A look at the inaugural UOL x ART:DIS Art Prize, Singapore’s art prize for artists with disabilities August 29, 2023·
Imprints of Singapore Art Week 2023: A reflection on progress and opportunities in Singapore’s art scene July 8, 2023·
Marvin Tang explores the forgotten stories of Singapore’s rubber plantation labourers September 7, 2023·
“The Silent Conspiracy of the Majority”: ophthalmologist and artist Chng Nai Wee on his work Sin of Apathy August 26, 2023·
Through the Veil of Fumigation: Photographer Kathy Anne Lim on Memory and the Environment August 16, 2023·
Social media maven @Maegzter on MapleStory, bringing art to TikTok, and encouraging discourse February 8, 2023·
Scratching the surface?: Port/raits of Tanjong Pagar’s endearing quirks and playful perspectives July 22, 2023·
Finding Ourselves in Every Commute: Insight from Art Outreach’s Art in Transit North East Line Tour May 24, 2023·
Increasing optimism & creative development punctuate the post-pandemic Balinese art scene April 1, 2023·
Notes From the Ether : A Snapshot into the Shifting Boundaries Between Art and Technology September 21, 2023·
Tang Da Wu’s 3, 4, 5 I Don’t Like Fine Art provokes our perception about what art is September 16, 2023·
“The Silent Conspiracy of the Majority”: ophthalmologist and artist Chng Nai Wee on his work Sin of Apathy August 26, 2023·
The Monstrous Feminine: Kara Inez on her debut solo (M)othered Meat and taking her artworks out for walks August 5, 2023·
Practise till we meet at Manchester’s esea contemporary explores the search for diasporic utopia May 9, 2023·
