Dispatch Review

Catch up on Marco Marcon's review of the Singapore Biennale 2025: Pure Intention:

"Large international exhibitions have to contend with more than market pressure, government interference, and the fatuous rituals of the international art world. Perhaps the most important curatorial challenge for any of these events is managing the relationship between the local and the global."

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Image: Installation view of Seung-taek Lee's Earth Play (1989), as part of Singapore Biennale 2025: pure intention. Image courtesy of Singapore Art Museum.

Catch up on Sam Beard and Francis Russell's review of Gemma Weston's exhibition, 'WITNESSING,' held at .g.s:

"[...] one must wonder what kind of effect this constant stream of brutality produces: perhaps a kind of alternative Ludovico Technique that, rather than inducing nausea in response to violent acts, results in a nullification, or a callous ennui, as a means of enduring such content."

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Image: Gemma Weston, WITNESSING, at _____g.s. Photography by Wayne Lim

Catch up on William Bromage and Felicity Ostergaard's interview with curator Jonathan Nichols and artists Un Cheng, Chris Huen Sin-Kan, Noor Mahnun, and Jon Chan about the recent exhibition Painting Itself / 绘画本身 at :

"Jonathan Nichols: [...] the logic I've used to bring these artists together is a kind of studio logic that many painters use. In a way, I think it's a game of reflection and seeing the work like themselves."

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Image: Tang Dixin, 'Human mountain,' 2016-2018. © Tang Dixin, courtesy of Ota Fine Arts