On Sep 13, the heart of Singapore pulsed with celebration. A red carpet unfurled across the steps of the National Gallery Singapore as 300 impeccably dressed guests swept into the City Hall Chamber. The air buzzed with anticipation: Not just for the big-ticket art auction and Michelin-starred feast ahead, but for the significance of the occasion itself.
Five weeks earlier, the nation had gathered across the street at the Padang for the SG60 parade. A spectacular, multi-tiered rotating stage, flanked by 270 LED screens, dazzled the 27,000-strong crowd. It was a night of spectacle and symbolism, with 2,100 participants marching in Singapore’s largest parade since 2019. That evening had celebrated 60 years of nationhood.
Now, across the road, another milestone was unfolding: The 10th anniversary of the National Gallery Singapore. The Gallery Gala 2025: A Decade of Imagination raised a record-breaking S$2.8 million, the highest fundraising total in the institution’s history. Guests bid enthusiastically on nearly 90 rare artworks and luxury experiences in a Sotheby’s-managed auction.
The highlight came when Li Huayi’s Pine Breezes in Golden Glow II hammered in at S$517,000 – the highest value ever achieved at the Gallery. Works by Yayoi Kusama and Lim Tze Peng sparked equally spirited competition, while experiences such as the Britannic Explorer Train Journey by Belmond set paddles flashing.
The Gallery Gala 2025: A Decade of Imagination raised a record-breaking S$2.8 million, the highest fundraising total in the institution’s history. (Photo: National Gallery Singapore)
The Singtel Special Exhibition Gallery 1 was transformed into a long table dining hall among artistic masterpieces, where maestros Julien Royer, Damian D’Silva, and Violet Oon orchestrated a multi-sensory culinary performance. Oon herself cooked live in the galleries – a sight that married the spectacle of gastronomy with the gravitas of art. Performances by Haven, Sorn, DJ Nicolette and DJ Kiara punctuated the evening, turning the stately halls into a venue for revelry.
The evening’s Guest of Honour, Deputy Prime Minister and Minister for Trade and Industry Gan Kim Yong, reminded guests of the deeper mission behind the glamour. Philanthropic support, he noted, is essential to sustaining the arts. For the Gallery, those funds will fuel new exhibitions, community programmes, and research that ensures art remains accessible to every Singaporean.
But amid the sparkle and record numbers, one theme echoed more profoundly than any paddle raised that evening: The Gallery had come of age – and in doing so, helped define what cultural pride means for Singapore at 60.
Much of this journey can be traced to one figure: Eugene Tan. With a PhD in Art History from the University of Manchester, Tan is deeply involved with the Gallery, having been its director when it opened in 2015. In 2019, he took on a parallel role as director of the Singapore Art Museum (SAM), and since 2024, he has held the dual title of CEO of both institutions while also leading the Visual Arts Cluster, which includes STPI.
His remit is expansive, but his vision is clear: Each institution must retain its distinctive identity while contributing to a larger ecosystem that places Singapore at the centre of the Southeast Asian art conversation.
Eugene Tan has been with National Gallery Singapore for 10 years, leading its transformation into a globally recognised institution for Southeast Asian art. (Photo: CNA/Aik Chen)
“Since I became director of SAM in 2019, I have sought to make the distinction between the two institutions clearer,” he explained. “The Gallery’s focus is now on the art of Southeast Asia, regardless of time – meaning both modern and contemporary. SAM’s focus, on the other hand, is on contemporary art regardless of place, so it looks at the art of the present internationally, from the perspective of Singapore and Southeast Asia. Together with STPI, the three institutions create an ecosystem that supports artists, educates the public, and positions Singapore as a cultural destination.”
This ecosystem has not only nurtured artists but also shaped the way Singaporeans see themselves reflected in art. And for Tan, the Gallery’s 10th anniversary, coinciding with SG60, was no accident of timing – it was poetic symmetry.
“Celebrating both SG60 and the Gallery’s 10th anniversary is deeply symbolic and special for us,” he reflected. “The Gallery is housed within two national monuments – the City Hall and Former Supreme Court – buildings that have witnessed Singapore’s journey from colony to nation. Just as Singapore turns 60, the Gallery too marks a decade of contributing to our cultural identity and sense of pride.”
When the Gallery opened its doors in 2015, its mission was ambitious: To shine a spotlight on Southeast Asian art and make art part of everyday life in Singapore. Ten years on, has it succeeded?
