13 September 2024 (Friday), Singapore – The Nanyang Academy of Fine Arts, University of the Arts Singapore is proud to present Anagard: From nasi padang to the world, the first solo exhibition in Singapore by the emerging Yogyakarta-based stencil artist. Held at The Ngee Ann Kongsi Galleries 1 & 2 from 20 Sep (Fri) to 27 Oct (Sun) 2024, the exhibition will feature 80 recent works by Anagard and his esteemed collaborators from Singapore and Indonesia. Known for his distinctive iconography as a visual language that is deeply symbolic, Anagard’s works invite viewers to engage with thought-provoking narratives to interpret and find meaning from his stories, from drawings to large-scale installations, presented for the first time in Singapore.
This collaborative project also unites Anagard with Cathrine Oslo, NAFA alumna (Diploma in Fine Arts, Printmaking) and founder of COFA Studio; and 556 Industries, a Singaporean costume-making and prop-building collective. The artists and makers inject their distinct speciality and crafting techniques together, offering new avenues of artistic expression and dialogue in the world of visual art and design, using art as a tool to promote peace and foster understanding between cross-communities.
Join Anagard at his Artist Talk on Thu 19 Sep, 2pm an opportunity to delve into his inspiration, creative process, and artistic journey. In conjunction with the exhibition, NAFA is proud to host the 11th edition of its Southeast Asian Art Clinic on Wed 9 October, 2pm, featuring both artist and collaborator, Anagard and Cathrine, who will share their insights working together, engaging in dialogue with the community. Anagard: From nasi padang to the world illustrates NAFA’s spirit of exploration, underscoring the academy’s commitment and dedication to fostering regional arts through leading research, practice and development.
Exhibition Dates
20 September – 27 October 2024
Opening hours: 11am – 7pm, closed every Monday
Free Admission
Nanyang Academy of Fine Arts, The Ngee Ann Kongsi Galleries 1 & 2
Campus 1, 80 Bencoolen Street, 189655
“Orang Orangan” (Scarecrow) was meant to be a satire aimed at the people whose lives are exploited by certain parties. Their existence is not shaped by their own ideas, but they merely serve as puppets for those in power. In the realm of politics, many leaders are appointed by their political parties as regional heads or government officials. They rule the social system, and shape its policies, constantly under the party’s directives.
The artworks of Cathrine Oslo and Anagard meet through a ‘connection’. Cathrine Oslo processes her visualisation of life through carving – she reaches where she is in life now, as a result of her journey and experiences growing up. This connects with how Anagard aims to achieve harmony in a pluralistic world, by knitting diversity through street art. Two artists coming from different backgrounds and lifestyles, but share similar messages on self-awareness, humanity, children, diversity, women, and social issues with their works.
This interactive work combines intricate carvings with vibrant, multi-coloured artwork printed on the flip side that opens and closes like a book. It speaks of how attachments, innocence and death are being carved into the patterns of our lives. A repetitive life cycle between humans that is almost like a carbon copy that starts from the older generation, reaches us and move on to the next generation.
As collaborators, Anagard and Cathrine agree that speaking both subtly yet loudly at the same time with their works -similar to how they believe a balance of these two is needed to be human –should speak their minds loud and clear, but yet be still and quiet enough to process and listen to their inner thoughts and conscientiousness in making the right decisions. They both believe the mind is a powerful tool to create and form thoughts and perceptions.
556 Industries interpretation offers an expanded vision of Anagard’s original artwork. The four figures, depicted in dystopian elation, are positioned to face North, East, South, and West, symbolically representing the entirety of the world. Reflecting the global impact of COVID-19, the figures are adorned with personal protective equipment (PPE), capturing the era’s widespread norms of protection and restriction. Their masks not only symbolise daily personal masks but also connect to Anagard’s exploration of obscured identities. Additionally, the headdress in their piece draws inspiration from the decorative headdress in Anagard’s drawings, that is inspired by the Paku Pakis plant.
Also, in Anagard’s Minang culture, the bridal headdress usually spans a fan of plant and floral details in heavy gold, crowning the wearer with courage and strength to bear the burdens of marriage and legacy. This motif further links the three-dimensional work to the artist’s rich visual language. Anagard reflects, “Alam takambang jadi guru (nature is our teacher)”. Humanity Protected, Masked & Hidden reminds us we are of born of our land, and after life, to the land we will return.
