# pluralartmag.com


## Posts

- [When Art Becomes Script: T:>Works’ <em>24-Hour Playwriting Competition</em> at the National Gallery Singapore](https://pluralartmag.com/when-art-becomes-script-tworks-24-hour-playwriting-competition-at-the-national-gallery-singapore/): Late last year, I came across what was, to me, a new concept: T:&gt;Works’ 24-Hour Playwriting Competition at the National Gallery Singapore. Aspiring playwrights were required to write scripts within a mere 24 hours, responding to a series of stimuli related to the exhibitions around them. In particular, the contest called them to respond to two large-scale installations commissioned under the Gallery’s OUTBOUND initiative: Angin Cloud by Art Labor, and Eidolon by Vong Phaophanit and Claire Oboussier.  First launched in 1996, the 24-Hour Playwriting Competition has actually been a keystone of independent arts company T:&gt;Works’ programming for decades. Open to [&hellip;]
- [When the Mekong Flows Into a Michigan Museum](https://pluralartmag.com/when-the-mekong-flows-into-a-michigan-museum/): What does it mean for a river as politically, spiritually, and ecologically charged as the Mekong to be translated into a white-cube museum in the American Midwest? Mekong Voices: Transnational River Justice in Mainland Southeast Asia, on view at the Michigan State University (MSU) Broad Art Museum till February 22 this year, attempts to represent a vast river that cuts through six countries in a context more than 10,000 kilometres away. Rather than offering a tidy primer, the exhibition presents multimedia works — textile, video, installation — that speak to the river’s precarity and the communities who continue to depend [&hellip;]
- [Dawn Ng's Laboratory of Time](https://pluralartmag.com/dawn-ngs-laboratory-of-time/): I was running late! Beads of sweat cascaded down my neck as I hurriedly made my way to the studio of Singaporean artist Dawn Ng. Time sure is funny, seeming to swell during a pregnant pause or shrink when we need it most, but I needn’t have worried — I was greeted with both warm, reassuring welcomes and a cool rush of air that escaped the studio’s heavy white doors.  Indeed, time was of the essence on that balmy day last November, in more ways than one. Ng was preparing for her solo exhibition The Earth Laughs in Flowers (currently [&hellip;]
- [Seven Ways to Spend Your Singapore Art Week 2026](https://pluralartmag.com/seven-ways-to-spend-your-singapore-art-week-2026/): We’re revving up once again for Singapore Art Week (SAW), which will turn the city into a bustling hive of activity from 22–31 January this year. While there are over 100 enticing exhibitions, installations, and events to discover, here’s our list of seven ways to have a memorable Art Week, whether you’re an art-loving local or a traveller setting foot in Singapore for the first time. 1. Check out fresh programmes and partnerships at ART SG &nbsp; At the Sands Expo and Convention Centre, the fourth edition of ART SG (23–25 January) will feature the fair’s usual roster of galleries [&hellip;]
- [Holding Space Between Lands](https://pluralartmag.com/holding-space-between-lands/): How do we listen to, read, and witness migrant voices, and empathise better with them? Migration may be a bureaucratic process, but the process is also at once deeply personal, potentially painful, and often a vehicle of collective trauma.  At the exhibition Between Lands: Migration as Transformation, held at the Goethe-Institut Singapore in early October, seven Southeast Asian artists sought to answer this question through the deeply personal works that they created in response to this fraught experience.  Each wall in the exhibition’s tight space was lined with artworks that teemed with stories — memories from Bui Cong Khanh, Justin [&hellip;]
- [<em>Mirror Straits</em>: Where Singaporean and Taiwanese Art Meet](https://pluralartmag.com/mirror-straits-where-singaporean-and-taiwanese-art-meet/): For many Singaporeans, Taiwan feels familiar through shared tastes in food and shopping, a common language, and a similar urban sensibility. Yet, beyond these surface affinities lies a less-examined kinship. What kinds of historical and artistic connections have shaped these two island societies — and why have they been so rarely considered in tandem? Showing at artcommune gallery from 17 January to 15 February 2026, Mirror Straits ponders this topic in a groundbreaking comparative survey of eight well-known Taiwanese and Singaporean artists active from the twentieth century on. Jointly organised by Singapore’s artcommune gallery and Taipei’s Liang Gallery, the show [&hellip;]
- [For Pritha Bhadra, Persistence Pays Off](https://pluralartmag.com/for-pritha-bhadra-persistence-pays-off/): Stepping into the home studio of Singapore-based artist Pritha Bhadra is like stepping into a kind of sanctuary. Painted in teal, the room brims with the tools of her trade: cups filled with brushes, pencils, and palette knives, and canvases, in various stages of completion, propped up on shelves and along the walls. On one side of the room rests her setup for still lifes, consisting of a mottled backdrop and a lamp which she can use to adjust the direction of the light. Next to a shelf holding art books and anatomical models stands her easel, its tray overflowing [&hellip;]
- [In Retrospect With Sonny Liew — <em>The Art of Charlie Chan Hock Chye: The Exhibition</em>](https://pluralartmag.com/in-retrospect-with-sonny-liew-the-art-of-charlie-chan-hock-chye-the-exhibition/): In celebration of the 10-year anniversary of the groundbreaking graphic novel The Art of Charlie Chan Hock Chye, Singaporean comic artist and illustrator Sonny Liew has opened a triple-site exhibition — The Art of Charlie Chan Hock Chye: The Exhibition.  Held at the print-focused Chaos Gallery, heritage bookstore Basheer Graphic Books, and comic book and pop culture store InkInk Collectibles, the exhibition allows visitors to learn about the interwoven narratives, behind-the-scenes stories, and international reception of Liew’s most iconic and internationally acclaimed work.  First published by Epigram Books in 2015, The Art of Charlie Chan Hock Chye became the first [&hellip;]
- [Resurrecting Our Past Selves: <em>Likenesses</em> at the Goethe-Institut New York](https://pluralartmag.com/resurrecting-our-past-selves-likenesses-at-goethe-institut-new-york/): At 12, Charmaine Poh was thrust into the limelight. On the Singapore television series We Are R.E.M., she played E-Ching, part of a trio of junior sleuths that investigated everything from a dognapping to a dead magician. But childhood stardom had its dark side. On the show’s dedicated web forum, Poh was stunned by comments about her body — that she had a “peanut head,&#8221; that her breasts were too small — presumably posted by boys “lurking around to get to know this body,” as she puts it. “Basically, I was ugly,” E-Ching reflects two decades on, in the video [&hellip;]
- [<em>The ember dares to grow.</em>: An Emerging Artist Ignites Hope for Myanmar’s Future](https://pluralartmag.com/the-ember-dares-to-grow-an-emerging-artist-ignites-hope-for-myanmars-future/): Crafted from bamboo, fire, and the collective labour of her community, Burmese artist Eindri Kyaw Sein’s towering installation The ember dares to grow. transforms instruments of conflict into a pagoda of hope, revealing the enduring spirit of contemporary Myanmar. At over two metres tall and three metres in width and depth, The ember dares to grow. immediately commands attention. The work evokes both shelter and threat as it stands in the white-cube space of the Institute of Contemporary Arts Singapore Gallery, in the LASALLE College of the Arts&#8217; McNally Campus. At first glance, the bamboo structure resembles a traditional pagoda, [&hellip;]
- [Start Looking at the Floors and Around You: Sights and Sound Bites from Art Outreach's Art in Transit Tour](https://pluralartmag.com/start-looking-at-the-floors-and-around-you-sights-and-sound-bites-from-art-outreachs-art-in-transit-tour/): There are many things that might preoccupy you on your daily scramble for the train: what to eat for lunch, work deadlines, that one sneaky auntie who tries to cut your queue. Amidst these moments, traces of ink that span walls, mosaics that climb columns, and engravings that sprawl station floors often fade into the background. Yet what’s precious about the periphery is how it quietly shapes our sense of place.  Launched in 1997, the Land Transport Authority’s (LTA) Art in Transit programme has embedded artworks across 112 train stations and five rail lines. Artists were selected through an open [&hellip;]
- [Coconut Kinships: Rethinking Boundaries with Isa Pengskul’s <em>Becoming coconut</em>](https://pluralartmag.com/coconut-kinships-rethinking-boundaries-with-isa-pengskuls-becoming-coconut/): Craving a dose of botanical reverie, I step into Thai-American, Singapore-based conceptual artist Isa Pengskul’s 2024 solo show Becoming ___ at Art Outreach Singapore. I am here to revisit her work Becoming coconut, a piece I first encountered a year ago and vividly remember for its distinct environmental humour. From signing a consent form with an asparagus fern to performing rainforest-themed charades, Pengskul’s work seamlessly entwines ecological deliberations with existential inquiries, playfully nudging us to reflect on the act of co-inhabiting the world.  Peering into the hollowed-out coconut husk embedded with a RaspberryPi-powered touchscreen, I rewatch the looping video. Captured [&hellip;]
