Officially founded in June 1964, the Modern Art Society Singapore (MASS) is one of several art societies that played a key role in Singapore’s art history. With artists such as Ho Ho Ying, Wee Beng Chong, and Tay Chee Toh among its founding members, the society drew from global avant-garde art movements like Abstract Expressionism while responding to local issues like urbanisation, seeking to push Singapore’s artistic development into a new age.
MASS remains active to this day, holding yearly art exhibitions. Nor are its activities restricted to Singapore’s shores — this month, the society is holding a collaborative show with Bangkok’s Silpakorn University until 20 December. Organised with the support of the National Arts Council under its Marketing and Audience Development Grant — an initiative that brings Singaporean art to international audiences — and curated by Dr Seng Yu Jin of the National Gallery Singapore, the MASS | Silpakorn University Joint Exhibition 2024 features 35 works by notable artists from both Thailand and Singapore.
After its run in Bangkok, the exhibition will travel to Singapore in March 2025, facilitating exchange between artists and art audiences of both countries. William Goh, multidisciplinary visual artist and current MASS president, tells us more.
What inspired the collaboration between the Modern Art Society Singapore (MASS) and Silpakorn University for this exhibition, and what do you hope audiences in Bangkok will take away from it?
When I assumed leadership of the Modern Art Society Singapore, I delved into the archives to better understand the society’s rich history. I was intrigued to learn that the society had played a pivotal role in shaping art trends in Singapore from the 1980s to the 2000s. Additionally, the society has had strong international partnerships, being part of a broader network known as the Federation of Asian Artists. This federation includes members from Brunei, China, Hong Kong, Indonesia, Japan, Korea, Malaysia, Mongolia, Myanmar, the Philippines, Singapore, Taiwan, Thailand, and Vietnam. The Asian International Art Exhibition, which has been held over 29 editions, most recently took place in 2021 at the Kyushu Geibun Cultural Centre, Fukuoka, Japan.
Looking ahead, my vision for MASS is to propel it into the future, strengthening ties with our international partners and positioning Singapore more prominently on the regional art stage. This vision inspired the collaboration with Silpakorn University for this exhibition, as it reflects our commitment to fostering cross-cultural exchange and showcasing the dynamic art scene in Asia. I hope that audiences in Bangkok will not only appreciate the diverse expressions of contemporary art but also gain a deeper understanding of Singapore’s role in shaping the regional art landscape.
Why the decision to hold it in Bangkok, and is there a chance that it will travel to Singapore?
I have had the privilege of participating in exchange programs with both Silpakorn University and Chulalongkorn University during my time as a student at the Nanyang Academy of Fine Arts. [Due to t]his personal connection, along with the strong artistic ties between Thailand and the international network we’ve developed through the Asian International Art Exhibition, I made Bangkok the first stop for this exchange exhibition. The exhibition is part of a broader initiative by MASS to organise annual exchange exhibitions with various Southeast Asian countries.
Moreover, Dr. Supachai and Dr. Vichaya, who have served as judges for the UOB Painting of the Year competition in Singapore in recent years, are deeply embedded in the art communities of both Thailand and Singapore. Their involvement further strengthens the collaboration between our two nations.
Following its debut in Bangkok from December 6–20, 2024, the exhibition will travel to Singapore, where it will be held at the Singapore Chinese Cultural Centre, Creative Box (Level 6), from March 23–30, 2025, between 11 am and 5 pm daily. The works exhibited in Thailand will be showcased in Singapore, continuing the cultural exchange and fostering stronger ties between our two vibrant art communities.
The exhibition features works by both Singaporean and Thai artists. How do the works reflect the shared or contrasting cultural narratives between these two countries?
Our artworks represent a broad spectrum of “modern” painting, spanning the premodern, modern, postmodern, and metamodern eras. The concept of modernity itself is multifaceted and fluid, constantly evolving as it is viewed through different cultural and historical lenses. Both Singapore and Thailand’s modern art reflect the unique ways in which each country defines and engages with modernity, shaped by their distinct aesthetic cultures and traditions.
