Saturday, November 30, 2013

Alliance française de Singapour presents













iPhoneography
 
Alliance française de Singapour presents the exhibition of Global Eyes: Hundred Years From Now an exhibition by the Winner of the Inaugural France + Singapore Photographic Arts Award 2012, Tan Haur. This exhibition features 50 mobile phone art works. This latest series of Tan Haur deals with issues of globalization continued from his previous series of Global Eyes; additionally the art works are digitally aged on purpose to a state they should be in a hundred years later in time. Altogether, the experience of this exhibition compels a viewer to see the situations of current world issues, their beauty and adverse, with a perspective of a person’s view a hundred years later. 

In this exhibition, there are works that include collaborations with French artists, Marie-Sophie Leturcq (Winner of 2nd France + Singapore Photographic Arts Award 2013) and Thomas Kimmerlin (Finalist of 2nd France + Singapore New Generation Artists 2010), Australian artist Jack Gamble and Singaporean artists Huei Lee, Sam Hong and Chun Chuan. A special showcase of integrated mobile phone works by Tan and the invited guest artists, during the working process, photo art files and ideas were sent among each other via smart phone, bridging the digital works development, communication and discussion across both hemispheres. Assisted by Pinch Design who is working on digital presentations, Tan Haur will also include community sets from workshops with students from Hua Yi Secondary School and Yuhua Secondary Schools. Adding to these heavy mix of visual treats, composer Yvonne Teng has thrown in a nostalgic toy piano mix that fix the audience with a mind reversing sensation. This exhibition is curated by Mui.






























































Friday, November 29, 2013

Global Eyes: Monsoon Rain











ALLIANCE FRANÇAISE DE SINGAPOUR, 1 Sarkies Road – Societe Generale Gallery. It is 29th November 2013 and there is a monsoon outside. A monsoon. Rain, wind, beams of lightning. I keep looking out the window expecting a whale to fly by… or at the very least a dolphin. Sipping coffee when its raining and am now trying to trace the journey that has led me here, attempting to figure out how and where it all started. My life has certainly not followed any  prescribed path. I refuse to accept absolute answers in exchange for gentle truths, and I count my wealth in the ability to own my dreams and pursue them when I wake up each morning. I abandon any faith as being entirely right, but rather recognize the fact that each one contains so many truths and accept the goodness and compassion of each as the juice and gift of life. I challenge my students to be citizens of the world and to rejoice in the differences they experience and encounter. They are black, brown, yellow, and white. All as one family on this living planet where we sing, dance, music and art.

~ Tan Haur
iPhoneographer 













Friday, August 09, 2013

Interviewed by Straits Times on 9th August 2007



Click on photo to read this article, interviewed by Straits Times.

Thursday, July 04, 2013

Media report- Straits Time on 2008 National Day Goodie Bag Design



'It makes me feel like a famous artist,' said Daren.
The students created their artwork at a printmaking and digital darkroom workshop held by Cultural Medallion-winner Chng Seok Tin and digital artist Tan Haur.
Meanwhile, organisers of this year's parade gave a sneak peek yesterday of the treats to be found in this year's funpacks.
One highlight: a giant inflatable glove that can be lit up for the night-time segment of the Aug 9 festivities.

Web site: http://www.straitstimes.com/National+Day+Special/G/Story/STIStory_254425.html


Monday, March 11, 2013

Media report - Digital art for all on MICA website




Tan Haur is the founder of community art project : Digital Art for Everybody

Supported by MICA.




Tuesday, December 18, 2012




[ Travelogue ] Group Show 国际艺术合作项目

Photo-Art + Essay + Drawing + Poem

Pembukaan/ Opening: 13 December 2012, 7pm

Exhibition: 14 -28 December 2012



Mui & Tan Haur (Singapore)
together with special invited Guest Artists (Bol Brutu, Indonesia)
Putu Sutawijaya, Pande Ketut Taman, Feintje Likawati, Sandat Wangi, Ida Fitri, Ninuk Retno Raras, Boen Mada, Edy Hamzah, Nur Cahyati Wahyuni, Rani Februandari, Suci Pri Hatiningsih and Dyah Merta.

Curator: Kris Budiman (Indonesia)
Organizer : Jenni Vi Mee Yei (Indonesia)
Graphic & Creative Design Consultant: Tan Haur Studio, Singapore 

















Today’s world has transformed into a terrain termed by Arjun Appadurai (1996) as the global ethnoscape. When someone’s attachment to a certain nation-state and homeland seems to fade away, human being then bears a brand new status as trans-migrant, non-temporary traveler creatures either in physical, intellectual, or imaginary conception. Tan Haur and Kit Mui are such kind of couple who barely ceases to travel from many departure points (with almost no return points). During their many travels, incessantly they bear in mind various ethnoscapes they ever witness through the aid of certain media, mostly photography, sketches, and other no less practical visual media. From this point onward, the seemingly incessant travels then turn into a working series of space construction, either for aesthetical production or appropriation purpose. In brief, citing John Urry’s terminology (1995), both of them has and been continuously involved in the activity of visual consumption.

