Art and design education continue to resonate with modernist and avant-gardist ideas of artwork and author. However, during the transition from modernism to post-modernism in the 1960s, art forms such as happenings, intermedia and participatory arts established evidence that cybernetic and system-theoretical approaches to art and design education as well as artistic practices provided valid avenues for the realisation of collective art forms.

Compassion is at the core of art(s) therapy community work, and passion is the stimulus that excites and ignites such projects. Alongside the incredible drive, engagement, and transformative processes and gains from these noble and responsive efforts, integrity of the profession must be consciously adhered to and abided by. Ethics must consistently guide our profession, and the impact of social media and social interest on community arts therapy practice must be strategically attended to.

This book chapter investigates the multifarious ways that film, video and digital projections are used in theatrical stage productions, and the vast range of ideas, meanings and effects they create. Case studies of practitioners including Katie Mitchell, Robert Lepage, the Wooster Group and The Builders Association illustrate the myriad ways in which theatre thinks through, investigates and experiments with the potent conjunction of live performance and recorded media.

Singapore celebrated 50 years of independence in 2015. The nation state has been repeatedly criticized as “a cultural desert” by scholars due to the cosmopolitan nature of the society. However, animated short films from Singapore are increasingly engaging national identity and culture as their premise.

It has been observed that students of the 3D Animation programme at LASALLE College of the Arts tend to produce work that lacks stylistic exploration. This could be due to the conventional approach of the software adopted by students - one that involves texturing (colouring) each object individually before lighting them together in a virtual scene. When colouring each isolated object without being able to envisage the overall design, students tend to let the software dictate the visual style of their work.

Representations of the end of the world gain currency in moments of social crisis. But such representations are more often the product of political strategies than of uncontrolled social anxieties. This chapter refers on early colonial religious drama in Mexico and on the Shi’ite ritual performances of Ta’ziyeh in order to highlight the extent to which theatrical characterisations and representations of the end of times, its agents, the afterlife, and the powers that control them may get weaponised on the grounds of creating a sense of apocalyptic agency.

This paper examines the early sculptural and installation practices of renowned Thai artist and writer, Araya Rasdjarmrearnsook (b. 1957). Although most scholarly and curatorial attention has focused on Araya’s moving image works, particularly those that involve corp hope of developing a chronological account of Araya’s artistic development, but is instead an attempt to read her early three-dimensional works through insights gleaned from her later artistic and literary practice. Specifically, in examining Araya’s work from an inter-medial persp between moving and static bodies.

25 YEARS OF THE SUBSTATION features the accounts of 25 artists and people who have been associated with The Substation since its founding in 1990. The book is organised around 25 words, which serve as entry points for an extended conversation about The Substation, its stakeholders, and Singaporean society and the arts.

Citation: 
Wong, Audrey. 25 Years of the Substation: Reflections on Singapore’s First Independent Art Centre. Ethos Books, 2015.

This special issue of Southeast of Now: Directions in Contemporary and Modern Art in Asia, on the topic of gender and its intersections with art history, emerges and extends from numerous discussions held during the Gender in Southeast Asian Art Histories Nelson, Clare Veal and Stephen H. Whiteman, with invaluable support from numerous staff at the Power Institute and elsewhere in the University of Sydney. While we were inspired by the symposium in Sydney, this issue is emphatically not a conventional conference proceeding discussed there.

This paper comprises a review of The Museum of Emotion, an exhibition of works by the French-Algerian artist, Kader Attia, which was held at the Hayward Gallery, London, February–May 2019. The show charted Attia’s interdisciplinary practice from the past two decades, which has dealt broadly with transnational histories of colonialism, violence, oppression and dispossession. As the Museum of Emotion demonstrated, in Attia’s works these histories are not confined to the past.