- [When Couture Gets Crafty: <em>UBS House of Craft x Dior</em>  Arrives in Singapore](https://pluralartmag.com/when-couture-gets-crafty-ubs-house-of-craft-x-dior-arrives-in-singapore/): High fashion and art seem to be having a moment in Singapore. Hot on the heels of the replica show of the Chanel Cruise collection at Raffles Hotel earlier in November, the first such event here since 2013, comes news that the 2026 Loewe Foundation Craft Prize will be held in Singapore for the first time. Joining this heady mix later this November is the UBS House of Craft x Dior exhibition, jointly curated by legendary Vogue Paris (now Vogue France) editor Carine Roitfeld and artist and photographer Brigitte Niedermair. The exhibition premiered in New York in June this year [&hellip;]
- [Fair Play? Rethinking Pop Culture Conventions and Their Place in the Art Landscape](https://pluralartmag.com/fair-play-rethinking-pop-culture-conventions-and-their-place-in-the-art-landscape/): What counts as art — and who decides? For decades, the answer seemed obvious: oil paintings and marble sculptures displayed in white-walled galleries, or one-of-a-kind works sold at champagne-soaked art fairs. Yet step into Singapore’s pop culture conventions today and that definition begins to blur. Here, the &#8220;art fair&#8221; is a vibrant, hyper-popular affair where the most coveted pieces might be digital prints, keychains, or stickers, and where creators often meet their audiences face-to-face across a folding table, rather than through a gallerist. A buzz of excitement fills the air-conditioned halls, where rows of artworks stretch into the distance. In [&hellip;]
- [Solamalay Namasivayam: Singapore’s Unacknowledged Master of the Nude](https://pluralartmag.com/solamalay-namasivayam-singapores-unacknowledged-master-of-the-nude/): He pioneered life figure drawing in Singapore, introducing it into the curriculum at the LASALLE College of the Arts in 1987. Singapore’s foremost art historian T. K. Sabapathy commented that his works were “the outstanding works” in a 1991 group show devoted to the human figure and nude form. His artistic trajectory, from art teacher to full-time artist, even mirrors that of the much-feted Singaporean Chinese painter Lim Tze Peng, who’s been celebrated as a titan of Singapore’s art scene. Despite all of this, Singaporean artist Solamalay Namasivayam (1926–2013) never received significant recognition as a pioneering artist during his lifetime. Why?  [&hellip;]
- [8 Ceramic Talents You'll Find at Singapore Clay Festival 2025](https://pluralartmag.com/meet-the-emerging-ceramic-talents-at-singapore-clay-festival-2025/): It’s easy to love pottery: tactile, functional, and relatively affordable as an art form, it has a way of adding personality and cosiness to one’s home. That’s perhaps why the Singapore Clay Festival has been a mainstay in many a clay enthusiast’s calendar since its advent in 2021. This crowd favourite returns to the Singapore Chinese Cultural Centre from 6 to 10 November, with a bustling Clay Makers’ Market where hundreds of wares will be on sale just in time for gifting season.&nbsp; For those looking to take stock of the most exciting developments in the local contemporary ceramic scene, [&hellip;]
- [Lucy Davis on Art, Ecology, and Inter-Species Connections](https://pluralartmag.com/lucy-davis-on-art-ecology-and-inter-species-connections/): For the past two decades, artist, writer, and educator Lucy Davis (b. 1970) has been weaving an interdisciplinary practice that draws from&nbsp;ecology and more-than-human connections. Davis, who grew up in Singapore, is perhaps best known for her 2008 founding of Migrant Ecologies Projects, a collaborative platform bringing together a motley range of artists, musicians, researchers, and cinematographers to investigate Southeast Asian nature and culture.&nbsp; Across film, installation, publication, and more, Davis and her collaborators work at the intersections of more-than-human worlds, connecting trees and woodcut prints, crocodiles and indigenous knowledge, birds and railways. Early this year, Lucy Davis was in [&hellip;]
- [Runs In The Family: The Paintings of Pateo Chang and Melissa Teo ](https://pluralartmag.com/runs-in-the-family-the-paintings-of-pateo-chang-and-melissa-teo/): Singaporeans are no stranger to rapid urbanisation. From the decades-long undertaking that resulted in today’s sparkling Marina Bay Sands, to recent talk of reclaiming a &#8220;Long Island&#8221; on the east coast and developing rustic Pulau Ubin, the land of Singapore can feel unrecognisable from one generation to the next. This constant shapeshifting makes it easy to lose sight of the past — but not so with local artists Pateo Chang and his daughter Melissa Teo. In weaving a narrative that’s both poignant and artistically masterful, they keep Singapore’s history in conversation with the present.&nbsp; This father-daughter duo first exhibited together [&hellip;]
- [What to Expect at Art Jakarta 2025](https://pluralartmag.com/what-to-expect-at-art-jakarta-2025/): From 3-5 October 2025, Art Jakarta returns to the Jakarta International Expo (JIExpo) for the third time. First established in 2009, the fair has become a key platform for galleries, collectors, and artists in the region. This year&#8217;s edition features 75 galleries from 16 countries, of which over half are Indonesian galleries and 15 are first-timers at the fair. Returning to Art Jakarta after a several-year hiatus is Taipei&#8217;s Tina Keng Gallery, which will showcase works by Taiwanese artists Charwei Tsai, Chen Ching-Yuan, Su Meng-Hung, and Su Xiaobai, as well as Myanmar-born artist Sawangwongse Yawnghwe. Addressing themes of tradition, displacement, [&hellip;]
- [How I Spent Seoul Art Week (Beyond the Fairs)](https://pluralartmag.com/how-i-spent-seoul-art-week-beyond-the-fairs/): When you think of a city’s “art week,” big convention centres filled with hundreds of booths by global galleries might come to mind. That is certainly the case for Seoul Art Week, as two major art fairs, Frieze Seoul and the Korea International Art Fair (Kiaf SEOUL), descend simultaneously upon the 36,000 sqm hall of the COEX Convention and Exhibition Centre every September.&nbsp; While these two fairs are central to the festivities, Seoul Art Week also ropes in local gallery districts and national museums to make the party even livelier. From limited-time events to extended gallery opening hours, this is [&hellip;]
- [<em>Indelible Marks</em> Peels Back Layers of Colonial History in Australia and Singapore](https://pluralartmag.com/indelible-marks-peels-back-layers-of-colonial-history-in-australia-and-singapore/): Measuring over a metre in length, Brian Robinson’s imposing linocut print Bedhan Lag: Land of the Kaiwalagal brims with swimming sea creatures, swirling botanical patterns, roiling waves, and curling clouds. Through three different sets of imagery, the piece narrates the layered histories of Zenadh Kes/the Torres Strait, an island-dotted waterway between Australia and Papua New Guinea. On one side of the composition, animal and vegetable motifs reference the rich ecology of the Torres Strait Islands, as well as tales of the zugubal — shapeshifting ancestral spirits inhabiting the sky, sea, and land — which Robinson (of the Maluyligal, Wuthati, and [&hellip;]
- [What is Creative Technology? A Curator’s Thoughts on Media, Art, and Design](https://pluralartmag.com/what-is-creative-technology-a-curators-thoughts-on-media-art-and-design/): On 26 July 2025, the one-night exhibition Bring Your Own Beamer (BYOB): Currents drew more than 150 visitors to a River Valley shophouse. Over one night, audiences moved barefoot across three floors of projection-based pieces by 21 creatives.&nbsp; Organised by Jake Tan, produced by Tusitala, and curated by yours truly, BYOB: Currents was inspired by Anne De Vries and Rafael Rozendaal’s BYOB movement, which encourages creatives around the world to stage one-night exhibitions using projectors (often called “beamers” in Europe). For BYOB: Currents, an open call brought in 16 additional participants, including industrial designers and interaction designers, alongside invited creatives [&hellip;]
- [Foreignness and Belonging in <em>The Other Singaporeans </em> (A Singlish Review)](https://pluralartmag.com/foreignness-and-belonging-in-the-other-singaporeans-a-singlish-review/): 28 May 2023, I go National Museum queue for sticker ticket. Counter aunty ask me standard question: “Citizen or tourist ah?” I blur for a while, then say “long-term resident leh.” She just smile smile, pass me a sticker say “citizen.”  Simple moment only, but this really stuck in my head sia. Like how belonging can anyhow give out in one second, or people just assume based on your face, or you negotiate through these tiny tiny actions. The Other Singaporeans exhibition feels like they expand this sticker story — dun want neat labels, but ask: how Singaporeanness actually form [&hellip;]
- [Lee Boon Ngan: A Practice in Bloom](https://pluralartmag.com/lee-boon-ngan-a-practice-in-bloom/): Golden yolks of narcissus flowers draw our attention. Camellias brush against each other, their petals lustrous and scarlet. In this garden laid in canvas, pockets of impasto — thickly applied paint — glisten invitingly under spotlights.  A visual treat in bloom awaits visitors at The Art of Lee Boon Ngan: Celebrating 60 Years of Singapore through the Love of Chua Mia Tee &amp; Lee Boon Ngan. Running till 21 September 2025 at The Private Museum, the exhibition displays works by Singaporean artist Lee Boon Ngan alongside pieces by her partner, the realist painter Chua Mia Tee. Brought together by Lee [&hellip;]
- [Singapore Gallery Month: Why Collect Art?](https://pluralartmag.com/singapore-gallery-month-why-collect-art/): Why do people collect art? And what does it take to build a collection? From a young collector to a global law firm, we speak to three collectors to find out more.&nbsp; Stephen Teo: Stories of Singapore Stephen Teo’s collecting journey first began in 2014, with the purchase of two works by acclaimed Singaporean watercolourist Ong Kim Seng. In the decade since, his family’s commitment to collecting local artists has become increasingly directed and purposeful — driven not only by aesthetic pleasure, but also by the broader mission of preserving Singapore’s culture and heritage. Today, the collection spans a variety [&hellip;]