From this standpoint, we can propose a sort of presupposition correlated to how the visual consumption they did can be similar or different, either between Tan and Mui themselves or between them and some colleagues from Bol Brutu (Gerombolan Pemburu Batu; band of stoneseekers) who are invited as the guest artists, as exposed in this exhibition entitled Travelogue. What are the visual consumption elements, through action that we call gaze, which unify or set them apart? Generally, we can hypothesize that on one side both Tan and Mui accentuate romantic gaze, but on the other side they tend to be anthropological. Their gaze exposes several characteristics such as solitary, becomes absorbed and drifted away by the moment, and involves vision, aura, and amazement over the exotics and extraordinary. This anthropological tendency will probably also be apparent in the process which involves scrutiny and active interpretation inside of themselves.

Knowing Tan and Mui since early 2012, I have witnessed how they arrange travelogue –a narrative genre interlacing the enchantment of traveling amidst the drama of victory and failure – through the visual perception towards and experience of encountering the Other in other places (Ijo Temple and Mangir Village in Yogyakarta; Merak Temple and Sendang Tirta Mulyani in Klaten; Klenteng Singosaren and Pasar Gede in Solo). By means of visual travelogue in the form of photos and sketches, they recount the perception and experience in a way I can call passionate. Especially in the sketches, this passion is manifested in the lines they scratch on pieces of papers. Tan, with his obvious philosophical vision, met and conversed with the biggest Buddhist monument worldwide; while Mui, with her intuitive and bold-minded lines, meditated over the tiny plain objects she encountered. Both seem to enjoy their traveling experience, the experience of ethnoscape disjunction liberated from the tendency towards factual accuracy in narrating.

Original Text in bahasa indonesia by Kris Budiman (Curator) / Translated by Ana Zahida


Sangkring Art Space
Nitiprayan rt 1, rw 20 no.88 Kasihan Bantul, Yogyakarta.

Supported by: Sangkring Art Space and Singapore International Foundation







Tuesday, October 16, 2012

"Global Eyes" Art Exhibition 国际艺术合作项目




GLOBAL EYES is an international collaboration between Singaporean artist Tan Haur and Australian artist Jack Kee Gamble to explore the impact of globalisation on localised values and traditions through Photography, digital imaging art and iPhoneography. Besides sharing their individual visual art creations, there is also a special showcase of integrated Phoneographic works by Tan and Jack, throughout the teamwork, photo files and ideas were sent among each other via web-based email, digital works development, communication & discussion across both hemispheres.




Exhibition supported by Singapore International Foundation.

Exhibition Graphic & Creative Design Consultant: Muijstudio.com 










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Artist: Tan Haur


My iPhoneography series provoke questions in the context of globalisation in present. Busy streets of people chasing time, unnoticed corners of places within business districts and indicators on roads or pedestrian ways – I would love to take the viewers to a journey of the synthesis of city scenes and overlapping avenue photos of Melbourne and Singapore by my visual art making, producing a channel that causes boundaries separating the two nations to fade, or interlaced by a collage of two different places. The presence of globalisation in the art works becomes evident in the final visual effect when pieces of still moments are thrown forward – simultaneously being captured in their state of actuality; more than a photo journal of my photo-travelogue, they added thoughts that create the pictorial scrutiny of practice, nature and objects that have been adapted to a contemporary civilisation.

The negative photographic turnabout acts like preservatives to keep that place and time alive. The vibrancy of base colours in digital print akin to magenta, cyan and yellow appear strategically to place a dimension where two places meet. The deliberate distortion of colours as a depiction of state of the place and time, or evoking emotions, is an indicator of post impressionism, and even an evolution of the artistic style due to the characteristics of implementing digital media, if one would allow the term that is not yet formalised but apparently imminent, is technically part of the existing mode of post-impressionism in digital.

Melbourne and Singapore as formal British colonial countries and notably owning significant amount of Chinese immigrants were eventually chosen by me as the places of interest for this series I were working on, both in which are cities that I have constantly traveled to and fro for several years, enhancing my project with the input of actual experiences and study of signifiers that could be identified visually by people on the streets. Extending my view with my Singaporean entity and as a person whom seeks discovery around the globe, my experiments art with digital imaging and iPhoneography as my media, a mode of visual language. Through the productions and art works, I attempt to reflect a sequence of multi-dimensional viewpoint of existence I capture, deconstruction of representational objects, activities, signifiers and environments to achieve investigating and questioning the fundamental value of culture and human existence in relationship with globalisation and glocalisation.

(*Full article regarding Global Eyes/ Perspectives in Transition written by Yu Benedict Tan was published on Singapore Art Gallery Guide - June/ July 2012 issue.)

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Artist: Jack Kee Gamble

The lingering darkness of Silence Emerged acts as a metaphor for individual and societal disquiet. Jack Kee Gamble’s photographic series unveils a sense of shared contemporary fears through strong tonal contrasts and dense colour saturation. He creates an eerie theatricality in his photographs where simultaneously our attention is drawn to the transient beauty of our world and the haunting prospect of what might lay ahead.
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Global Eyes series exhibited at Singapore National Museum 8Q, 16 NOV ~ 2 DEC 2012.