This exhibition highlights the fascinating exchange between the artistic practices of both nations, demonstrating how the evolving concept of modernity intersects with the aesthetic cultures in each country. The contrast and similarities in our approaches create a dynamic dialogue, offering audiences a deeper understanding of how modern art has evolved in the region, and the ways in which aesthetic values continue to influence contemporary art practices.
What do you / the MASS think “modern art” means today, and how does this understanding differ (or not) from the usage of the term by your counterparts in Silpakorn?
MASS defines “modern art” in terms of its relevance to both Singapore and the present time. For us, modernity is not just a style or a period, but an ongoing process of evolution — constantly improving and adapting to new contexts. Modern art, in this sense, is about moving away from established traditions and embracing change. It represents a continual search for innovation in art forms, materials, concepts, and styles, driven by the present-day realities of our world.
Once a tradition has been established and explored, it is time to move beyond it. The “being” of that tradition has already been realised, and the focus shifts to creating new ways of expression that reflect the contemporary moment. This philosophy allows MASS to remain at the forefront of artistic innovation, embracing new perspectives while engaging with the ever-changing landscape of modernity.
As for our counterparts at Silpakorn University, I believe they too see “modern art” as a dynamic concept, but with a strong cultural grounding in their own traditions and history. The definition of modernity may be shaped by local influences and cultural narratives, which gives rise to an interesting dialogue between our respective understandings of the term. While there may be differences in how modernity is framed, I believe both perspectives share a common thread in their embrace of progress, innovation, and the ongoing evolution of art.
The exhibition is supported by the National Arts Council (NAC) to promote Singapore art internationally. How do you think events like these influence the perception of Singapore modern art on a global scale?
We are deeply grateful to the NAC for their generous support of this exhibition through the Marketing and Audience Development grants. Their backing plays a crucial role in promoting Singaporean art on the international stage, helping to raise the visibility of our local artists and art initiatives globally.
At MASS, we celebrate artistic legacies while also incubating new generations of artists who, in the future, have the potential to [have] the next artistic legacies themselves. We are committed to nurturing this dynamic process, ensuring that our artists not only thrive in the local scene but also gain broader international recognition. This exhibition is a reflection of that commitment, as we actively seek opportunities to bring Singaporean art to Southeast Asia and beyond, thereby expanding the global awareness of modern art in Singapore.
I believe events like this are essential in shaping the perception of Singaporean modern art internationally. It is important for artists and art collectives in Singapore to collaborate and actively seek opportunities to exhibit abroad, ensuring that Singapore’s presence is felt on the global art platform. The idea of modern art in Singapore is constantly evolving, and this dynamic nature makes it particularly relevant in a global context.
Different regions define modernity in various ways, and this exhibition offers an opportunity to share Singapore’s unique interpretation of modernity with international audiences. In the Western context, modern art is often associated with a specific historical period — from the 1860s to the 1970s. However, in Singapore, particularly at MASS, we see modernity as a continuous, ever-evolving concept. For us, modern art is not confined to a particular period but is an ongoing dialogue that spans across premodern, modern, postmodern, and metamodern eras. This fluid understanding of modernity speaks to the way art reflects and responds to the changing times, making Singapore’s approach to modern art both timeless and timely.
Can you share insights into your creative process for the selection of artwork(s) you are showcasing in this exhibition, and how it fits into the broader theme of this joint exhibition?
For this exhibition, we collaborated with Dr. Seng Yu Jin, Director of Curatorial, Research, and Exhibitions, and Senior Curator at the National Gallery Singapore, to guide the curatorial process and assist in the selection of artworks. The approach to curating the exhibition was driven by the intent to represent modernity in Singapore across a broad temporal and conceptual spectrum.