- [Heman Chong Investigates Structures, Systems, and Singapore](https://pluralartmag.com/heman-chong-investigates-structures-systems-and-singapore/): Step into Heman Chong’s solo show at the Singapore Art Museum, and you’ll find yourself in a space full of mysterious objects. There are stacks of cups and books, a sign dourly reading “THIS PAVILION IS STRICTLY FOR COMMUNITY BONDING ACTIVITIES ONLY,” and a single magazine taped, inexplicably, to the wall.  With his sardonic sense of humour and finger-on-the-pulse observations of society, the 48-year-old has become one of Singapore’s most globally circulated contemporary artists, having staged institutional solo exhibitions in China, Germany, the UK, and beyond. But given his longstanding relationship with the Singapore Art Museum (SAM) — beginning with [&hellip;]
- [Lessons from a Life in Lines and Light: Fernando Zóbel at the National Gallery Singapore](https://pluralartmag.com/a-life-measured-in-lines-and-light-fernando-zobel-at-the-national-gallery-singapore/): Fernando Zóbel, one of the Philippines’ key pioneering modern artists, once proclaimed that “order is essential.&#8221; This mantra lays bare the Spanish-Filipino artist’s commitment to logic, clarity, and discipline — and thus fittingly serves as the title of his major retrospective at the National Gallery Singapore, on view till 30 November 2025. As I walk through this chronological survey of his work, it becomes clear how these principles have shaped every aspect of his practice, and how they might be instructive for modern life.&nbsp; But first, a little about this luminary. A key figure in Philippine modernism and Spanish postwar [&hellip;]
- [Coming Full Circle with Delia Prvački at the NUS Museum](https://pluralartmag.com/coming-full-circle-with-delia-prvacki-at-the-nus-museum/): A large metal ring lies on the floor, its hollowed middle like a portal to the unknown. Along its rim, objects adhere like barnacles to a shipwreck, beckoning the eye to take a closer look. One may be forgiven for getting overwhelmed: each vessel in this assemblage is complicated and tangled with some other meticulously created ceramic curio, from decorated shards and mosaic tiles all the way down to tiny, undefinable scraps. Gold Rush is an apt and bold start to Delia Prvački’s latest exhibition at the NUS Museum. Titled “Continuity, Persistence, Line” Thinking Through Clay — A Selection of [&hellip;]
- [Book Review: Revisiting Bali and Java through Liu Kang’s Photographs](https://pluralartmag.com/book-review-revisiting-bali-and-java-through-liu-kangs-photographs/): In 1952, four China-born artists — Liu Kang (1911–2004), Chen Wen Hsi (1906–91), Chen Chong Swee (1910–85), and Cheong Soo Pieng (1917–83) — journeyed from Singapore to Java and Bali in search of artistic inspiration. In 1953, the fruits of their seven-week expedition were shown back in Singapore, in an exhibition that has since become a milestone in the national art histories of Singapore and Malaysia.&nbsp; Writing in 1980, art historian T.K. Sabapathy heralded the Four Artists to Bali exhibition for introducing ways of depicting the human figure that became “indelibly linked” to the Nanyang art movement. Since then, the [&hellip;]
- [Revitalising Histories and Archives at the UOB-NAFA SEA Arts Forum 2025](https://pluralartmag.com/revitalising-histories-and-archives-at-the-uob-nafa-sea-arts-forum-2025/): From the earliest forms of writing to the latest digital technologies, the history of humankind has also been a history of knowledge. Data, information, archives, and records — these are keywords for the upcoming UOB-NAFA Southeast Asian Arts Forum, held at the Nanyang Academy of Fine Arts (NAFA) from 7–8 August 2025. Organised yearly by NAFA’s Institute of Southeast Asian Arts (ISEAA), the hybrid event brings together artists and scholars from across Southeast Asia to discuss important issues the region faces. Themed Imaginary Library: The Art of Embodied Chronicles, the Forum’s sixth edition raises a variety of questions: How do [&hellip;]
- [A National Gallery Singapore Symposium Establishes Paris as a Multicultural Site of Artistic Exchange](https://pluralartmag.com/a-national-gallery-singapore-symposium-establishes-paris-as-a-multicultural-site-of-artistic-exchange/): “If viewers visit the National Gallery Singapore today, a different 20th century unfolds.” So said Dr. Patrick Flores, Chief Curator at National Gallery Singapore (the Gallery), in his opening remarks to the City of Others, City of Migrants: Art in Paris, 1920-1940s symposium held from 6–7 June 2025. Dr. Flores was referring to the fact that the Gallery’s current exhibitions, including City of Others: Asian Artists in Paris, 1920s–1940s as well as solo presentations of the artists Basoeki Abdullah and Fernando Zóbel, paint a new, more expansive picture of modern art. Rather than emerging only from Europe and America, 20th-century [&hellip;]
- [Art Meets Fine Dining at the National Gallery Singapore](https://pluralartmag.com/art-meets-fine-dining-at-the-national-gallery-singapore/): It’s unlikely I’ll eat at Odette again, though not because I didn’t enjoy the beautiful lunch that Chef Julien Royer has put together in celebration of the National Gallery Singapore’s latest exhibition City of Others: Asian Artists in Paris, 1920s–1940s. I’m just not a fine dining sort of guy — usually favouring the unrestrained (some might say rough) flavours of old-school zi char or hawker fare instead. I am more of a gourmand than a gourmet, preferring hearty food and drink to refined plates.&nbsp; There were things I did love about the lunch (a four-course affair meant to complement the [&hellip;]
- [Rediscovering Tan Joo Jong: The Eagle of Chinese Ink](https://pluralartmag.com/rediscovering-tan-joo-jong-the-eagle-of-chinese-ink/): One thing I’ve come to believe as a writer is: listen to the call of synchronicity. In October last year, for my first piece for this magazine, I met up with NUS Museum curator Sidd Perez to find out about the Museum’s plans for the upcoming revamp of its Ng Eng Teng gallery.&nbsp; Walking out of the gallery, I saw another exhibition being put up. The glimpses I saw intrigued me: bold, colourful brush strokes in oil and gouache, playful renditions of birds in Chinese ink. I snapped some photos, registered the unfamiliar name on the wall text, and made [&hellip;]
- [Weaving the Neighbourhood: The SIFA 2025 Pavilion](https://pluralartmag.com/weaving-the-neighbourhood-the-sifa-2025-pavilion/): On the opening day of this year’s Singapore International Festival of Arts (SIFA), I was part of the Friday peak hour commute that poured out from the Bedok train station onto the street. Finding my way to the large open space between Bedok Mall and the food centre, I walked up to the Pavilion, which was covered in the blue of the sea. I wedged myself into a crowd of enthusiastic bystanders, where I struggled to make myself heard over a resident demanding to know what time the show was going to start. Deep inside the Pavilion, a stone’s throw [&hellip;]
- [A Thousand Stitches with Kaylene Tan](https://pluralartmag.com/a-thousand-stitches-with-kaylene-tan/): To be presented this weekend at the Singapore International Festival of Arts (SIFA), A Thousand Stitches follows Emma, an art conservation student who is tasked to restore a damaged portrait of a Japanese woman named Mizuki. As she restores the painting, Emma is transported into Syonan-to — Japanese-occupied Singapore — and into the lives of Mizuki and the portrait’s artist, Huang Wei. Through a haunting blend of live performance, illustration, and projection, the play draws its audience into a layered world of loss, remembrance, and resistance. Kaylene Tan, writer and co-director of A Thousand Stitches, tells us more about the [&hellip;]
- [Giovanni Bassan Brings Viewers into His Mysterious Relational World](https://pluralartmag.com/giovanni-bassan-brings-viewers-into-his-mysterious-relational-world/): “I would probably keep painting, keep working. I struggle to know where to stop.” I’m standing in front of a painting with the Italian artist Giovanni Leonardo Bassan. Giada and George (2025) is a large-scale portrait of a laughing woman, whose skin glows with luminous pinks, oranges, and greens, like the inside of a shell lined with mother-of-pearl.&nbsp; Bassan has just explained to me that he sometimes relies on an exhibition deadline to decide when a piece is done; if a work somehow came back to him, he might just pick up where he left off. He speaks as though [&hellip;]
- [Singapore Ceramics Today](https://pluralartmag.com/singapore-ceramics-today/): The mention of ceramics often brings about associations with Chinese porcelain or European Delftware. Little is it known that the ceramics scene in Singapore today is in fact very active and vibrant. Hobbyists and retirees made up the bulk of the practitioners, learning and making at dozens of pottery studios dotted around the island. Many of these studios, hidden in shophouses, industrial estates, and community centres, are helmed by semi-professional artists. Functional works — the cup, the bowl, the plate and the vase — remain highly popular, and are showcased every year or two at the Singapore Clay Festival, where [&hellip;]
- ["Meant to Be": Richie Chen on His Years in New York](https://pluralartmag.com/meant-to-be-richie-chen-on-his-years-in-new-york/): In the paintings of Singaporean-born, US-based artist Richie Chen, fantastic scenes unfold: an old-world cocktail party, a rider on a pale horse, women in white dresses surrounded by glowing jellyfish or luminous blooms. For the past thirteen years, Chen has lived on America’s East Coast — spending most of that time in New York, with a recent move to New Jersey. A product designer by day, he spends weekday evenings at the Art Students League, an independent art school which, at 150 years old, is one of the city’s most historic art institutions.  We sit down with Richie over video [&hellip;]