Tan believes the answer is a resounding yes. “The Gallery has grown into a people’s museum – a shared civic space where art connects people, where stories of Southeast Asia come alive, and where visitors of all generations encounter new perspectives on our art and history.”
He points to the younger generation in particular. “Today’s visitors, especially younger Singaporeans, approach our collection with a sense of curiosity that was perhaps less evident a decade ago. They see themselves reflected in the works, and this growing sense of ownership and connection is one of the most encouraging signs of progress.”
That sense of ownership comes not only from the building’s historic significance but also from the stories told within its walls, stories that balance Singapore’s narrative with that of the wider region. “By placing Singapore’s pioneers alongside regional masters, we show that Singapore’s artistic identity is deeply rooted in local soil, while also enriched by dialogue with our neighbours,” he said.
Reframing Modernism: Painting from Southeast Asia, Europe and Beyond in 2016 was co-curated with France’s Centre Pompidou. (Photo: National Gallery Singapore)
The Gallery’s reputation has been built exhibition by exhibition, each one a statement of ambition and vision.
From the very beginning, the institution positioned itself as a place that could not only tell regional stories but also situate them within global conversations. Its 2016 blockbuster, Reframing Modernism: Painting from Southeast Asia, Europe and Beyond, co-curated with France’s Centre Pompidou, challenged the Eurocentric canon by placing works by Picasso and Mondrian in dialogue with those of Georgette Chen and Latiff Mohidin. “It was about rewriting our art histories in relation to global art histories,” Tan recalled.
In 2017, the Gallery brought Yayoi Kusama to Singapore with Life is the Heart of a Rainbow. Audiences queued for hours to step into her kaleidoscopic infinity rooms, and the show became one of the Gallery’s most Instagrammed – a potent reminder of how contemporary audiences engage with art.
That same year, Colours of Impressionism: Masterpieces from the Musee d’Orsay drew crowds eager to see Monet and Renoir on local soil. These were moments that reinforced the Gallery as both a regional thought leader and an international must-visit.
Yayoi Kusama's Life is the Heart of a Rainbow, 2017. (Photo: National Gallery Singapore)
Colours of Impressionism: Masterpieces from the Musee d’Orsay in 2017. (Photo: National Gallery Singapore)
Minimalism took centre stage in 2018 with Minimalism: Space. Light. Object, the first exhibition of its scale in Southeast Asia. Featuring works by Donald Judd, Carmen Herrera, and Anish Kapoor alongside Southeast Asian contemporaries, the exhibition underscored the Gallery’s commitment to bridging East and West, past and present.
More recently, 2023’s Tropical: Stories from Southeast Asia and Latin America expanded the conversation even further, drawing parallels between two regions often seen as peripheral to the Western canon. The exhibition was hailed as groundbreaking for its comparative lens and bold scholarship.
Equally important have been the Gallery’s homegrown showcases. Something New Must Turn Up: Six Singaporean Artists After 1965 (2021) and the 2024 SG Artist Series dedicated to Cheong Soo Pieng, Teo Eng Seng, Kim Lim, and Lim Tze Peng deepened public appreciation of Singapore’s artistic journey. These shows emphasised that local art is not only about identity but also about innovation, experimentation, and personal expression.
“Together, these moments crystallised the Gallery’s dual identity,” said Tan. “We are both a leading platform for Southeast Asian voices and a home where Singaporeans can see their own stories reflected in art.”
Something New Must Turn Up: Six Singaporean Artists After 1965 in 2021. (Photo: National Gallery Singapore)
The Gallery’s ambition has always been to look outward as much as inward. Its partnerships with international heavyweights have positioned Singapore as a cultural interlocutor, bringing the world to Southeast Asia and Southeast Asia to the world.
“Our partnerships with institutions from Centre Pompidou to the Staatliche Kunstsammlungen Dresden have allowed us to co-create exhibitions and programmes that raise Singapore’s profile as a cultural hub,” Tan explained. “Increasingly, global peers now approach us to bring our expertise abroad, whether through co-curated projects or travelling exhibitions.”
Examples abound. Georgette Chen: At Home in the World travelled overseas, introducing the Singaporean pioneer to new audiences. Tropical: Stories from Southeast Asia and Latin America pushed curatorial boundaries abroad as much as at home. And in November, the Gallery will stage Into the Modern: Impressionism from the Museum of Fine Arts, Boston – the largest Impressionist exhibition ever held in Southeast Asia, with more than 100 masterpieces by Monet, Renoir, Cézanne, and Degas.
