wartime violence, yet both were later reframed by time, testimony, institutional memory, and cultural reuse. Rather than treating reframing as a neutral act of reinterpretation, this paper argues that photographic reframing redistributes narrative authority and consequence.

The analysis first considers how Kim Phúc’s image moved from documentary witness to humanitarian testimony through her later public life as survivor, peace advocate, and UNESCO Goodwill Ambassador, while also transforming Nick Ut’s career as photojournalist and public witness. It then turns to Adams’s later regret over Saigon Ex*****on, where the image that appeared to accuse one man also damaged the life it fixed in public memory. These two cases establish photographic afterlife as a temporal field of moral consequence.

Against this background, Banksy’s 2004 Na**lm is read not simply as appropriation, satire, or anti-war critique, but as appropriative drift: the conversion of testimonial violence into ironic, collectible art. The paper identifies three operations within this drift: semiotic flattening, market absorption, and the anonymity premium. For a conference on Reframing Narratives, the argument is that reframing is not merely a change in meaning. It is a transfer of power from witness to artist, from event to commodity, and from Southeast Asian history to the global art market.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

LASALLE College of the Arts






Theresa Tan SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia MA Asian Art Histories - Lasalle College of the Arts LASALLE College of the Arts Art Galleries Association Singapore

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #8 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒂𝒕 𝒊𝒇 𝒔𝒐𝒎𝒆 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔 𝒄𝒂𝒏𝒏𝒐𝒕 𝒃𝒆 𝒕𝒐...
17/09/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #8 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒂𝒕 𝒊𝒇 𝒔𝒐𝒎𝒆 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔 𝒄𝒂𝒏𝒏𝒐𝒕 𝒃𝒆 𝒕𝒐𝒍𝒅—𝒃𝒖𝒕 𝒄𝒂𝒏 𝒐𝒏𝒍𝒚 𝒃𝒆 𝒇𝒆𝒍𝒕?

“𝐴𝑛 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑜𝑓 𝐹𝑒𝑒𝑙𝑖𝑛𝑔𝑠”: 𝑇𝑟𝑎𝑢𝑚𝑎, 𝑆𝑝𝑒𝑐𝑡𝑟𝑎𝑙𝑖𝑡𝑦, 𝑎𝑛𝑑 𝑇𝑒𝑚𝑝𝑜𝑟𝑎𝑙𝑖𝑡𝑦 𝑖𝑛 𝑉𝑎𝑛𝑑𝑦 𝑅𝑎𝑡𝑡𝑎𝑛𝑎’𝑠 𝐹𝑖𝑙𝑚𝑠, presented by Dorit Ginat

This paper examines how trauma is articulated in Vandy Rattana’s film trilogy - MONOLOGUE (2015), Funeral (2018), and …far away, over there, the ocean (2019) - through the interplay of moving image, sound, landscape, and embodied voice. Emerging from the historical afterlives of the Cambodian genocide, Rattana’s films foreground absence, silence, and spectral forms of presence. Rather than relying on linear narrative or testimonial modes of representation, the films mobilize affective and sensorial strategies that articulate trauma as fragmented, embodied, and difficult to articulate. In doing so, Rattana’s practice aligns with broader tendencies in contemporary Southeast Asian moving-image art that engage memory, landscape, and post-conflict historiography.

While the films resonate with psychoanalytic accounts of trauma as belated, fragmentary, and resistant to representation, this paper does not treat psychoanalytic trauma theory as either universal or wholly external to Cambodian cultural contexts. Drawing on Carol Kidron’s critique of trauma discourse as a universalizing framework, the study approaches psychoanalytic and Cambodian epistemologies as historically entangled rather than opposed, shaped through colonial histories, transnational circulation, and uneven intellectual exchange.

