Installation view of the exhibition

Installation view of the exhibition

The toy robots and the different ‘brushes’

The toy robots and the different ‘brushes’

Work-in-progress

Work-in-progress

Process of screen printing the marks made the toy robots

Process of screen printing the marks made the toy robots

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

Impossibility of repetition #1-5 2019, Screen paint on glass and paper , 50cm by 50cm

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The Private Museum (TPM) Singapore is pleased to present Repeat, Repeat, Repeat; revising the phenomenon of printing—a group exhibition curated by Zaki Razak. This marks the second edition of the TPM Guest Curator series—collaborating with Guest Curators to facilitate and support independent and experimental curatorial practice, and to present different perspectives on our world. The exhibition will feature works by seven artists including Miguel Chew, Weixin Chong, Mona Choo, Urich Lau, Nadia Oh, Shin- Young Park, and Yeo Shih Yun.


There have been numerous exhibitions based on traditional printing methods and the expanded practice of artists who adopted painterly approaches; explored a certain degree of experimentation; challenged the convention in what is permissible; and demonstrated sophisticated control of process. What seems more substantial is the repeating pattern of thematic exhibitions, which emphasized on the possibilities of print. There seems to be a similar sentiment towards an often-repeated source, the rockstar of printmaking, Albrecht Dürer. His works are the first to be considered the most refined and celebrated due to their meticulous and dynamic forms which never fail to feed on our sight.


One definite consensus made is not to realise a medium-based approach exhibition but to break open the closed system of perception of printmaking and to instil a point of discussion on the phenomenon of printing; responding to the essence of the tradition or the emergence of the mechanism of multiplication and repetition; the context of its evolution and revolution; and what its consequences are in this day and age.


The artists’ visual responses in forms and formation are meant to be symbolic visual cues to the journey of printing towards a knowledgeable ascent—to bring a certain degree of consciousness. What was before and after the invention of the Gutenberg printing machine and how did printed matter change or affect the human condition?