This venue explores the history of art and national identity in Singapore as well as in the wider south-east Asian region, says director Eugene Tan.
Singapore, which became an independent republic in 1965, is a small country, covering just more than 250 square miles, but its central position in south-east Asia has given it the ultimate trading position, and helped to form its rich art history. But astonishingly, until now, there has been no single gallery devoted to telling the story of Singaporean art.
The new National Gallery Singapore – all 690,000 square feet of it – does just that. Placing Singapore within the context of south-east Asian art is key as its director, the art historian Eugene Tan, explains here. And if looking at art makes you ravenous, well there are five restaurants within the gallery.
What is the exhibition programme like?
We have two permanent exhibitions, one in the DBS Singapore Gallery, which tells the history of Singaporean art, and the other in the UOB Southeast Asia Gallery, which describes the history of south- east Asian art. We plan to change these displays every five years.
In terms of our special exhibitions, they begin this April with Reframing Modernism, which we’ve been working on with the Centre Pompidou in Paris. We will put on two such large-scale shows a year, and plan to develop smaller shows as well. At the moment we’re showing Chua Ek Kay [1947- 2008], a Singaporean artist who used Chinese ink, as well as Wu Guanzhong [1919-2010], a Chinese artist widely recognised as one of the founders of modern Chinese painting. Both these are on until 3 May.
How do you represent the art of the region?
We don’t seek to represent south-east Asia, but rather to present one perspective of many: what art from the region can be. We have been working closely with partner museums, and institutions in various countries in the region to engage their expertise and borrow from their collections. We have a lot of support from our regional partners in what we are doing, and hope to further the understanding of south-east Asian art in a global context.
Does national identity play a role at the National Gallery Singapore?
Last year’s 50th anniversary of Singapore was an important moment for the country and the name of the permanent Singaporean display is Siapa Nama Kamu? – which translates from Malay as “what is your name?” It asks viewers to consider the parameters of personal and national identity in relation to art.
What is the history behind the buildings that house the National Gallery Singapore?
The Courts of Justice and the City Hall were always prominent colonial buildings in the centre of Singapore but they were inaccessible unless you worked there. Unless you were a lawyer or were in trouble, you wouldn’t be able to see inside. I’m glad that the public will now be able to come into these grand buildings, and also because they will see great art in here.
How has the architect, studioMilou, integrated these buildings?
The new additions are understated and elegant. When you first look at the gallery, the main thing you see is still the two original buildings; it’s only when you look closer that you see the extension that joins them – a shimmering gold canopy. Internally, the balance of retaining original architectural features while repurposing the building has been done delicately.
What are the aims of National Gallery Singapore?
It is the first time anywhere in the world that visitors are able to see the art histories of Singapore and south-east Asia presented through long-term exhibitions. I hope it enables a better understanding and appreciation of the art history of Singapore and the region, something that’s been absent from the art scene.
Do you show contemporary art as well as historical?
Yes. We invite contemporary artists to do site-specific installations. We’re currently showing the Malaysian artist Roslisham Ismail, known as Ise, on the Roof Garden Gallery, but the first commission, by the Vietnamese artist Danh Vo, will go up in April.
Who do you think will be your main visitors?
We have something for everyone. At any one time there will be more than half a dozen different exhibitions on offer, but we also have museum shops, cafes and restaurants.
In addition to people coming to the galleries, I hope the building becomes a part of the city and the public feel that it’s a space they can just come to and enjoy. It’s free to visit for Singaporeans, though if you are non-Singaporean, you have to pay an entry fee of S$20 (£10).
What visitor figures do you hope to achieve?
We expect more than two million visitors a year to pass through our doors, and about 50% of them to visit the exhibitions.
Do you have a learning and education programme?
Yes. The Keppel Centre for education – one of the largest of its kind – has educators to engage children of different ages to grow their appreciation of art. It’s centred around thinking about art through making it, so there will be lots of practical workshops.
How does the gallery engage with communities less predisposed to art?
The Singaporean government’s decision to make entry free for Singaporeans is one way, but we are also trying to make our exhibitions accessible to a broad audience. We have made a social media “table” to engage with our visitors even more. As a tool, it tells them that they don’t need to know anything about the artists on show, when works were made, or even anything about art. We just want them to look at the images, see what they like and find out more information about them.
We also have a Gallery Explorer app, as Singaporeans love their smartphones. Not only does it provide more information about the artworks and exhibitions, but it also helps you to navigate the gallery, as well as share the artworks you like with your friends.
What does the National Gallery Singapore represent for the country?
It represents a certain stage in the development of the country, that art is now recognised as something that’s important for our society.
