New Zealand born artist Tiffany Singh’s multi-disciplinary approach centers around arts, education and well-being. Her three-month residency elevated Bangkok 1899 as an immersive Social Practice hub, exemplifying a new contemporary art paradigm to enable women artists, who are also mothers, to live and work in a supportive residency environment.
The content explores the challenges faced by respected women artists, paired with research and development on traditional practice. These factors combine to create works that speak from the traditional to the contemporary within a fine art context.
This new suite of work explores the narrative of Women’s Liberation through objects of the domestic. These collaborations map out factors that affect women's participation in various artistic disciplines. The relationships provide a narrative around the history, identity and technical skills related to producing “women’s” work. Through performative aspects and subtle gestures, the exhibition provides an opportunity to learn about, and to address issues that affect women artists. Singh’s exhibition "The Pink Period" kicked off Bangkok 1899’s Grand Opening, and is on view from September 7 – November 10, 2019.
PROJECT DESCRIPTION Tiffany Singh and Taiwanese artist Jui-Pin Chang's collaborative project, Women’s Art Project Asia, aims to foster social bonds within the art world and beyond. This includes improved well-being, an enhanced sense of self/self-efficacy and economic gains for women artists. Expanding on the research gathered from The Taipei Artist Village residency (Taiwan), the project explores the challenges faced by women in creative practice. This social practice inquiry delves into how societal expectations, family obligations and being classified as a minority voice within the power structure of the art world.
Jui-Pin Chang's work examines the position of woman artist in
Taiwan society. Chang uses her practice to exchange traditional
techniques to the contemporary concept. This enables her to reflect on
the deep foundations in the Chinese art tradition, global history and
the newly formed Internet politics of this.
iconic works use images that signify power from mainstream media and
the Internet. She re-examines conditioned realities and deconstructs
them into critical comments about the status of humans in an era largely
dominated by virtual and digital worlds.