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New lease of life for The Substation as arts centre slated to morph into arts company focusing on original programming development

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3 years ago

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In a drastic turn of events following the announcement of The Substation’s permanent closure in March, the arts centre is slated to be converted into an arts company focusing on original programming development.

In a statement on Friday (23 July), The Substation said that two of its board members, Wahyuni Hadi and Jean-Louis Morisot had collaborated to conceptualise a new Substation — branded Substation 2.0.

The reboot seeks to “reconcile The Substation’s historical artistic mission with the long term challenge of financial sustainability”, said The Substation.

The strategic vision of The Substation 2.0, it added, is to “create a path for emerging independent artists of all disciplines through incubation and mentorship”.

The Substation 2.0 also aspires to be “the home for the arts through meaningful engagement of the artistic community”.

Additionally, the proposed new arts company strives to “create a regional presence in Southeast Asia through engaged partnerships and collaborations”, said The Substation.

“A number of the individuals behind both proposals will be invited to participate in various capacities in Substation 2.0, and we are happy that they have expressed support towards The Substation and its continued future,” The Substation added.

Wahyuni said that The Substation “will return to its roots and defining mission, realigning them to our new circumstances”.

“The Substation’s purpose over the next few years will be to re-establish and redefine The Substation as the home for independent artists in Singapore, independent of our original building, while expanding our collaborative partnerships locally and in the region,” she said.

“The Substation still has an important role to play in the Singapore arts scene, and we are grateful for this new beginning and the support the community has shown,” Wahyuni added.

Wahyuni, a former Programme Manager at The Substation overseeing film, music and literary arts programmes, has spent a large part of her career promoting Singapore and Southeast Asian cinema and independent arts.

A film curator and arts manager specialising in the management of film and art projects, among Wahyuni’s notable accomplishments include heading the Singapore International Film Festival in 2009 and later from 2014 to 2019 as its executive director.

She was formerly co-director at Objectifs Centre for Photography & Filmmaking where she had started Objectifs Films and currently sits on the Board.

In 2013, Wahyuni published the book Behind the Camera and co-produced the film Ilo Ilo.

She also served as Commissioning Editor for MediaCorp’s arts channel.

Morisot, who joined The Substation board in 2016, is the co-founder and director of Fondation la Roche Jacquelin, a non-profit foundation for the promotion of Southeast Asian art in Europe.

Based in rural and historical Anjou, the foundation organises art residencies for Southeast Asian visual and performing artists and writers.

From 2010 to 2018, Morisot was chief operating officer and co-founder of Proa Partners Pte Ltd, an institutional long-only fund manager based in Singapore and investing in Asia ex-Japan equities on behalf of international endowments and foundations.

As COO, Morisot built the company’s business, regulatory and technological infrastructure and was its head of investment research. Jean-Louis previously worked as a managing director in global investment research, Goldman Sachs.

Based in Singapore since 1994, he currently sits on the board of iA Independent Archive, an arts resources space founded by Lee Wen built around a collection of archival material pertaining to ephemeral art in Singapore and the region.

Noting that it has also heard the views of the community, The Substation said that a proportion of the arts community believed that it should not be closed permanently, even if it could not return to fully occupy 45 Armenian Street or to continue in its present form as an independent arts centre for multi-disciplinary experimental arts.

“While the decision to close is one The Substation Board collectively made and believed was the right thing to do, we also acknowledged that many in the community felt otherwise and sought an opportunity to drive The Substation forward.

“We were heartened by this spirit of communal responsibility and initiative,” it said.

The Substation said that it will apply for funding support from the National Arts Council “in addition to using this time to recalibrate and plan”.

“The new team will also begin the process of seeking private sector and community support in its new form,” it added.

The Substation is a recipient of the National Arts Council’s Major Grant 1 April 2017 to 31 March 2020.

The Substation’s chairman, Chew Kheng Chuan said that The Substation 2.0 “represents a necessary radical evolution of The Substation in order to be sustainable in the longer term”.

‘I am certain that the small committed team that has come together to lead Substation 2.0 forward will give it their all, and all of us on the current Substation Board have told them they can count on us to support them in any way we can,” he added.

The Substation’s artistic director, Raka Maitra said: “I am honoured to be given the opportunity to lead The Substation as its Artistic Director during this period of critical transformation for The Substation.”

“The Substation has always championed independent artists and in doing so, has created a space for new kinds of art works in Singapore. We remain committed to being an incubator of new talents and presenting works that inspire and create dialogue,” she added.