- [A Hike Through the Screen: Personal Notes on <em>The Possibility of Forests</em>](https://pluralartmag.com/a-hike-through-the-screen-personal-notes-on-the-possibility-of-forests/): I felt all six tropical cyclones that hit the Philippines last November through my screen, which was flooded with images and narratives of our fragile disaster management systems in the face of climate change. We were, as always, taken by surprise. It was murky to trace hope in these calls for mutual aid, damage reports, and the ecopolitical monologues of popular livestreamer Arman Salon — knowing that these were the lived realities of many, including me.  In response, I looked to the arts — specifically, The Possibility of Forests, a project by artist duo Mica Cabildo and Curtis Cresswell using [&hellip;]
- [Ghostwriter: Communicating with Jo Ho’s <em>a developing slate</em>](https://pluralartmag.com/ghostwriter-communicating-with-jo-hos-a-developing-slate/): Wires spill onto the gallery floor, immediately suggesting that the interaction I’m about to have with this work by Singaporean new media artist Jo Ho will be a tech-driven one. Ho’s work often explores “digital corporeality” — referring to the interconnected state of the digital and physical worlds — and the role of agency in an era of rapidly advancing computation.  Still, the setup of this work surprises me. I approach the plinth with a mix of curiosity and some vague recognition. Though I have not encountered anything quite like a developing slate (exhibited at the gallery Ames Yavuz as [&hellip;]
- [<em>Home Bound</em>: Daniel Kok and Luke George Explore Our Ties to People and Place](https://pluralartmag.com/home-bound-daniel-kok-and-luke-george-explore-our-ties-to-people-and-place/): In February 2025, Arts Centre Melbourne’s forecourt transformed into a bustling hive of creativity and connection with Home Bound, a giant tactile woven art installation by Singaporean multidisciplinary artist Daniel Kok and Naarm/Melbourne-based artist Luke George. Part of the Asia-Pacific Triennial of Performing Arts (Asia TOPA), the project began with a call for donations of rope and weaving fibres in November last year. During the triennial, Kok and George invited craft specialists, community groups, and members of the public to weave their materials, skills, stories, and histories together in a series of workshops and activities running from 24 February to [&hellip;]
- [Time and Transience: Christine Chua Makes Her Mark](https://pluralartmag.com/time-and-transience-christine-chua-makes-her-mark/): A set of four images gleams through my computer screen. The concept is simple enough — the artist, a young Singaporean named Christine Chua, has repeatedly placed her own hand flat against the wall and sprayed water around it to create a negative image, much like the original creators of cave art thousands of years ago. Yet for reasons difficult to articulate, the work’s effect on me, even through the screen, is profound. Snapped along the banks of London’s River Thames, the four pictures are a study in contrasts. Physically, the small, insubstantial handprint clusters are dwarfed by the hulking [&hellip;]
- [Sight, Sound, Style: 5 Stores to Check Out at Millenia Walk, an Arts-Meets-Lifestyle Destination in the City](https://pluralartmag.com/sight-sound-style-5-stores-to-check-out-at-millenia-walk-an-arts-meets-lifestyle-destination-in-the-city/): Where can you shop fine art reproductions, give yourself a makeover, or kit yourself out with a top-of-the-line home sound system — all in one place? At Millenia Walk, of course!  With over 90 F&amp;B, retail, and lifestyle stores, an emphasis on supporting local and regional brands, and collaborations with prominent international artists, the mall is establishing itself as a unique arts-meets-lifestyle destination in the heart of the city. It boasts not only some noteworthy architectural features and public art — including structures designed by Pritzker Architecture Prize Laureate Philip Johnson and a showstopping Sculpture Plaza by Pop Art icon [&hellip;]
- [<em>Mansau-Ansau</em>: Yee I-Lann Weaves Heritage, Culture, and Power](https://pluralartmag.com/mansau-ansau-yee-i-lann-weaves-heritage-culture-and-power/): Journey through multi-layered Southeast Asian landscapes in Mansau-Ansau, a solo exhibition by Malaysian artist Yee I-Lann on display at the Singapore Art Museum till 23 March 2025. Through traditional crafts and archival images, mediated through a contemporary lens, Yee delves deeper into the narratives of the region — addressing the influences of colonialism and the persistence of indigenous heritage and communities in our times.  In the Dusun language of Sabah, where Yee was born, Mansau-Ansau means “to walk and walk.” Drawn from two decades of artistic creation, the exhibition showcases Yee’s journey of navigating her Malaysian heritage in a variety [&hellip;]
- [<em>What Doesn’t Kill You</em>: Dr. Michelle Lim on the Resilience of Women in the Arts](https://pluralartmag.com/what-doesnt-kill-you-dr-michelle-lim-on-the-resilience-of-women-in-the-arts/): Imagine being enveloped by fuzzy textiles, electrifying hues of crimson, and formidable, reflective photographs. That is what you can expect when walking through What Doesn’t Kill You: Recent Works by Hélène Le Chatelier and Sunaina Bhalla, an ongoing exhibition held at Art Outreach Singapore’s HEARTH Art Space in conjunction with International Women’s Day. Placing these two Singapore-based artists’ works in illuminating conversation for the first time, the exhibition explores themes of strength, courage, resilience, and womanhood.  From Bhalla’s masterful textile paintings to Le Chatelier’s immersive photographs, the works on show draw from the artists’ own personal experiences. Daringly investigating the [&hellip;]
- [A Walk Through Korakrit Arunanondchai’s Theatre, Where Things Burn to Begin Again](https://pluralartmag.com/a-walk-through-korakrit-arunanondchais-theatre-where-things-burn-to-begin-again/): The overture We begin the exhibition in the foyer of Museum MACAN. Through the tall glass windows, West Jakarta hums in the distance — a restless urban landscape in harmony with the buzzing atmosphere inside, as guests gather to meet the celebrated Thai artist Korakrit Arunanondchai. He is about to give us a tour of his new exhibition entitled Sing Dance Cry Breathe | as their world collides on to the screen.  On the right&#8211;hand side of the entrance, stretching across the length of the whole wall, hangs a monumental painting — our first encounter with Korakrit Arunanondchai’s world. It [&hellip;]
- [From Modern to Contemporary, Vietnamese Art Makes Waves in Paris](https://pluralartmag.com/from-modern-to-contemporary-vietnamese-art-makes-waves-in-paris/): I’m in the first room of the Musée Cernuschi in Paris, and three figures are looking intensely at me from behind their frames. The first is a realistic self-portrait. The young man against an ochre background has dishevelled hair, prominent teeth, and a cigarette dangling from his full lips. His white blouse is unbuttoned, his brow lifted with bratty insouciance.  The second figure, the one in the middle, looks much sterner. Against an intense petrol blue background, the artist has depicted himself in a scholarly, dignified manner. He has a self-assured stare, with his head slightly tipped forward, looking through [&hellip;]
- [The Dazzling Memories of Shourouk Rhaiem](https://pluralartmag.com/the-dazzling-memories-of-shourouk-rhaiem/): When I step into the room, the dazzle of Swarovski crystals dance in front of my eyes, reflecting little beams of light around the room, twinkling away. In Memory and Metamorphosis, French artist and jewellery designer Shourouk Rhaiem bedazzles everything from a Tide detergent cardboard box to soy sauce bottles, taking mundane everyday objects and transforming them into extravagant objects of value. Her first solo exhibition in Singapore is on view until the end of the month at The Columns Gallery, located at Gillman Barracks.  Rhaiem works with consumer products, such as food packaging and cooking utensils, that are also [&hellip;]
- [Defiance and Disobedience: Artists Reclaim the Self at Sundaram Tagore Gallery](https://pluralartmag.com/defiance-and-disobedience-artists-reclaim-the-self-at-sundaram-tagore-gallery/): Fleshy outlines of bodies entangled underneath covers. Close by, a stoneware vessel is moving, birthing an iridescent, sleeping peacock. As if anticipating this labour, a pair of hands clasped together lies nearby, enshrouded by an ebony cloth that billows, peppered with the motif of a womb ablaze …  These are images from the world of Disobedient Bodies: Reclaiming Her, a recent exhibition by Sundaram Tagore Gallery in Singapore. Launched shortly before Singapore Art Week, Disobedient Bodies proposes intriguing sites of resistance to the conventions of patriarchy and heterosexuality. These acts of rebellion — including challenges to masculinist histories and incisive [&hellip;]
- [Every Creation a Myth, Every Myth a Creation: <em>Big Bang: A Myth of Origins</em> at Gajah Gallery](https://pluralartmag.com/every-creation-a-myth-every-myth-a-creation-big-bang-a-myth-of-origins-at-gajah-gallery/): How do we begin? The universe, a story, or a piece of art. Each unfolds in its own way, shaped by forces seen and unseen. The artists of Big Bang: A Myth of Origins step into this timeless question, reconstructing beginnings through fragments, traces, and mythologies. In a world where stories shape our reality, what happens when artists rewrite them? Curated by Joyce Toh, Big Bang: A Myth of Origins is on view at Gajah Gallery until 2 March 2025. The exhibition considers the many ways in which beginnings or origins — whether cosmic, personal, or mythical — can be [&hellip;]
