Reflecting the curatorial ambit of the Singapore Art Museum (SAM), the institution that both organizes and hosts the Singapore Biennale, the event’s fifth edition continued its regional focus on Southeast Asia, expanded this time to include work by sixty-three artists from nineteen countries and territories across Southeast, East, and South Asia. Titled “An Atlas of Mirrors,” and clustered by creative director Susie Lingham and a team of nine curators into nine somewhat unnecessary subthemes, the biennial suggestively coupled cartography as a form of knowledge with the mirror as a reflective surface that enables knowledge of self but that also has the potential to refract, fragment, and disrupt its unity.
A type of eye-catching sculptural installationusing local craft idioms to present regionally specific subject matterpredominated, exemplified by Eddy Susanto’s monumental
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