#lina-soh

#lina-soh

"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."

The campaign explores the relationship between graphic identity and natural motifs, with the S-check pattern reinterpreted through cherry blossom imagery, establishing a contrast between graphic order and natural variation.

The Grand Palais in Paris unveiled an enormous exhibition focusing on the final 13 years of Henri Matisse's life and work, featuring abundant examples of his celebrated gouache cut-outs.

Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.

"I've been thinking lately about how art reveals the writing on the wall. When I began developing the concept of human-machine collaboration it was 2015, years before the current wave of generative AI entered public consciousness."

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

A circular concrete ring forms a defined boundary, incorporating a landing and three steps that lead into a contained field of refined sand. At the center of this ring rises a tall cone clad in polished mirrored steel. The composition establishes a clear geometric contrast between the horizontal plane of sand and the vertical reflective surface.

A sprawling tale of two Singapores, the short documentary Sandcastles draws connections between Singapore, Michigan - a 19th-century ghost town swallowed by sand following widespread deforestation - and the island country of Singapore, where rapid development and land reclamation has, for decades, been enabled by the importation of sand. More poetic exploration than call to action, the work surveys waterways, cycles of development and the transient nature of sand - deceptively sturdy over short timescales but, over decades, quite volatile.

Feng Yitong is a Berlin-based illustrator from Xi'an, China whose comic and hand-drawn imagery addresses migration, cultural shifts and embodied experiences in heavy, tactile forms of oil pastels. Using skills learned from her bachelors and masters degrees in illustration at the Berlin University of the Arts, she sketches her emotive scenes, then scans before using a light table to transfer them onto A4 and A3 paper. Coloured with oil pastels, she achieves her sharp visual effects by using kitchen cloths to remove or mix thick marks to create defined edges and distinct segments of her dense images.

"The idea is that intention is not the whole story," says Selene Yap, a co-curator of the Biennale. "Systems can generate a certain kind of afterlife, and there are side effects." While the waterfall impresses, it also has consequences, she adds. The work uncovers how Singapore imports hydropower through transnational infrastructure, including the Vajiralongkorn Dam, whose construction has displaced Thailand's indigenous Karen hill tribe, forcing many to live in floating homes on the reservoir.

The Thai artist Pinaree Sanpitak began exploring female breasts in her work shortly after the birth of her son in 1994, when she began breastfeeding. Reflecting on her experience as a mother, the breast became a metaphor for herself as well as a broader celebration of womanhood. In 2001 Sanpitak began to draw parallels between the breast and Buddhist stupas-dome-shaped sites of veneration, and began her Breast Stupa series, combining the sacred with the sensuous.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

This year's Art SG, which closed last month, featured an intriguing debut: South Asian Insights, a modest pavilion dedicated to contemporary art from the region. Part of the TVS Initiative for Indian and South Asian Contemporary Art, it was backed by India's TVS Motor Company, one of the world's largest two-wheel manufacturers, which has its global headquarters in Singapore. Eight galleries-five from India-were each given a wall to showcase art.

Artist Ayelet Gal-On does not just paint; she builds, layering oil, acrylic and plaster on canvas. Gal-On's signature subjects for "Taken by the Wind, Swept by the Light," her upcoming solo exhibition at Gallery 9 in Los Altos, are white dresses that appear to hang on a line, defying the stillness of the canvas. "I love the process of playing with color," says the artist.

Known most for her large-scale artworks created from vast, intricate networks of thread, she developed her unique practice to make tangible the endless speculative configurations of human connections - something to be experienced rather than defined. But by asking her to describe her new exhibition, Threads of Life at the Hayward Gallery, I'm dragging her back into a reductive world of language. "If I wanted to express myself in words, if I could explain in words, I'd rather write," she says. "So I want to build visually, and I want to create visually. What I want to describe is beyond words."

Art SG wrapped its fourth edition on Sunday, reporting 43,000 visitors during its four-day run, up from last year's 41,000. The S$250,000 ($197,000) SAM Art SG Fund, backed by patrons Carmen Yixuan Li, Pure Yichun Chen, and Pierre Lorinet, acquired works by Mona Hatoum (from White Cube) and Lotus L. Kang (from Commonwealth and Council) for Singapore Art Museum 's permanent collection. Some dealers said they made satisfactory sales, mostly for five or six digits.