- [Bangkok Biennale 2024: A Call for Care](https://pluralartmag.com/bangkok-biennale-2024-a-call-for-care/): Bangkok reveals itself in layers. The city is a vibrant weave of contrasts — where temple spires glint gold beneath towering flyovers, and canals carve quiet paths through neighbourhoods alive with the hum of markets and engines. Time here does not erase; it accumulates. The ancient presses against the modern, and this tension creates a city that feels at once timeless and new. On a water tram gliding down one of Bangkok’s khlongs (canals), I hear someone say offhandedly, “They call it the Venice of Asia.” The khlongs once formed the backbone of the city’s infrastructure, but many have been [&hellip;]
- [No Regrets: Teo Eng Seng on Life and Art](https://pluralartmag.com/no-regrets-teo-eng-seng-on-life-and-art/): In the late 1950s, Teo Eng Seng made the first of three attempts to travel to England.  Today, the 86-year-old artist is a Cultural Medallion awardee and the subject of a major solo exhibition at the National Gallery Singapore (NGS). Back then, however, he was just a schoolboy with very little money and a few years&#8217; worth of twice-weekly art training at the British Council in Singapore. He hitchhiked as far as Malacca before being turned back by villagers who feared for his safety, due to the political unrest raging across Malaya at the time. Undeterred, Teo tells me, he [&hellip;]
- [Finding Light: An Interactive Game Experience by Climate Artist Elizabeth Mak](https://pluralartmag.com/finding-light-an-interactive-game-experience-by-climate-artist-elizabeth-mak/): The only things I had to go on when I showed up at the basement of the National Gallery of Singapore in early January were the knowledge that what I was about to experience was a game, and some hints offered up by the name – Scarce City.  Clever play on words, I thought. A phrase reminiscent of SimCity, the video game of my childhood where players build a city under limits of resources, space, and time. A little tongue-in-cheek evocation of a city that cannot stop reminding itself of the kind of city it is or hopes to be: [&hellip;]
- [Dream and Reality: Mit Jai Inn Unveils New Works at ART SG 2025](https://pluralartmag.com/dream-and-reality-mit-jai-inn-unveils-new-works-at-art-sg-2025/): “Don’t take away, simply chew the moment.”  This is what Thai contemporary artist Mit Jai Inn — known for his colourful, three-dimensional works that address sociopolitical issues and push the boundaries of painting — tells us over email, when we ask what he hopes audiences will take away from his works at ART SG.  It’s a whimsical answer to a prosaic question, suggesting that visitors to the third edition of Singapore’s largest art fair, launching this week at the Marina Bay Sands Expo and Convention Centre, have a real treat in store. One of the highlight events of Singapore Art [&hellip;]
- [Our Top 7 Picks for Singapore Art Week 2025](https://pluralartmag.com/our-top-7-picks-for-singapore-art-week-2025/): After months of anticipation, Singapore Art Week (SAW) 2025 is finally here! You’ve probably heard about the major events on the calendar, so this week we’re shining a spotlight on the more hidden gems — the blink-and-you’ll-miss-them shows that hold their own against the big-name institutions, offering a fresh and accessible take on art appreciation. Here are our top picks: 1. The Eye and The Tiger by OH! Open House It&#8217;s no secret that the art walks and tours by OH! Open House are some of our favourite art events in Singapore. Its tours so far have taken us through the [&hellip;]
- [Spirit and Matter: Discovering the Gutai Art Movement with Whitestone Gallery Singapore](https://pluralartmag.com/spirit-and-matter-discovering-the-gutai-art-movement-with-whitestone-gallery-singapore/): Opening on 11 January 2025, GUTAI: Beyond the Canvas marks Whitestone Gallery Singapore’s first major exhibition on “Gutai,” an influential avant-garde art collective from twentieth-century Japan. With 50 pieces from the gallery’s extensive Gutai collection, including one by the movement’s founder Jiro Yoshihara, the show introduces Singaporean audiences to a powerful Asian force in global modern art.  Whitestone Gallery and Gutai A pioneering player in Japan’s postwar artistic renaissance, Whitestone Gallery was first established in Tokyo in 1967. From the start, the gallery set out to introduce Japanese artistic talents to the world and shake up the conventions of the [&hellip;]
- [Through the Lens: Journey into the Amazon with Sebastião and Lélia Wanick Salgado](https://pluralartmag.com/through-the-lens-journey-into-the-amazon-with-sebastiao-and-lelia-wanick-salgado/): Attention shutterbugs, art hounds, and nature enthusiasts: Amazônia: Photographs by Sebastião Salgado has made its Asia-Pacific debut at the National Museum of Singapore! Featuring over 200 images of the Amazon rainforest and its indigenous peoples, the travelling exhibition is an immersive introduction to the work of the world-renowned Brazilian photojournalist and activist. Curated by Lélia Wanick Salgado, Sebastião’s wife and collaborator of over 60 years, Amazônia poses urgent questions about the relationships between art and environment, people and place, meaning and context. Amazônia at a glance For the exhibition, the National Museum’s basement galleries have been transformed into a breathtaking [&hellip;]
- [Yesterday, Today, Tomorrow: Southeast Asian Artists Explore Alternate Realities at the New Art Museum](https://pluralartmag.com/yesterday-today-tomorrow-southeast-asian-artists-explore-alternate-realities-at-the-new-art-museum/): Alternate Reality is the first Southeast Asia-focused group exhibition by the New Art Museum Singapore, a private museum launched in October 2023 in affiliation with Japan’s Whitestone Gallery. Featuring eight artists from Indonesia, Singapore, Thailand, and Vietnam, the show emphasises how our understanding of “reality” is fragile and subjective, shaped constantly by forces like cultural context, sensory experience, and mass media. Curated by Bangkok-based independent curator Nim Niyomsin, the multi-medium exhibition spans diverse topics — from climate change and capitalism to politics and progress — with most of the works emerging from the artists’ long-term research on particular subjects. Within [&hellip;]
- [From New York to Singapore: In Conversation with Dr. Woo Yen Yen](https://pluralartmag.com/from-new-york-to-singapore-in-conversation-with-dr-woo-yen-yen/): Earlier this year, I found out that Dr. Woo Yen Yen, educator, entrepreneur, filmmaker, publisher and professor of education had returned to Singapore, to lead the MA Arts Pedagogy and Practice Programme at the LASALLE College of the Arts. If you&#8217;re of the right vintage you&#8217;ll remember her award-winning 2006 film with Colin Goh, Singapore Dreaming, a classic tale of Singaporean consumerism, avarice and hyper-competitiveness. It&#8217;s also a story of the delicate and precious ties that hold our communities together, and remains — in my view — one of the best films about the Singaporean psyche that&#8217;s ever been made. [&hellip;]
- [Crossing Borders: An Exchange Exhibition between Silpakorn University and the Modern Art Society Singapore](https://pluralartmag.com/crossing-borders-an-exchange-exhibition-between-silpakorn-university-and-the-modern-art-society-singapore/): 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 [&hellip;]
- ['Tis the Season! International and Local Artists Take Over Millenia Walk — A New Way to Look at the Ordinary](https://pluralartmag.com/tis-the-season-international-and-local-artists-take-over-millenia-walk-a-new-way-to-look-at-the-ordinary/): At the heart of the city, Millenia Walk’s Creative Neighbourhood initiative is back with a new take on ordinary Christmas celebrations — a flurry of artistic creativity. Entitled Moving Wonders, the mall’s 2024 festive programme introduces a variety of global and regional artists to the local audience, inviting them to enjoy new perspectives on familiar holidays, from Christmas to Lunar New Year (February 2025). A moving Christmas tree This unique experience at Millenia Walk is headlined by a vibrant, unorthodox Christmas tree. Glance up and be wowed by Monument to Movement, the Southeast Asian debut of acclaimed New-York based artist [&hellip;]
- [Boat Models and “Watery Worlds”: In Conversation with NUS Museum Curator Sidd Perez](https://pluralartmag.com/boat-models-and-watery-worlds-in-conversation-with-nus-museum-curator-sidd-perez/): At the heart of the hull and the rig exhibition at the NUS Museum lies a fascinating convergence of artefacts and contemporary art, offering a unique lens into Southeast Asia’s maritime heritage. The display showcases boat models originally commissioned for Singapore’s now-defunct Maritime Museum in the 1970s, alongside evocative works by Singaporean artist Charles Lim. Together, these objects illuminate the deep yet often overlooked connections between the region’s maritime traditions, island heritage, and modern state-making. Crafted by Southern Islanders and vocational artisans, the boat models carry stories of boat-making traditions passed down through generations, embodying a vibrant maritime culture. Once [&hellip;]
- [Two Days in Bali: Experiencing Global Contemporary Art at Indonesia Bertutur 2024](https://pluralartmag.com/two-days-in-bali-experiencing-global-contemporary-art-at-indonesia-bertutur-2024/): Under an August mid-morning sun, our van flew down the expressway leading away from the Denpasar International Airport. As I looked out the window, mangrove forests and shimmering ocean eventually morphed into a tight maze of shops, cafes, art galleries, and side streets. I was here in Bali — for the very first time — for Indonesia Bertutur, a multidisciplinary arts festival organised by Indonesia’s Ministry of Education, Culture, Research and Technology, now in its second edition.  Helmed by famed performance artist Melati Suryodarmo as Artistic Director and Taba Sanchabakhtiar as Festival Director, the 12-day festival would take place across [&hellip;]