Central to our curatorial strategy was the principle of diversity, both in artistic expression and in the conceptualisations of modernity. Our objective was to highlight that Singaporean modern art is not a singular, fixed concept but a dynamic and multifaceted discourse that evolves in response to shifting cultural, social, and political contexts. This is particularly evident when contrasted with the cultural modernity expressed by Thai artists. While both nations have experienced parallel historical trajectories, the way modernity is articulated and embodied in the art of Singapore and Thailand diverges significantly, shaped by their distinct cultural and historical landscapes.
To illustrate this contrast, we selected works that explore various dimensions of modernity within the Singaporean context. Baet Yeok Kuan’s The Study of Royal Typewriter #2 engages with modernity during the colonial era, reflecting on the intersections of power, identity, and technology. Yeo Siak Goon’s Branching examines the relationship between nature and modernity, offering a meditation on organic forms within an urbanised environment. My Evolving Cities responds to the rapid urbanisation of Singapore, exploring the transformation of space and the socio-cultural implications of the city’s development. Boo Sze Yang’s Horizon of Dreams #1 explores the psychological and metaphysical realms, examining how dreamscapes and subconscious landscapes inform our understanding of modernity. Collectively, these works engage with different periods and aspects of Singapore’s modern evolution, each contributing to a broader, multifaceted understanding of what constitutes modernity in a Singaporean context.
The exhibition also foregrounds the ways in which Thai artists articulate their own cultural modernity, underscoring the rich diversity in the region’s artistic discourse. By positioning Singaporean and Thai modernities side by side, we aim to foster a dialogue that not only highlights the unique characteristics of each but also invites reflection on how modernity is understood and manifested in distinct cultural contexts.
Through this exhibition, we seek to provide a nuanced view of modernity—one that reflects the continuous evolution of artistic practices in Singapore while engaging in a broader regional conversation. In doing so, we hope to contribute to a deeper, more nuanced understanding of how modernity is conceived and represented in Southeast Asia.
What do you think is the significance of the artist sharing sessions, like the one with yourself and Lim Poh Teck, in fostering dialogue and understanding about Singaporean art? Will there be translations into Thai?
The artist sharing sessions, such as the one with Dr. Lim Poh Teck and myself, play a significant role in fostering dialogue and enhancing understanding of Singaporean art. These sessions offer a unique opportunity to explore the artistic trajectories of two distinct generations of Singaporean artists, each shaped by different cultural, social, and historical contexts. By sharing our individual experiences, we aim to provide a deeper understanding of the evolution of modern art in Singapore and the key issues that inform our practices.
Dr. Lim and I represent two different phases of modernity in Singaporean art. Dr. Lim is a postmodern artist, influenced by the shifts and complexities of post-independence Singapore and the broader postmodern movement. His work engages with themes of fragmentation, irony, and the deconstruction of traditional narratives, reflecting the uncertainties and contradictions of contemporary life. In contrast, I am a metamodern artist, influenced by the cultural and technological changes of the 21st century. My work responds to the complexities of a hyper-connected, globalised world and explores how we navigate between the modern and postmodern, seeking meaning in an age of uncertainty and fluid identities.
The contrast between our generational perspectives will allow for a rich discussion of how Singapore’s art scene has evolved, highlighting both continuity and transformation over time. We will also examine the different social and cultural issues that have shaped our artistic practices, offering a broader understanding of the diverse ways in which artists in Singapore engage with the world.
For the benefit of our Thai audience, the session will be conducted in English, with Thai translations available to ensure accessibility and a more inclusive dialogue.
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The MASS | Silpakorn University Joint Exhibition 2024 opens on 6 Dec and runs till 20 December 2024 at the PSG Art Gallery, Silpakorn University, Bangkok, Thailand. It will be shown in Singapore at the Singapore Chinese Cultural Centre from 23–30 March 2025 (11 am – 5 pm). For updates, follow MASS on Instagram at @modernartsocietysingapore.
Header image: At the MASS | Silpakorn University Joint Exhibition 2024.
