\o\\: Rajinder Singh

2012-01-15T08:13:00.000-08:00

Interchange: The tribute edition. Chan Hampe Galleries . Singapore . Dec 2011

Description:

Emulsion paint, bitumen and varnish on canvas; wire and frame.

All shown in the exhibition:

Interchange:The tribute edition

Curated by Gillian Nelson

Chan Hampe Galleries,

Singapore

December 2011

2011-12-23T00:42:00.000-08:00

Ya-ad . Institute of Contemporary Arts Galleries . Singapore . Nov 2011

Description:

In Ya-ad ( memory)Rajinder concentrates on making works that are fragile; which are still until disrupted, on a verge of something - perched on a precipice. There has been trauma and it has changed everything and it is going to change again. Rajinder’s new installations are vulnerable to the slight alteration of space around them. The smallest movement can cause the works to alter. They sit quietly, subtly - in anticipation. The material, the positioning and the viewer’s senses are vital. Whether the viewer chooses to or not, if they are even aware, the viewers’ movements can and do disrupt the work. Change is inevitable.

Emulsion paint, gypsum boards, talc, bitumen, wire and frame.

All shown in the exhibition:

Ya-ad

Curated by Jody Neal

Institute of Contemporary Art Galleries

Singapore

November 2011

2011-11-03T15:19:00.000-07:00

The Lasalle Show . Institute of Contemporary Arts Galleries . Singapore . May 2011

Description:

Wall, gypsum boards, and cement

All shown in the exhibition:

The Lasalle Show 2011( Wall Door)

Curated by Charles Merewether, Ian Woo and Adeline Kueh

Institute of Contemporary Art Galleries

Singapore

November 2010

2010-12-01T10:03:00.000-08:00

4/12 . Institute of Contemporary Arts Galleries . Singapore . Nov 2010

Description:

Wall, gypsum boards, bricks, cement, plastic, sand and wood poles

All shown in the exhibition:

4/12 ( Shatter)

Curated by Charles Merewether, Ian Woo and Adeline Kueh

Institute of Contemporary Art Galleries

Singapore

November 2010

2010-12-01T09:41:00.000-08:00

Trappole . Art Trove Gallery . Singapore . Nov 2010

Description:

Walls, cement

All shown in the exhibition:

Trappole

Curated by Daniela Beltrani

Art Trove Gallery

Singapore

November 2010

2010-10-28T21:14:00.000-07:00

Illusion . D502 Space . Singapore . Oct 2010

Description:

Wall, mirror, light, wood

All shown in the exhibition:

Directed

D502 Space

Singapore

October 2010

2010-09-26T10:07:00.000-07:00

Directed . D502 Space . Singapore . Sept 2010

Description

Wooden poles, door handle, door sign, talcum powder, chairs, wall

In Mired, I am interested in the locus of potentials within the gallery space. These locus or contours of potentialities map the areas in material space that affect the body. There are essentially 4 areas of potential here. One looks out for the wooden poles so as not to walk into them while mindful of the broken one lying on the floor and the consequent damage. The chairs are deeply mired in the talc which makes the area look potentially dangerous. A large concrete wall somehow sticks out of the walls of the gallery questioning subverting the laws of physics. Finally the door beckons - perhaps to the next exhibit..

All shown in the exhibition:

Mired

D502 Space

Singapore

September 2010

2010-09-14T23:07:00.000-07:00

Directed . D502 Space . Singapore . Sept 2010

Description:

Metal rod, door handle, door sign, talcum powder, wire, ape

In Directed, I am interested in the locus of potentials within the gallery space. These locus or contours of potentialities map the areas in material space that affect the body. My art is in the generation of new kinds of territories from the exploration of spatial and structural and materials concepts, that affect and is affected by the body. I am concerned with developing sensitivity towards a sensuous environment that affects the body. The door into another space attracts while the wire and the door, the pile of talc and the rod with the destruction around it disrupts the body.

All shown in the exhibition:

Directed

D502 Space

Singapore

September 2010

2010-08-12T19:02:00.000-07:00

The Wall . D502 Space. Singapore . Aug 2010

Description:

Concrete, bolts and rods

Concrete walls are erected in the middle of a gallery allowing just-enough, just-about-possible-to-squeeze-thru space to the other end. The experience of this space affects the viewer, producing a sense of discomfort. The wall and the cement rubble around it subverts the gallery space by obstructing and dividing it in a way that is not expected.

All shown in the exhibition:

The Wall

D502 Space

Singapore

August 2010

2010-08-12T10:20:00.000-07:00

Overhang . D502 Space . Singapore . Aug 2010

Description:

Shelf brackets, planks used for a cement mold

A overhanging space is created above the gallery walls in the gap between the wall and the ceiling. The cement stained planks hang precariously inside the gallery. Gallery visitors avoid the structure and walk around it.

All shown in the exhibition:

Overhang

D502 space, Singapore

Aug 2010

2010-08-06T08:16:00.000-07:00

Fragment . D502 Space . Singapore . July 2010

Description:

Cement blocks, a plank, a fragment of a photograph

Cements blocks are piled into a gallery wall with a plank leaning against fragments of an estswhile display of photographs. Artist intent and process is suggested through the fragments of photographs carefully placed.