- ["How do we reckon with him?": Looking Back at Ng Eng Teng, Grandfather of Singapore Sculpture](https://pluralartmag.com/how-do-we-reckon-with-him-looking-back-at-ng-eng-teng-grandfather-of-singapore-sculpture/): Locating Ng Eng Teng Over the years, I’ve become quite obsessed with the life and work of Ng Eng Teng (1934-2001), “the Grandfather of Singapore Sculpture.” I first experienced his peerless strangeness through a photograph, online.  It’s the ground floor of Plaza Singapura in the &#8217;70s or &#8217;80s. Ng’s two sculptures, Wealth and Contentment, loom prominently. Wealth is the one closer to us: a woman like a gilded pupa lies serenely on her back, her hair raised in a conical shape, her hands resting on her tummy. In the background, Contentment, a woman with a similar figure, seems to be [&hellip;]
- [ARTSUBS: An Ambitious New Exhibition in Surabaya](https://pluralartmag.com/artsubs-an-ambitious-new-exhibition-in-surabaya/): On a warm and sunny day, ARTSUBS — the first major contemporary art exhibition in Surabaya — opened at Pos Bloc, a cultural venue in the old city. Themed Ways of Dreaming, the large-scale exhibition features 152 artists from across the nation, presenting aspirational, fantastical artworks that imaginatively interpret various aspects of life in Indonesia. Curated by Asmudjo J. Irianto and Nirwan Dewanto, ARTSUBS (26 October – 24 November 2024) comprises eleven platforms spread across five different zones, covering themes such as abstraction, photography, pop, and the intersection of architecture and art. Under the direction of Rambat, founder of Jakarta’s [&hellip;]
- [Body Language: Encountering the Body-as-Archive at the Singapore Art Museum](https://pluralartmag.com/body-language-encountering-the-body-as-archive-at-the-singapore-art-museum/): What kind of stories are inscribed in the folds of your skin, the flutter of your eyelids, the lining of your inner cheek?  Embodied Archive, the second installment of the Singapore Art Museum’s multi-year curatorial project Lost &amp; Found, is a fascinating proposal on how the human body can be regarded as a living, breathing archive — a site that holds memories. A relatively small exhibition housing only nine works, the month-long show connects seven emerging and established contemporary artists through this theme. Since I first intimately encountered (institutional) archives as a young researcher scouring through materials, I have always [&hellip;]
- [The Gwangju and Busan Biennales: Southeast Asian Artists Speak](https://pluralartmag.com/the-gwangju-and-busan-biennales-southeast-asian-artists-speak/): There’s nothing quite like a biennale to help us take stock of the art world — not just artistic trends, but also the currents of thought flowing through culture at large. And 2024 has given us plenty of international biennales to do just that. In the West, the Venice Biennale dominates the cultural conversation. But in Asia, two South Korean biennales serve as litmus tests for the state of contemporary Asian art.  The first takes place in the city of Gwangju and is considered — rather hyperbolically — the Venice Biennale of Asia. The second is the Busan Biennale (originally [&hellip;]
- [Faris Heizer Sings the Blues](https://pluralartmag.com/faris-heizer-sings-the-blues/): In Faris Heizer’s third solo exhibition with Cuturi Gallery, a gust of wind blows, the smell of cigarettes lingers, and his woolly colours swirl with a life of their own. The young artist paints a defamiliarised yet distinctly recognisable heartland landscape. Each painting serves as an aperture through which we peek into Heizer’s wider, whispery world. Two sets of paintings, possibly pendants, portray contiguous spaces: the man lost in a daydream in Birdsong might have walked over to a blue bench for a cigarette in Chain Smoker, and if you round the corner of Man and Mouse, you might meet [&hellip;]
- [Roots of Change: Borneo and More at Indonesian Contemporary Art and Design 14](https://pluralartmag.com/roots-of-change-borneo-and-more-at-indonesian-contemporary-art-and-design-14/): UNEXPECTED, the 14th edition of the festival Indonesian Contemporary Art and Design (ICAD), is a place where artists, designers, and thinkers are invited to interrogate the present conditions of our society by imagining alternative ways of looking at and dealing with them. Or, we might ask: What should our concerns and creations gesture towards, given the distorted and unforeseen realities that surround us? As curator, I emphasised during the press conference that the exhibition seeks to offer more than just aesthetic pleasure. Merely presenting visually striking works is not the main intent. Instead, viewers may find themselves surprised by the [&hellip;]
- [What to Expect at the Affordable Art Fair 2024: In Conversation with Fair Director Alan Koh](https://pluralartmag.com/what-to-expect-at-the-affordable-art-fair-2024-in-conversation-with-fair-director-alan-koh/): To many people, art fairs may seem like highbrow, unreachably glamorous affairs. But during our conversation with Alan Koh, Director for Affordable Art Fair Singapore since 2015, he says something we should all take to heart: “You don’t have to be afraid.” Originating in London with the aim of making art collecting more approachable, the Affordable Art Fair launched in Singapore in 2010, and has since become our longest-running international art fair. With the majority of works priced under $7,500 and prices capped at $15,000, the fair is committed to bringing art at various price points to new audiences and [&hellip;]
- [A Fair to Remember: Our Picks from Art Jakarta 2024](https://pluralartmag.com/a-fair-to-remember-our-picks-from-art-jakarta-2024/): It&#8217;s Friday afternoon, and the spiffy art lovers of Jakarta and beyond are pouring into the JIEXPO convention centre, ready to see, talk, and buy. Spirits are high, coffee is flowing, and excitement fills the air. Since 2009, the fair, created by MRA Media, has become a landmark calendar event in the city’s cultural scene. But with over 70 local, regional, and international galleries, where on earth to begin? Here are four presentations that amused, enlightened, inspired, and delighted us this year. A+ Works of Art: Art is serious business Regrettably, this particular iteration of the Kuala Lumpur gallery’s booth [&hellip;]
- [Five Ways to Rediscover Orchard Road at the Re-Route Festival](https://pluralartmag.com/five-ways-to-rediscover-orchard-road-at-the-re-route-festival/): This Singapore Design Week, Orchard Road has a new look. From the umbrellas and balloons atop the roof of Design Orchard, to the chunky seats placed at its intersection with Cairnhill Road, it’s been taken over by the Re-Route Festival’s signature punchy shade of cobalt blue.  Created by Mervin Tan and Cheryl Sim of interdisciplinary design studio PLUS Collaboratives, Re-Route, which runs till 6 October, is a “placemaking festival” aimed at transforming how we move through and think about familiar spaces. Following a well-received first edition spotlighting Little India in 2022, Re-Route: Orchard (RR:OR) takes on the past, present, and [&hellip;]
- [A Natural State: Looking at Life with Temenggong Artists-in-Residence](https://pluralartmag.com/a-natural-state-looking-at-life-with-temenggong-artists-in-residence/): The path to Temenggong Artists-in-Residence is up an unassuming road near the HarbourFront train station. Crest the hill, and you’ll find a compound of colonial-era black and white houses, surrounded by lush tropical greenery. The last of these, 28 Temenggong Road, is home to one of Singapore’s most unique art spaces, run with aplomb by Singaporean artist Henri Chen Kezhan and arts administrator Reis Lee. Founded in 2009, the nonprofit arts company operates under the ethos of “artists-helping-artists,” regularly hosting artist residencies, exhibitions, film screenings, and other programmes. This week, it’s staging the fourth edition of its annual exhibition Temenggong-SG-Creatives, [&hellip;]
- [<em>Reborn: Motherhood</em> — A Showcase of Hope at Mama on Palette](https://pluralartmag.com/reborn-motherhood-a-showcase-of-hope-at-mama-on-palette/): What does a community for mothers look like in the Singaporean context? You might imagine support groups that discuss postpartum blues, the dreaded PSLE, or the best deals around town. Tucked within the YWCA compound on Outram Road, however, is a large, vibrant community of mothers brought together by a passion for one thing: art. In 2018, new mother Alice Yu Yuebo started a personal blog, aiming to connect with like-minded, art-loving mothers and to explore how creativity could be a therapeutic tool during the overwhelming experience of motherhood. Over the years, Mama on Palette has grown beyond Yu’s blogspace [&hellip;]
- [A Quick Journey into the Ether at the ArtScience Museum](https://pluralartmag.com/a-quick-journey-into-the-ether-at-the-artscience-museum/): Right now, you&#8217;re probably reading this article on a phone or computer —- technology that has transformed how we live, work, and create. But what if we could rewind to 1989, when computer scientist Tim Berners-Lee first sparked the creation of the Internet? What might an art exhibition about this fledgling technology have looked like back then? With the proliferation of new technologies, phrases like &#8220;generative AI&#8221; and &#8220;blockchain&#8221; have become part of our everyday conversations, and we seem to be standing once again at the start of a new technological era. In the Ether – A Festival of Technology [&hellip;]