A dancer with a strong focus in classical Indian dance and martial arts, Raka was an associate artist with The Substation from 2007–2011.

On top of her role as Artistic Director of Chowk Productions, which she founded in 2014 with the support of the National Arts Council’s Seed Grant, her works have been regularly commissioned by the Esplanade and have travelled extensively internationally.

Raka’s notable works include The Hungry Stones, The Blind Age, The Second Sunrise, from: The Platform and the Pallavi Series. In the words of Dance Europe, “Maitra is without doubt a dancer of the 21st century”.

Raka was appointed Co-Artistic Director of The Substation in 2020 and will continue as Artistic Director from August 2021.

In the earlier announcement of The Substation’s closure, it was reported that the NAC was intending to take back the space for renovation works.

The NAC justified its decision on the basis that The Substation was becoming increasingly “financially unsustainable.”

The arts centre—founded in 1990 by a prominent figure in theatre, the late Kuo Pao Kun—said that the “difficult” decision was made by board members after lengthy discussions with the NAC and members of the arts community.

Not long ago, it was announced publicly that The Substation would have to vacate its premises at 45 Armenian Street by July this year to allow for much-needed refurbishment and renovation on the building.

However, once the renovations are complete, the NAC said at the time that The Substation would be able to return to the building as a co-tenant, instead of occupying the building in its full capacity as before.

The inability for the centre to return fully would mean that The Substation “will lose a fundamental part of its identity and heritage”, according to the statement.

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Arts & Culture

Epigram Books to close SAM bookshop amid low sales and footfall

Epigram Books will shut down its bookshop at the Singapore Art Museum on 26 January 2025, citing low sales and foot traffic. The independent bookstore, known for supporting local authors, will continue to operate its online store, but its future in brick-and-mortar retail is uncertain.

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2 weeks ago

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19 September 2024

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Epigram Books, a major supporter of Singaporean literature, will close its Epigram Coffee Bookshop at the Singapore Art Museum (SAM) on 26 January 2025.

The decision comes after years of struggling with low sales and foot traffic at the Tanjong Pagar Distripark location, marking the end of the bookstore’s three-year lease.

The announcement on 19 September follows Times Bookstores’ closure of its final outlet in Holland Road, highlighting the growing challenges faced by brick-and-mortar bookstores in Singapore.

Edmund Wee, publisher at Epigram Books, expressed disappointment, stating: “We tried everything to make this work. Over the past three years, we’ve often asked ourselves, how many people even knew our bookstore existed here, let alone visited?”

Despite efforts to boost traffic, including operating shuttles to increase accessibility, the bookstore struggled to attract visitors consistently.

Epigram Coffee Bookshop, previously located at the Urban Redevelopment Authority Centre on Maxwell Road and later in a pop-up at Beach Road, relocated to SAM in May 2022 in partnership with Balestier Market Collective.

The 20-seater store featured towering shelves showcasing local and Southeast Asian titles, including books from other independent publishers like Ethos Books and Math Paper Press.

However, the location’s industrial setting, which only saw spikes in visitors during major exhibitions like Olafur Eliasson’s, limited consistent footfall.

The closure coincides with the end of Eliasson’s exhibit on 22 September 2024. Although the exhibition provided a temporary boost to the bookshop’s sales, Epigram noted that the increased traffic was short-lived.

Epigram’s future in physical retail remains uncertain. Mr Wee indicated that high rental costs make reopening a physical store unlikely: “Unless rent prices relent, it’s unlikely we’ll move into another space.”

Epigram Books has been a significant presence in Singapore’s independent book scene, promoting local authors and holding literary events.

The bookshop was also a community hub for the literary arts, hosting numerous book launches and events supporting local writers. “These spaces are special to our literary arts community. They’re where book lovers gather, where literary events and book launches happen in support of our writers,” said Mr Wee.

Despite the closure of the SAM store, Epigram will continue to operate its online store. The publisher emphasized the need for continued support from readers: “We’ve come this far with everyone’s support, and we look forward to continued support from our readers as we transition to focus on online sales.”

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Arts & Culture

2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation

The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.

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1 month ago

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3 September 2024

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The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.

This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.

Diverse and Cutting-Edge Filmmakers Dominate FPP Selections

The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.

This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.

Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.

This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.

Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.

LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.

Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.

Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.

The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.

These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.

Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.

The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.

Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.

The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.

Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.

Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.

WIP Selections: A Glimpse into the Future of Cinema

The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.

Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.

Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.

Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.

Series Selections: Imagination Meets Reality

The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.

Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.

Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.

Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.

Looking Forward to the Golden Horse FPP Event

The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.

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