All shown in the exhibition:
Fragment
D502 Space, Singapore
2010

2010-08-05T07:45:00.000-07:00

Object . Praxis Space . Singapore . Feb 2010

Description:

Paper, card stock, tape, plaster, putty, resin and glue

The installation/intervention converts a section of the wall of the gallery into a living membrane with layers of paint breaking out of the gallery’s whitewashed skin which reference histories of previous installations/events/happenings of the gallery and the school. The building thus reveals itself thru its peeled layers and scars..

Looking at the work you might think that the gallery's plumbing has gone bad – water stains the walls, paint is flaking everywhere and the plasterboards are buckling; and is that fungus sprouting in the corner?

Where did the water come from? You follow the stains up a wall. You might conclude a burst pipe..Someone is busted. Who is to be blame? Who caused this? Who is responsible?

It is like something that has grown from a nick in the gallery wall..out of its damaged skin and spread…

“The work has no clear boundaries, there's no way to say where it starts and stops, what keeps it from migrating into other “pieces.” The piece conceptually, does not stop at the front door of the gallery; look for my “pieces” in your own home. The framing devices normally put around art works are gone..the work rids itself of frame and migrates not only into other works but also the outside world.. So we have on the one hand the water damaged wall: It is trivial. It is accidental, cast-off, neglected, broken, overlooked, finite. On the other hand – beyond the wall: unending, cosmic, beloved, immaculate, infinite. The tiny next to the enormous, the trivial alongside the majestic; microocsom in its proper kinship with macrocosm.To me…the heavens reflected in an unturned mirror…”

All shown in the exhibition:

OBJECT

group exhibition

Praxis Space, ICA galleries Singapore

2010

2010-08-05T07:29:00.000-07:00

The Traumatised Body . Tri-Space Gallery . Singapore . May'10

Description

Plywood, putty, plaster and Styrofoam

A sculptural intervention involving the alteration of a whole gallery wall. Part of the wall is removed and replaced with a series of holes with hidden alcoves. The wall invites interaction or at least a closer look. It invites the voyeur, the detective to take a closer peek, perhaps even snuggle a hand or a finger through a hole to pick at whatever is inside the deep hidden recesses. The sculpture harbours the same attraction as a hole in a city wall that quickly becomes an impromptu 'shrine'.

All shown in the exhibition:

The Traumatised Body

TriSpace, ICA galleries, Singapore

May 2010

2010-08-05T07:20:00.000-07:00

Bulldozers in the Brain . C403 Art space . Singapore. Nov '09

Description

10 sculptures ( various dimensions; various materials including wood laminate, wax, acrylic skins etc) exhibited on the walls, the gallery floor as well as on plinths.

Various materials, colors and forms are explored in a number of sculptures in this exhibition to engage with notions of knowledge structures and archaeological dig sites.

“…and then there is the material that excites me. I am working with acrylic skins, wax, plaster of Paris, cement, rusted steel and even fabric because I celebrate their look and feel - their materiality. It gives me intense joy to work with this stuff. Never a complete straight-line. Never a perfect fold. I like it that way…”

All shown in the exhibition:

Bulldozers in the Brain

LaSalle College of Arts, Singapore

2009

2010-07-05T20:35:00.000-07:00

The Perforated Book . C402 space . Singapore . Aug '09

Description:

4 used books, 50 pieces ceramic paper ( various dimensions)

The books were subjected to hydro jet trauma before circular cylinders of paper were drilled out of them. Fragile ceramic paper pieces were heaped together precariously and allowed to break. Both mangled books and broken shards of ceramics were displayed on gallery floor in a formless heap.

Rajinder has reduced a shelf full of books into a pile of debris and a bunch of mangled tomes. Combined with the broken shards of carefully constructed ceramic books (for every ceramic paper successfully transferred to the gallery floor, there were five broken unused pieces), a pile of formlessness claims the floor of the gallery.

There is something interesting about the fragments of printed paper and the violence of the perforated books. Despite the size of Rajinder’s installation, it has a buzz of energy and entropy forming around the saga of subversion and violence. “I am seeking the sublime where only traces abound.. where meaning is in transition, form is deteriorating or regaining its composure, where the body is giving way to disintegration and regaining its corporeality, where traces of past meanings are as important as their future trajectories, where mathematical frockcoats are an illusion of the eye, where life celebrates the minutiae of transitions.”

All shown in the exhibition:

LaSalle College of Arts, Singapore.

2009

2010-06-29T01:24:00.000-07:00

Disrupted . D502 space. Singapore . June 2010

Description:

Plaster of Paris, Wire net, gallery wall

A display panel in a gallery was covered with a layer of plaster before being deliberately damaged to mirror the construction outside the gallery, seen thru the window. The debris on the floor remains and obstructs any attempt to come close to the wall.The light streaming thru the gallery window seems to be causing the disruption.

All shown in the exhibition:

Disrupted

D502 space, Singapore

2010