Hosting such a show signals not only the Gallery’s ambition but also the trust global institutions place in Singapore. “These collaborations establish Singapore as a cultural interlocutor and affirm the Gallery’s curatorial authority in shaping international discourse on Southeast Asian art,” Tan said.
Even the Gallery’s child-focused initiatives have found international resonance. Since its launch in 2017, the Gallery Children’s Biennale has inspired sister editions at Germany’s Staatliche Kunstsammlungen Dresden, the Groninger Museum in The Netherlands, and the Taoyuan Museum of Fine Arts in Taiwan. In this way, art becomes not just a national asset but a form of soft power, exporting Singapore’s vision of inclusivity and accessibility.
For Tan, the measure of success is not only in blockbuster shows or international partnerships but in how deeply National Gallery Singapore resonates with its public. (Photo: CNA/Aik Chen)
In Singapore’s diplomatic toolkit, art has increasingly taken its place alongside traditional pillars like finance, technology, and trade. The Gallery’s exhibitions and partnerships are not just cultural milestones; they are exercises in nation branding.
“As Singapore positions itself as a cultural capital of Southeast Asia, the Gallery plays a central role,” Tan said. “We serve as a platform for Singaporean and regional artists, while fostering exchange with international institutions. In this way, art becomes both nation branding and soft power.”
That role is amplified by the Gallery’s physical presence. Housed in the Former Supreme Court and City Hall, the museum sits at the symbolic heart of the Civic District. The very buildings that once witnessed the Japanese surrender in 1945 now serve as a stage for Southeast Asia’s artistic narratives. It’s a powerful reminder of how culture and history intertwine.
As the Gallery enters its second decade, its challenges will be as formidable as its achievements. Balancing the demands of scholarship with accessibility, navigating funding models, and sustaining international collaborations will require constant reinvention. Yet if its first 10 years are any indication, the Gallery is well placed to meet them.
For Tan, the measure of success is not only in blockbuster shows or international partnerships but in how deeply the Gallery resonates with its public. “As we celebrate this dual milestone, what matters most is that the Gallery continues to evolve alongside the people it serves,” he said.
Ultimately, the Gallery’s story is not only about curators, collections, or collaborations. It is about people: The visitors who step into its halls, the artists who find their voices amplified, and the nation that sees its own journey reflected in brushstrokes and sculptures.
The September gala may have sparkled with jewels, champagne, and record-breaking bids. But its true significance lay in what it symbolised: That a decade on, the Gallery has become a cornerstone of national pride, a mirror of Singapore’s identity, and a beacon for Southeast Asia’s artistic future.
Or, as Tan himself put it: “The Gallery has grown into a people’s museum – one that connects, reflects, and inspires. And as Singapore enters its next chapter, we remain committed to ensuring art is not just seen, but felt, by all.”
Continue reading...
Five weeks earlier, the nation had gathered across the street at the Padang for the SG60 parade. A spectacular, multi-tiered rotating stage, flanked by 270 LED screens, dazzled the 27,000-strong crowd. It was a night of spectacle and symbolism, with 2,100 participants marching in Singapore’s largest parade since 2019. That evening had celebrated 60 years of nationhood.
Now, across the road, another milestone was unfolding: The 10th anniversary of the National Gallery Singapore. The Gallery Gala 2025: A Decade of Imagination raised a record-breaking S$2.8 million, the highest fundraising total in the institution’s history. Guests bid enthusiastically on nearly 90 rare artworks and luxury experiences in a Sotheby’s-managed auction.
The highlight came when Li Huayi’s Pine Breezes in Golden Glow II hammered in at S$517,000 – the highest value ever achieved at the Gallery. Works by Yayoi Kusama and Lim Tze Peng sparked equally spirited competition, while experiences such as the Britannic Explorer Train Journey by Belmond set paddles flashing.
The Gallery Gala 2025: A Decade of Imagination raised a record-breaking S$2.8 million, the highest fundraising total in the institution’s history. (Photo: National Gallery Singapore)
The Singtel Special Exhibition Gallery 1 was transformed into a long table dining hall among artistic masterpieces, where maestros Julien Royer, Damian D’Silva, and Violet Oon orchestrated a multi-sensory culinary performance. Oon herself cooked live in the galleries – a sight that married the spectacle of gastronomy with the gravitas of art. Performances by Haven, Sorn, DJ Nicolette and DJ Kiara punctuated the evening, turning the stately halls into a venue for revelry.