Cost S$532 (£256m)
Main funder Government of Singapore
Architect studioMilou architecture, in collaboration with CPG Consultants
Main contractor Takenaka- Singapore Piling Joint Venture
Exhibition designer WY-TO
Singapore, which became an independent republic in 1965, is a small country, covering just more than 250 square miles, but its central position in south-east Asia has given it the ultimate trading position, and helped to form its rich art history. But astonishingly, until now, there has been no single gallery devoted to telling the story of Singaporean art.
The new National Gallery Singapore – all 690,000 square feet of it – does just that. Placing Singapore within the context of south-east Asian art is key as its director, the art historian Eugene Tan, explains here. And if looking at art makes you ravenous, well there are five restaurants within the gallery.
What is the exhibition programme like?
We have two permanent exhibitions, one in the DBS Singapore Gallery, which tells the history of Singaporean art, and the other in the UOB Southeast Asia Gallery, which describes the history of south- east Asian art. We plan to change these displays every five years.
In terms of our special exhibitions, they begin this April with Reframing Modernism, which we’ve been working on with the Centre Pompidou in Paris. We will put on two such large-scale shows a year, and plan to develop smaller shows as well. At the moment we’re showing Chua Ek Kay [1947- 2008], a Singaporean artist who used Chinese ink, as well as Wu Guanzhong [1919-2010], a Chinese artist widely recognised as one of the founders of modern Chinese painting. Both these are on until 3 May.
How do you represent the art of the region?
We don’t seek to represent south-east Asia, but rather to present one perspective of many: what art from the region can be. We have been working closely with partner museums, and institutions in various countries in the region to engage their expertise and borrow from their collections. We have a lot of support from our regional partners in what we are doing, and hope to further the understanding of south-east Asian art in a global context.
Does national identity play a role at the National Gallery Singapore?
Last year’s 50th anniversary of Singapore was an important moment for the country and the name of the permanent Singaporean display is Siapa Nama Kamu? – which translates from Malay as “what is your name?” It asks viewers to consider the parameters of personal and national identity in relation to art.
What is the history behind the buildings that house the National Gallery Singapore?
The Courts of Justice and the City Hall were always prominent colonial buildings in the centre of Singapore but they were inaccessible unless you worked there. Unless you were a lawyer or were in trouble, you wouldn’t be able to see inside. I’m glad that the public will now be able to come into these grand buildings, and also because they will see great art in here.
How has the architect, studioMilou, integrated these buildings?
The new additions are understated and elegant. When you first look at the gallery, the main thing you see is still the two original buildings; it’s only when you look closer that you see the extension that joins them – a shimmering gold canopy. Internally, the balance of retaining original architectural features while repurposing the building has been done delicately.
What are the aims of National Gallery Singapore?
It is the first time anywhere in the world that visitors are able to see the art histories of Singapore and south-east Asia presented through long-term exhibitions. I hope it enables a better understanding and appreciation of the art history of Singapore and the region, something that’s been absent from the art scene.
Do you show contemporary art as well as historical?
Yes. We invite contemporary artists to do site-specific installations. We’re currently showing the Malaysian artist Roslisham Ismail, known as Ise, on the Roof Garden Gallery, but the first commission, by the Vietnamese artist Danh Vo, will go up in April.
Who do you think will be your main visitors?
We have something for everyone. At any one time there will be more than half a dozen different exhibitions on offer, but we also have museum shops, cafes and restaurants.
In addition to people coming to the galleries, I hope the building becomes a part of the city and the public feel that it’s a space they can just come to and enjoy. It’s free to visit for Singaporeans, though if you are non-Singaporean, you have to pay an entry fee of S$20 (£10).
What visitor figures do you hope to achieve?
We expect more than two million visitors a year to pass through our doors, and about 50% of them to visit the exhibitions.
Do you have a learning and education programme?
Yes. The Keppel Centre for education – one of the largest of its kind – has educators to engage children of different ages to grow their appreciation of art. It’s centred around thinking about art through making it, so there will be lots of practical workshops.
How does the gallery engage with communities less predisposed to art?
The Singaporean government’s decision to make entry free for Singaporeans is one way, but we are also trying to make our exhibitions accessible to a broad audience. We have made a social media “table” to engage with our visitors even more. As a tool, it tells them that they don’t need to know anything about the artists on show, when works were made, or even anything about art. We just want them to look at the images, see what they like and find out more information about them.
We also have a Gallery Explorer app, as Singaporeans love their smartphones. Not only does it provide more information about the artworks and exhibitions, but it also helps you to navigate the gallery, as well as share the artworks you like with your friends.
What does the National Gallery Singapore represent for the country?
It represents a certain stage in the development of the country, that art is now recognised as something that’s important for our society.
Project data
Cost S$532 (£256m)
Main funder Government of Singapore
Architect studioMilou architecture, in collaboration with CPG Consultants
Main contractor Takenaka- Singapore Piling Joint Venture
Exhibition designer WY-TO