- ["Seeing Yourself Seeing": Olafur Eliasson in Singapore](https://pluralartmag.com/seeing-yourself-seeing-olafur-eliasson-in-singapore/): On a large, pristine worktable, white Lego bricks — tens of thousands of them — lie quietly before a window overlooking Singapore’s historic port area, Keppel Harbour. Here, in the Engine Room at the Singapore Art Museum (SAM), I spot more than a passing resemblance between the enormous, brightly coloured shipping containers in the distance, and the little plastic cuboids heaped on the table.  Over the past several months, the loose toy bricks have been transformed, with the help of the museum’s many visitors, into a labyrinthine landscape in miniature. Titled The cubic structural evolution project (2004), Olafur Eliasson’s interactive [&hellip;]
- [Rajinder Singh Examines Complex Colonial Histories in <em> Saffron Surrender </em>](https://pluralartmag.com/rajinder-singh-examines-complex-colonial-histories-in-saffron-surrender/): In August this year, London-based Malaysian artist Rajinder Singh staged the exhibition Saffron Surrender at Kuala Lumpur’s Wei-Ling Gallery, and presented a new volume of poetry entitled Pale in Saffron. Why saffron, you might ask? For one, the vibrant yellow-orange colour — often used for turbans and religious robes — is religiously significant and considered auspicious by Sikhs, Buddhists, and Jains. It can symbolise purity, piety, and, for Sikhs, courage and sacrifice. In a recent interview with Options, Singh described the colour as “allud[ing] to the weight of an idea … the overflow of the infinite through the fabric of [&hellip;]
- [From Collectors to Creators: Kamal and Eugenia's Artistic Odyssey](https://pluralartmag.com/from-collectors-to-creators-kamal-and-eugenias-artistic-odyssey/): Kamalakannan Srimalan (below, left)  and Eugenia Tan (below, right) are familiar faces in the local art scene. Often clad in eclectic outfits, cocktail or wine glass in hand, the friendly pair are a mainstay at Marjorie Chu&#8217;s landmark art gallery in Singapore, Art Forum. If you&#8217;ve visited the gallery recently, chances are you&#8217;ll have met the unassuming couple who are always at the ready to make introductions and share their thoughts about the art on display, as well as their favourite drinks of the afternoon. The couple started their art journey from the sidelines as art collectors but have since [&hellip;]
- [<em>Red House Cafe</em> : Celebrating the History of a Bras Basah Bakery](https://pluralartmag.com/red-house-cafe-celebrating-the-history-of-a-bras-basah-bakery/): If you’ve walked past Raffles City in the past few weeks, you may have seen a strange sight: half a giant curry puff, tall enough for a man to enter. And next to it, an equally large slice of crimson cake.  Tasty as they look, these colossal confections are more than just a monument to the joys of pastry. Dreamt up by artist Jaxton Su for this year’s Singapore Night Festival (SNF), they’re also a homage to the Red House, an iconic bakery of yesteryear.  We speak with Su and with celebrated watercolour artist Ong Kim Seng, who knew the [&hellip;]
- [The Queer Bodies of Siew Guang Hong](https://pluralartmag.com/the-queer-bodies-of-siew-guang-hong/): On 8 August, independent art studio Supper House SG saw over a hundred people — its largest number of attendees — at the opening of its newest exhibition. For 折摄 &#8211; a light flashes, and a box drops from the sky, eight Singaporean artists found ways to create art that fit the dimensions of 10 by 10 millimetres under the curatorial direction of up-and-coming artist Siew Guang Hong. “It does bring me happiness,” Siew told us — referring to bringing artists together to do independent arts shows. “If it fails, we fail together. But if we succeed, we succeed together.” Siew, [&hellip;]
- [Knuckles & Notch’s Latest Exhibition Reinterprets Singapore’s Cultural Landmarks through Risograph Printing](https://pluralartmag.com/knuckles-notchs-latest-exhibition-reinterprets-singapores-cultural-landmarks-through-risograph-printing/): Tucked away in the second floor of Waterloo Centre is Knuckles &amp; Notch, a local creative risograph studio. As 7 p.m. approaches on the eve of National Day, the studio’s staff and friends are preparing for the opening night of a small exhibition titled Semalam Berlalu, Esok Menanti: A New Yesterday. Through the windows of Chaos Gallery – an extension of the humble Knuckles &amp; Notch studio — warm spotlights draw you into the space. Hosting workshops and exhibitions spotlighting everything from watercolour risographs to glass art, Knuckles &amp; Notch is no stranger to the wonderful intersections of art and [&hellip;]
- [Indonesia Bertutur 2024: In Conversation with Artistic Director Melati Suryodarmo](https://pluralartmag.com/indonesia-bertutur-2024-in-conservation-with-artistic-director-melati-suryodarmo/): “Is it OK if we do the interview in the car?” Indonesian performance artist Melati Suryodarmo needs to get to Bali’s Neka Art Museum to catch the activation of an artwork by artist and singer Monica Hapsari. Boasting a decades-long career and fame in the international art scene, Suryodarmo is the Artistic Director of Indonesia Bertutur, a twelve-day art festival that spotlights Indonesia’s cultural heritage through visual art, performance, music, and film.  Between her packed schedule and my whirlwind two-day press trip, this might be our last chance to speak, so I immediately agree and hop in.  Indonesia Bertutur 2024 [&hellip;]
- [Have You Ever Seen Pottery Like This? The Porcelain Painting of Wang Xiaolin](https://pluralartmag.com/have-you-ever-seen-pottery-like-this-the-porcelain-painting-of-wang-xiaolin/): LOY Gallery sits along Tudor Court, which is a stretch of shops with large glass windows right outside Tanglin Mall. As you walk past and peer in, you might see, first of all, a neat row of porcelain vessels atop a softly lit pedestal — delicately painted cups and vases and a single plate. Or maybe the first thing you see is the large, luminous portrait of a man on fire. At first glance the painting appears to be on typical linen canvas — the sort painters use for acrylics and oils. But why does it almost seem to glow? [&hellip;]
- [Four Artists to Anticipate at the UOB-NAFA SEA Arts Forum 2024](https://pluralartmag.com/four-artists-to-anticipate-at-the-uob-nafa-sea-arts-forum-2024/): Amidst uncertain, turbulent times — marked by runaway technological development, geopolitical conflict, and increasing alienation from ourselves and each other — what does art still have to offer?  Through their respective practices, these four artists put forth hopeful answers to the question.  Giang Lê, Choy Chun Wei, Benedict Yu, and Taiki Sakpisit are just four of the artists participating in this August’s UOB-NAFA Southeast Asian Arts Forum, an annual forum that invites artists, researchers, and creative professionals from the region to respond to pressing issues in the arts and beyond.  Now in its 5th edition, the Forum is organised by [&hellip;]
- [If Trees Could Talk, Would They Ask for Hugs? A Biennale in Batangas, Philippines](https://pluralartmag.com/if-trees-could-talk-would-they-ask-for-hugs-a-biennale-in-batangas-philippines/): Despite abaniko (fans) installed in the jeep for sweating passengers, it is a hot and humid afternoon ride to Ibaan, a mid-sized town in Batangas in the Philippines. I am on my way to If Trees Could Talk, an international art biennale presented by nonprofit organisation The Center for Art, New Ventures and Sustainable Development (CANVAS) and housed in an old mango orchard.  Ibaan’s landscapes are vast agronomical horizons of family orchards, sugarcane, grain fields, and pastures for raising livestock. The place used to have plenty of iba (Phyllantus acidus), a deciduous tree with sour fruits believed to have given [&hellip;]
- [Artistic Practice is a Never-ending Investigative Process: A Lesson in Exploration through the Art of Robert Zhao Renhui](https://pluralartmag.com/artistic-practice-is-a-never-ending-investigative-process-a-lesson-in-exploration-through-the-art-of-robert-zhao-renhui/): After hiking up the (supposedly) gentle slope at Gillman Barracks in Singapore’s sweltering heat and then up the central staircase of Block 9 — I recommend starting at the left-side entrance pictured below — we arrive at ShanghART Singapore. Stepping inside the gallery, we are greeted by a hallway of framed images of animals and plants with reports attached to them on the walls, and a display case featuring three specimens of bugs that resemble leaves.  Navigating deeper into the gallery, we arrive at a bigger room containing more images and reports on flora and fauna, specimen tables, and books [&hellip;]
- [Drawing Takes Centre Stage at ILHAM Gallery](https://pluralartmag.com/drawing-takes-centre-stage-at-ilham-gallery/): It starts with a dot, then a line. From this line springs forth forms, figures, entire worlds. This is the magic of drawing, which is the topic of the current show at Kuala Lumpur’s ILHAM Gallery. Titled Titik Garis Bentuk: Drawing as Practice, the exhibition calls attention to drawings not as preparation for more “polished” artworks later down the line, but as complete works in themselves.  In line with ILHAM Gallery’s objective of showcasing modern and contemporary Malaysian art, Titik Garis Bentuk features over 20 contemporary artists from across Malaysia in whose practices drawing plays a central role. Celebrating the [&hellip;]
- [Microscopes in the Museum: The Art and Science of a Conservator’s Work](https://pluralartmag.com/microscopes-in-the-museum-the-art-and-science-of-a-conservators-work/): Microscopes in a museum — an art museum, no less? You’d be forgiven for doing a double take upon entering the National Gallery’s latest exhibition of one of Singapore’s most celebrated artists. Adopting an innovative approach which spotlights artistic processes and materials through scientific and technical analysis, Cheong Soo Pieng: Layer by Layer showcases the unabashed stylistic and material experimentation at the heart of the artist’s oeuvre.  On view are works ranging from Cheong’s early oil-on-canvas portraits to multimedia works that blur the lines between painting and sculpture. And yes, if you’ve got a 50-dollar note on hand, now’s the [&hellip;]