Rather than proposing a binary opposition between psychoanalysis and Cambodian spiritual frameworks, the paper argues that Rattana’s films operate across multiple epistemic and affective registers simultaneously. In doing so, the films construct a cinematic language of spectral temporality through which historical violence persists across bodily, spatial, and spiritual domains. By placing globally circulating trauma discourse in dialogue with locally situated understandings of suffering, memory, and spiritual continuity, the study demonstrates how Rattana’s films mediate post-genocide experience through multiple, coexisting temporal and epistemic frameworks.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

LASALLE College of the Arts






Jia Aili Solo Exhibition - Seeing ThroughJia Aili’s Parallel Paintings at Gagosian Beverly Hills, USA. September 10-Octo...
15/09/2026

Jia Aili Solo Exhibition - Seeing Through
Jia Aili’s Parallel Paintings at Gagosian Beverly Hills, USA.
September 10-October 10, 2026

Curatorial writing by Kim Ki-fu - The Return of Something That Never Actually Disappeared: Three Parallel Paintings by Jia Aili.

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #7 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒂𝒕 𝒊𝒇 𝒕𝒉𝒆 𝒔𝒂𝒎𝒖𝒓𝒂𝒊 𝒄𝒐𝒅𝒆 𝒘𝒆 𝒌𝒏𝒐𝒘 𝒕...
15/09/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #7 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒂𝒕 𝒊𝒇 𝒕𝒉𝒆 𝒔𝒂𝒎𝒖𝒓𝒂𝒊 𝒄𝒐𝒅𝒆 𝒘𝒆 𝒌𝒏𝒐𝒘 𝒕𝒐𝒅𝒂𝒚 𝒘𝒂𝒔 𝒏𝒐𝒕 𝒂𝒏𝒄𝒊𝒆𝒏𝒕 𝒕𝒓𝒂𝒅𝒊𝒕𝒊𝒐𝒏, 𝒃𝒖𝒕 𝒂 𝒎𝒐𝒅𝒆𝒓𝒏 𝒊𝒏𝒗𝒆𝒏𝒕𝒊𝒐𝒏?

𝑊𝑜𝑜𝑑𝑏𝑙𝑜𝑐𝑘 𝑃𝑟𝑖𝑛𝑡𝑠 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐽𝑎𝑝𝑎𝑛𝑒𝑠𝑒 𝑀𝑎𝑟𝑡𝑖𝑎𝑙 𝐼𝑑𝑒𝑛𝑡𝑖𝑡𝑦, presented by Jenevieve Kok

Just as Mount Fuji stands as symbolic of Japan’s national identity, so too does 𝑏𝑢𝑠ℎ𝑖𝑑𝑜̄ as emblematic of the Japanese warrior. Commonly understood to mean ‘the way of the warrior’, 𝑏𝑢𝑠ℎ𝑖𝑑𝑜̄ is popularly believed to have been a guiding moral code for the samurai, feudal Japan’s warrior class. However, evidence, or lack thereof, suggests that 𝑏𝑢𝑠ℎ𝑖𝑑𝑜̄ was more of an invented tradition rather than an ethic ingrained into the consciousness of the warriors of feudal Japan. It was a concept that was constructed, adapted, and mobilised for a rapidly modernising Japan.

This presentation examines the expression and construction of Japan’s martial identity through a genre of woodblock prints called 𝑠𝑒𝑛𝑠𝑜-𝑒 (‘war prints’). Depicted with the distinct perspective of a newly unified, rapidly modernising nation, these prints are focused on the First Sino-Japanese War (1894–1895) and the Russo-Japanese War (1904–1905). While these prints provide a lens through which to understand how the Japanese saw themselves, especially in relation to the foreign ‘other’, they also function as active site through which martial identity was produced, aestheticised, and adapted towards nationalist ends. This presentation also explores how the visual language of the preceding 𝑚𝑢𝑠ℎ𝑎-𝑒 (‘warrior prints’) influenced the Meiji Period prints. Where 𝑚𝑢𝑠ℎ𝑎-𝑒 established artistic foundations through its nostalgic, restrained imagery of the samurai as a figure of honour and virtue, 𝑠𝑒𝑛𝑠𝑜-𝑒 translated that legacy into something direct and propagandistic. Through a close analysis these artworks, this presentation uncovers the evolution of Japan’s martial identity and understand the role it has played in shaping Japan’s national identity.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