The evening’s Guest of Honour, Deputy Prime Minister and Minister for Trade and Industry Gan Kim Yong, reminded guests of the deeper mission behind the glamour. Philanthropic support, he noted, is essential to sustaining the arts. For the Gallery, those funds will fuel new exhibitions, community programmes, and research that ensures art remains accessible to every Singaporean.
But amid the sparkle and record numbers, one theme echoed more profoundly than any paddle raised that evening: The Gallery had come of age – and in doing so, helped define what cultural pride means for Singapore at 60.
THE MAESTRO AT THE PODIUM
Much of this journey can be traced to one figure: Eugene Tan. With a PhD in Art History from the University of Manchester, Tan is deeply involved with the Gallery, having been its director when it opened in 2015. In 2019, he took on a parallel role as director of the Singapore Art Museum (SAM), and since 2024, he has held the dual title of CEO of both institutions while also leading the Visual Arts Cluster, which includes STPI.
His remit is expansive, but his vision is clear: Each institution must retain its distinctive identity while contributing to a larger ecosystem that places Singapore at the centre of the Southeast Asian art conversation.
Eugene Tan has been with National Gallery Singapore for 10 years, leading its transformation into a globally recognised institution for Southeast Asian art. (Photo: CNA/Aik Chen)
“Since I became director of SAM in 2019, I have sought to make the distinction between the two institutions clearer,” he explained. “The Gallery’s focus is now on the art of Southeast Asia, regardless of time – meaning both modern and contemporary. SAM’s focus, on the other hand, is on contemporary art regardless of place, so it looks at the art of the present internationally, from the perspective of Singapore and Southeast Asia. Together with STPI, the three institutions create an ecosystem that supports artists, educates the public, and positions Singapore as a cultural destination.”
This ecosystem has not only nurtured artists but also shaped the way Singaporeans see themselves reflected in art. And for Tan, the Gallery’s 10th anniversary, coinciding with SG60, was no accident of timing – it was poetic symmetry.
“Celebrating both SG60 and the Gallery’s 10th anniversary is deeply symbolic and special for us,” he reflected. “The Gallery is housed within two national monuments – the City Hall and Former Supreme Court – buildings that have witnessed Singapore’s journey from colony to nation. Just as Singapore turns 60, the Gallery too marks a decade of contributing to our cultural identity and sense of pride.”
HAS THE GALLERY SUCCEEDED?
When the Gallery opened its doors in 2015, its mission was ambitious: To shine a spotlight on Southeast Asian art and make art part of everyday life in Singapore. Ten years on, has it succeeded?
Tan believes the answer is a resounding yes. “The Gallery has grown into a people’s museum – a shared civic space where art connects people, where stories of Southeast Asia come alive, and where visitors of all generations encounter new perspectives on our art and history.”
He points to the younger generation in particular. “Today’s visitors, especially younger Singaporeans, approach our collection with a sense of curiosity that was perhaps less evident a decade ago. They see themselves reflected in the works, and this growing sense of ownership and connection is one of the most encouraging signs of progress.”
That sense of ownership comes not only from the building’s historic significance but also from the stories told within its walls, stories that balance Singapore’s narrative with that of the wider region. “By placing Singapore’s pioneers alongside regional masters, we show that Singapore’s artistic identity is deeply rooted in local soil, while also enriched by dialogue with our neighbours,” he said.
MILESTONE MOMENTS
Reframing Modernism: Painting from Southeast Asia, Europe and Beyond in 2016 was co-curated with France’s Centre Pompidou. (Photo: National Gallery Singapore)
The Gallery’s reputation has been built exhibition by exhibition, each one a statement of ambition and vision.
From the very beginning, the institution positioned itself as a place that could not only tell regional stories but also situate them within global conversations. Its 2016 blockbuster, Reframing Modernism: Painting from Southeast Asia, Europe and Beyond, co-curated with France’s Centre Pompidou, challenged the Eurocentric canon by placing works by Picasso and Mondrian in dialogue with those of Georgette Chen and Latiff Mohidin. “It was about rewriting our art histories in relation to global art histories,” Tan recalled.
In 2017, the Gallery brought Yayoi Kusama to Singapore with Life is the Heart of a Rainbow. Audiences queued for hours to step into her kaleidoscopic infinity rooms, and the show became one of the Gallery’s most Instagrammed – a potent reminder of how contemporary audiences engage with art.