- [Preserving Barbershops of Yesteryear: <em>Barber</em> by Ng Siang Hoi](https://pluralartmag.com/preserving-barbershops-of-yesteryear-barber-by-ng-siang-hoi/): Against a dark beige backdrop, a large navy blue roof with an ochre yellow tinge catches my eye. Beneath a tarpaulin canopy, I meet the subjects of Ng Siang Hoi’s Barber — a young boy, wrapped in a nondescript grey sheet, receives a haircut from a barber in a pair of parakeet-green slacks. The canopy creates a cloistered world within a world, taking us back to a scene of the twentieth century, where roadside barbers often plied their trade in back lanes for affordable prices.  In February this year, Barber was featured at the HeARTbeat Gallery as part of the [&hellip;]
- [<em>CITRUS fest</em>: A Splash of Refreshment for Singapore's Arts Scene](https://pluralartmag.com/citrus-fest-a-splash-of-refreshment-for-singapores-arts-scene/): Think of citrus fruits and associations of zesty, succulent refreshment might come to mind, especially in the face of the recent interminable heat we’ve been facing in Singapore. In a similar vein, the work of CITRUS practices is set to offer nourishment and succour to arts workers in the city with its latest event — CITRUS fest: Who Cares?, which is supported by the National Arts Council (NAC) and is part of Wellness Festival Singapore 2024. Set up in 2020, CITRUS practices stands for &#8220;Care, Intimacy, TRaUma-informed and Safer practices in the arts.&#8221; It’s a gathering of arts workers seeking [&hellip;]
- [At This Exhibition, You <em>Can</em> Touch the Artwork—And Sit on It, Too](https://pluralartmag.com/at-this-exhibition-you-can-touch-the-artwork-and-sit-on-it-too/): Lamps sprout like mushrooms from a tall white column. A giant soap bubble sparkles in the sunlight. A wooden bench mysteriously grows spindly legs and feet.   You haven’t stepped into some enchanted landscape, but rather into LOY Contemporary Art Gallery’s space along Tanglin Road. Founded in 2023, LOY Gallery is currently presenting its second show, following a Year-of-the-Dragon-themed exhibition at the beginning of the year. Entitled A Trail to Chase, the exhibition is a partnership with Shanghai’s Objective Gallery and curated by its director Ansha Jin. In keeping with LOY Gallery’s emphasis on spotlighting “intersectional contemporary art and design,” the [&hellip;]
- [The Otherworldly Darkness of <em>REFUGE</em> by The Observatory](https://pluralartmag.com/the-otherworldly-darkness-of-refuge-by-the-observatory/): Out of the inky darkness, a falling star blazes through the Earth’s atmosphere, crashing into an early civilisation. In its fiery wake, only rudimentary hand axes remain to tell of the Paleolithic humans who once lived on what we now call Bukit Bunuh.  Fast forward 1,830,000 years, and this meteorite’s shattered remains have been worn by wind and rain to the size of broken tree stumps, their surfaces ragged with age.  These rocks look deceptively ordinary in the photograph I’m looking at. Under the dappled midday sun, they’ve become seats for a group of people dressed for a hike.  There’s [&hellip;]
- [A Big Leap for Timor-Leste: Maria Madeira at the 2024 Venice Biennale](https://pluralartmag.com/a-big-leap-for-timor-leste-maria-madeira-at-the-2024-venice-biennale/): Maria Madeira&#8217;s unwavering declaration—“I am a woman, and I’m proud”—set the stage for a profoundly moving journey through Timor-Leste’s first-ever national pavilion at the Venice Biennale.  The words were simple, but the emotions behind them were raw. Austere yet visceral, the pavilion featured pale walls streaked with paint and betel nut. The artist walked slowly through the pavilion, continuing her story: “After Timor-Leste’s independence, I went back to my motherland. When I arrived I went to live with my brother in a rented house in Dili. In the bedroom where I slept, there were marks of lipstick—at a knee-high level [&hellip;]
- [Life, Memory, and Legacy: Five Works by Dinh Q. Lê](https://pluralartmag.com/life-memory-and-legacy-five-works-by-dinh-q-le/): On April 6, the passing of notable Vietnamese-American contemporary artist Dinh Q. Lê shocked the art world. During his lifetime, Lê created photography, video, installation, and sculpture works that addressed Vietnamese history. Lê’s practice holds personal significance to me. In 2021, I had the privilege of meeting him in person for an article. Before I learned about his journey and his decision to become an artist, I had very little knowledge of the Vietnam War. His journey and art helped inspire me to pursue a Master’s degree at the LASALLE College of the Arts and write a thesis about his [&hellip;]
- [<em>Moby Dick</em> at SIFA 2024: Into the Depths with Puppet Theatre Director Yngvild Aspeli](https://pluralartmag.com/moby-dick-at-sifa-2024-into-the-depths-with-puppet-theatre-director-yngvild-aspeli/): Swarming sea creatures. Strange, ghostly figures like dead men walking. A whirlpool that sucks the world into its abyss. The single, blinking eye of a whale. All these, and more, billow by in the trailer to Moby Dick as presented by French-Norwegian puppet theatre company Plexus Polaire. First shown in October 2020, the fourth of the company’s six productions tells the story of the whaling ship the Pequod and its captain’s all-consuming quest to defeat a white whale. This Friday, as part of the Singapore International Festival of Arts, Plexus Polaire’s version of Herman Melville’s 1851 novel lands for the first [&hellip;]
- [Singapore at the 60th Venice Biennale: A Hike into the Forest with Robert Zhao Renhui](https://pluralartmag.com/singapore-at-the-60th-venice-biennale-a-hike-into-the-forest-with-robert-zhao-renhui/): At the start of any hiking trail stands a map for the eager traveller. Robert Zhao Renhui’s Venice Biennale presentation Seeing Forest, curated by Haeju Kim, is contained within the second floor of the Sale d’Armi in the Arsenale, a cluster of four 16th-century barracks built with brick and stone. As we enter, we are presented with A Guide To A Secondary Forest of Singapore, an imaginary forest map introducing his extensive research at “Queen’s Own Hill”—an old name for the Gillman Barracks compound—and his own home. A giant albizia tree, common in Singapore’s secondary forest, anchors the map. Its [&hellip;]
- [Look-See: Connecting with Life through Chok Si Xuan’s <em>VINES</em>](https://pluralartmag.com/look-see-connecting-with-life-through-chok-si-xuans-vines/): Standing across from Sultan Gate Park amidst the usual urban hustle and bustle in the scorching tropical heat, I can understand how one might easily overlook what Singaporean tech-artist Chok Si Xuan wants us to deliberately notice. In fact, when I first visited the work, I walked straight past it in my absentminded rush to arrive. And this oversight is precisely what is questioned in Chok’s newest work VINES (2024) for the OH! Kampong Gelam Art Walk, organised by OH! Open House. As a sculptor and installation artist, Chok explores how technological and physiological systems interact and relate to each [&hellip;]
- [Lucy in the Sky with Debris: Where Beauty and Destruction Collide](https://pluralartmag.com/lucy-in-the-sky-with-debris-where-beauty-and-destruction-collide/): In the darkened space of the gallery hangs a delicate assemblage of silver shards. Pinpricks of light issue from the ends of thin metal rods, bouncing off the sleek, shiny surfaces of metallic fragments. Like stars in the night sky, the mobile shimmers, blinking in and out of visibility.  Standing before Isabella Ong’s Errant Stars in Objectifs’s Lower Galleries, I find myself slipping into a state of contemplation. There’s a hushed awe in the air as the other visitors mill around the space at a contemplative distance, occasionally going up close to inspect the workings of the circuit. Curated by [&hellip;]
- ["A Commitment to Life": T:>Works' Per°Form Returns for Its Second Run](https://pluralartmag.com/a-commitment-to-life-tworks-perform-returns-for-its-second-run/): It’s been a year since the inaugural edition of Per°Form Open Academy of Arts and Activations, a platform for interdisciplinary art practitioners, brought a stellar cohort of Global South Fellows to our shores for three days of intensive artistic activity. This April, Per°Form is back and bigger than before. In addition to participatory workshops and an overnight marathon of presentations, the 18-day programme will include two new components: a rave and an open studio.  Leading the charge is seasoned theatre-maker and artistic director of T:&gt;Works, Ong Keng Sen. Having covered the first edition of Per°Form, I sat down with Ong [&hellip;]
- [Shaping Spaces: Curatorial Insights into <em>The Sea is a Field</em> and <em>47 Days, Sound-less</em>](https://pluralartmag.com/shaping-spaces-curatorial-insights-into-the-sea-is-a-field-and-47-days-sound-less/): Situated in the heart of the Tanjong Pagar Distripark (an industrial district turned art hub), the Singapore Art Museum (SAM) finds itself in a unique position to curate exhibitions that reflect its portside setting, with themes centred around movement and migration. One such exhibition, The Sea is a Field, occupies a portside warehouse space at Block 37 of Tanjong Pagar Distripark, adjacent to SAM’s main galleries at Block 39. Against the backdrop of the bustling port, visitors are enveloped in the sights, sounds, and scents of the sea, which enhance the exhibition’s immersive nature.  Meanwhile, 47 Days, Sound-less finds its [&hellip;]

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