LASALLE College of the Arts






🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #6 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒂𝒕 𝒉𝒂𝒑𝒑𝒆𝒏𝒔 𝒘𝒉𝒆𝒏 𝒂𝒏 𝒂𝒏𝒄𝒊𝒆𝒏𝒕 𝒔𝒄𝒓𝒊𝒑...
10/09/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #6 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒂𝒕 𝒉𝒂𝒑𝒑𝒆𝒏𝒔 𝒘𝒉𝒆𝒏 𝒂𝒏 𝒂𝒏𝒄𝒊𝒆𝒏𝒕 𝒔𝒄𝒓𝒊𝒑𝒕 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒂 𝒕𝒐𝒐𝒍 𝒇𝒐𝒓 𝒒𝒖𝒆𝒔𝒕𝒊𝒐𝒏𝒊𝒏𝒈 𝒊𝒅𝒆𝒏𝒕𝒊𝒕𝒚, 𝒑𝒐𝒍𝒊𝒕𝒊𝒄𝒔 𝒂𝒏𝒅 𝒃𝒆𝒍𝒐𝒏𝒈𝒊𝒏𝒈?

𝐶ℎ𝑟𝑜𝑛𝑜𝑡𝑒𝑥𝑡𝑢𝑎𝑙 𝑅𝑢𝑝𝑡𝑢𝑟𝑒𝑠: 𝑅𝑒𝑖𝑚𝑎𝑔𝑖𝑛𝑖𝑛𝑔 𝐽𝑎𝑤𝑖 𝑖𝑛 𝐶𝑜𝑛𝑡𝑒𝑚𝑝𝑜𝑟𝑎𝑟𝑦 𝑁𝑢𝑠𝑎𝑛𝑡𝑎𝑟𝑎 𝐴𝑟𝑡, presented by Adin Rashid

This paper examines how contemporary Nusantara artists mobilise Jawi script to negotiate contemporary sociopolitical concerns including q***r identities, ethnonationalist anxieties, language politics, racial prejudice, and Islamophobic discourse.

Once the primary writing system across the Malay Archipelago, or Nusantara, Jawi today is often reduced to a cultural marker of Malay-Muslim identity, or confined to decorative, nostalgic, or heritage-oriented functions. While existing studies have largely examined the script through its religious, cultural, and postcolonial associations, less attention has been given to how contemporary artists reactivate Jawi as a medium through which its historical meanings are renegotiated within present realities.

Drawing on Reinhart Koselleck’s concepts of “space of experience” and “horizon of expectation,” alongside Dipesh Chakrabarty and Keith Moxey’s theories of heterotemporality, Jawi is approached as a temporal structure through which inherited histories, contemporary concerns, and future possibilities intersect. While these frameworks illuminate the coexistence of multiple temporalities across historical and visual contexts, they do not fully account for how script itself mediates temporal encounters and instabilities. Through formal and contextual analyses of artworks by Ezzam Rahman (Singapore), Tan Zi Hao (Malaysia), and Arahmaiani (Indonesia), the paper proposes the concept of “chronotextual ruptures” to describe moments in which historical associations embedded within the script encounter present realities, revealing the coexistence of multiple temporalities and in turn, opening up speculative future imaginaries beyond dominant historical, cultural, and political narratives.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

LASALLE College of the Arts
@





Theresa Tan Art Galleries Association Singapore SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia MA Asian Art Histories - Lasalle College of the Arts LASALLE College of the Arts

Than Htay’s solo exhibition, Untitled – Memory and the Reimagining of Homeland, at Art Seasons GalleryThan Htay’s “Untit...
03/09/2026

Than Htay’s solo exhibition, Untitled – Memory and the Reimagining of Homeland, at Art Seasons Gallery

Than Htay’s “Untitled”transcend national identity to address universal questions concerning belonging, displacement and hope. They remind us that landscapes need not describe physical terrain; they may instead chart emotional and ethical worlds. His imagined Myanmar is neither nostalgic fantasy nor political manifesto. Rather, it is an act of cultural preservation through imagination, where painting becomes a space in which peace can still be envisioned even when reality appears fractured.

In this series of works, Than Htay transforms abstraction into an instrument of remembrance and reconciliation. Every brushstroke resist despair, every colour suggests renewal, and every imagined landscape preserves the possibility of a homeland yet to be realised. Seen through the eyes of a diaspora artist, Myanmar becomes not merely a place left behind but a continually evolving vision sustained by memory, compassion and unwavering hope.

E-catalogue https://qrco.de/ThanHtay2026

Art Seasons 25th Anniversary Event

Co-presented by Myanmar Ahla Art

An event of SIngapore Gallery Month.

Art Seasons
50 Genting Lane, Cideco Industrial Complex, #03-02.
Singapore 349558.

Art Galleries Association Singapore

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #5 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒂𝒕 𝒉𝒂𝒑𝒑𝒆𝒏𝒔 𝒘𝒉𝒆𝒏 𝒕𝒉𝒆 𝒐𝒇𝒇𝒊𝒄𝒊𝒂𝒍 𝒂𝒓𝒄...
02/09/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #5 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒂𝒕 𝒉𝒂𝒑𝒑𝒆𝒏𝒔 𝒘𝒉𝒆𝒏 𝒕𝒉𝒆 𝒐𝒇𝒇𝒊𝒄𝒊𝒂𝒍 𝒂𝒓𝒄𝒉𝒊𝒗𝒆 𝒇𝒂𝒊𝒍𝒔 𝒕𝒐 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓?

𝐿𝑖𝑣𝑖𝑛𝑔 𝐴𝑟𝑐ℎ𝑖𝑣𝑒𝑠: 𝐴𝑙𝑡𝑒𝑟𝑛𝑎𝑡𝑖𝑣𝑒 𝐹𝑒𝑚𝑖𝑛𝑖𝑠𝑡 𝐼𝑛𝑓𝑟𝑎𝑠𝑡𝑟𝑢𝑐𝑡𝑢𝑟𝑒𝑠 𝑖𝑛 𝑆𝑜𝑢𝑡ℎ𝑒𝑎𝑠𝑡 𝐴𝑠𝑖𝑎𝑛 𝐴𝑟𝑡, presented by Krystina Lyon

In the absence of adequate institutional recognition and preservation, Southeast Asian women artists and their advocates have developed alternative infrastructures of memory that include artist collectives, oral histories, living archives, collecting practice and educational networks to preserve and transit marginalised histories. Although there is evidence of improvement in the recognition and contribution by contemporary women artists to Southeast Asian art histories with more group and solo exhibitions included in both institutional and gallery programming there is still an urgent need to ensure that women artists do not remain unseen, unheard and unacknowledged in the region.

Informal quantitative research within a group of Singapore and Malaysian art galleries for instance, indicate that representation and inclusion of women artists is only 1/3 that of male artists. Lyon concluded her 2020 MA thesis about women’s art collectives in Southeast Asia by exhorting a new generation of art historians to continue investigating other strategies used by women artists to navigate the lingering patriarchy that still exists in the contemporary artworld where male artists are disproportionately represented in institutions, galleries and collections.

Lyon's focus had been the collective format as demonstrated by the transnational collective, Womanifesto based in Thailand and the local Filipino collective, 𝐾𝑎𝑠𝑖𝑏𝑢𝑙𝑎𝑛. The interview transcripts in her thesis about the collectives’ respective journeys provide oral histories (made more poignant by the recent passing of prominent Filipino artist and educator Brenda Fajardo) that are strong examples of these alternative feminist infrastructures for women and other marginalised groups who continue to struggle for recognition and acknowledgment.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

👉 Reserve your seat:
https://lnkd.in/gyA_ddZM

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

LASALLE College of the Arts







Theresa Tan Art Galleries Association Singapore MA Asian Art Histories - Lasalle College of the Arts SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia LASALLE College of the Arts

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #𝟒 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔𝑾𝒉𝒂𝒕 𝒊𝒎𝒂𝒈𝒆𝒔 𝒅𝒐 𝒘𝒆 𝒖𝒔𝒆 𝒕𝒐 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝑴...
31/08/2026

🔎 𝐂𝐎𝐍𝐅𝐄𝐑𝐄𝐍𝐂𝐄 𝐒𝐏𝐎𝐓𝐋𝐈𝐆𝐇𝐓 #𝟒 | 𝐑𝐞𝐟𝐫𝐚𝐦𝐢𝐧𝐠 𝐍𝐚𝐫𝐫𝐚𝐭𝐢𝐯𝐞𝐬: 𝐀𝐬𝐢𝐚𝐧 𝐀𝐫𝐭 𝐇𝐢𝐬𝐭𝐨𝐫𝐢𝐞𝐬 𝐂𝐨𝐧𝐟𝐞𝐫𝐞𝐧𝐜𝐞 𝟐𝟎𝟐𝟔

𝑾𝒉𝒂𝒕 𝒊𝒎𝒂𝒈𝒆𝒔 𝒅𝒐 𝒘𝒆 𝒖𝒔𝒆 𝒕𝒐 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝑴𝒂𝒍𝒂𝒚𝒔𝒊𝒂—𝒂𝒏𝒅 𝒘𝒉𝒐 𝒈𝒆𝒕𝒔 𝒊𝒏𝒄𝒍𝒖𝒅𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒊𝒄𝒕𝒖𝒓𝒆?

𝑇𝑜 𝑃𝑖𝑐𝑡𝑢𝑟𝑒 𝑎 𝑁𝑎𝑡𝑖𝑜𝑛: 𝑇ℎ𝑒 𝑅𝑒𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑎𝑡𝑖𝑜𝑛 𝑜𝑓 𝑀𝑎𝑙𝑎𝑦𝑠𝑖𝑎𝑛 𝐼𝑑𝑒𝑛𝑡𝑖𝑡𝑦 𝑖𝑛 𝑆𝑒𝑙𝑒𝑐𝑡𝑒𝑑 𝑃ℎ𝑜𝑡𝑜𝑚𝑒𝑑𝑖𝑎 𝑊𝑜𝑟𝑘 𝑓𝑟𝑜𝑚 𝑌𝑒𝑒 𝐼-𝐿𝑎𝑛𝑛, presented by Sheryl Lynne Tan

This paper investigates themes of Malaysian identity and the imagined Malaysian community through selected works from Yee I-Lann’s photomedia practice, 𝑇ℎ𝑟𝑜𝑢𝑔ℎ 𝑅𝑜𝑠𝑒 𝐶𝑜𝑙𝑜𝑢𝑟𝑒𝑑 𝐺𝑙𝑎𝑠𝑠𝑒𝑠 (2002), the 𝑀𝑎𝑙𝑎𝑦𝑠𝑖𝑎𝑛𝑎 series (2002), and the 𝑅𝑎𝑠𝑎 𝑆𝑎𝑦𝑎𝑛𝑔 series (2012-2021).

Malaysia is a multi-ethnic and multi-religious plural society that continues to grapple with issues of identity. Sabahan artist Yee explores ideas of identity and the imagined community through the use of found studio photographs and crowdsourced photographs in her work that pictures the imagined Malaysian community.

This paper situates Yee’s works in the sociopolitical contexts in which they were created, discusses the strategies that Yee uses in her work as well as examines the impact that curatorial intent and the exhibitionary context have on the reading of Malaysian identity and the imagined Malaysian community in the selected works from Yee’s practice.

📅 Saturday, 26 September 2026
🕐 1:00–6:00 pm
📍 LASALLE College of the Arts, Singapore
🎟 FREE TO ATTEND
A S$10 refundable attendance deposit is required to reserve a place.

👉 Reserve your seat: [email protected]

Come along, hear the research firsthand, and join the conversation about how we can continue to expand and deepen the study of Asian art histories.

MA Asian Art Histories - Lasalle College of the Arts LASALLE College of the Arts







Theresa Tan MA Asian Art Histories - Lasalle College of the Arts LASALLE College of the Arts Art Galleries Association Singapore SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia Jeffrey Say

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