That same year, Colours of Impressionism: Masterpieces from the Musee d’Orsay drew crowds eager to see Monet and Renoir on local soil. These were moments that reinforced the Gallery as both a regional thought leader and an international must-visit.
Yayoi Kusama's Life is the Heart of a Rainbow, 2017. (Photo: National Gallery Singapore)
Colours of Impressionism: Masterpieces from the Musee d’Orsay in 2017. (Photo: National Gallery Singapore)
Minimalism took centre stage in 2018 with Minimalism: Space. Light. Object, the first exhibition of its scale in Southeast Asia. Featuring works by Donald Judd, Carmen Herrera, and Anish Kapoor alongside Southeast Asian contemporaries, the exhibition underscored the Gallery’s commitment to bridging East and West, past and present.
More recently, 2023’s Tropical: Stories from Southeast Asia and Latin America expanded the conversation even further, drawing parallels between two regions often seen as peripheral to the Western canon. The exhibition was hailed as groundbreaking for its comparative lens and bold scholarship.
Equally important have been the Gallery’s homegrown showcases. Something New Must Turn Up: Six Singaporean Artists After 1965 (2021) and the 2024 SG Artist Series dedicated to Cheong Soo Pieng, Teo Eng Seng, Kim Lim, and Lim Tze Peng deepened public appreciation of Singapore’s artistic journey. These shows emphasised that local art is not only about identity but also about innovation, experimentation, and personal expression.
“Together, these moments crystallised the Gallery’s dual identity,” said Tan. “We are both a leading platform for Southeast Asian voices and a home where Singaporeans can see their own stories reflected in art.”
Something New Must Turn Up: Six Singaporean Artists After 1965 in 2021. (Photo: National Gallery Singapore)
A CULTURAL BRIDGE
The Gallery’s ambition has always been to look outward as much as inward. Its partnerships with international heavyweights have positioned Singapore as a cultural interlocutor, bringing the world to Southeast Asia and Southeast Asia to the world.
“Our partnerships with institutions from Centre Pompidou to the Staatliche Kunstsammlungen Dresden have allowed us to co-create exhibitions and programmes that raise Singapore’s profile as a cultural hub,” Tan explained. “Increasingly, global peers now approach us to bring our expertise abroad, whether through co-curated projects or travelling exhibitions.”
Examples abound. Georgette Chen: At Home in the World travelled overseas, introducing the Singaporean pioneer to new audiences. Tropical: Stories from Southeast Asia and Latin America pushed curatorial boundaries abroad as much as at home. And in November, the Gallery will stage Into the Modern: Impressionism from the Museum of Fine Arts, Boston – the largest Impressionist exhibition ever held in Southeast Asia, with more than 100 masterpieces by Monet, Renoir, Cézanne, and Degas.
Hosting such a show signals not only the Gallery’s ambition but also the trust global institutions place in Singapore. “These collaborations establish Singapore as a cultural interlocutor and affirm the Gallery’s curatorial authority in shaping international discourse on Southeast Asian art,” Tan said.
Even the Gallery’s child-focused initiatives have found international resonance. Since its launch in 2017, the Gallery Children’s Biennale has inspired sister editions at Germany’s Staatliche Kunstsammlungen Dresden, the Groninger Museum in The Netherlands, and the Taoyuan Museum of Fine Arts in Taiwan. In this way, art becomes not just a national asset but a form of soft power, exporting Singapore’s vision of inclusivity and accessibility.
ART AS NATION BRANDING
For Tan, the measure of success is not only in blockbuster shows or international partnerships but in how deeply National Gallery Singapore resonates with its public. (Photo: CNA/Aik Chen)
In Singapore’s diplomatic toolkit, art has increasingly taken its place alongside traditional pillars like finance, technology, and trade. The Gallery’s exhibitions and partnerships are not just cultural milestones; they are exercises in nation branding.
“As Singapore positions itself as a cultural capital of Southeast Asia, the Gallery plays a central role,” Tan said. “We serve as a platform for Singaporean and regional artists, while fostering exchange with international institutions. In this way, art becomes both nation branding and soft power.”
That role is amplified by the Gallery’s physical presence. Housed in the Former Supreme Court and City Hall, the museum sits at the symbolic heart of the Civic District. The very buildings that once witnessed the Japanese surrender in 1945 now serve as a stage for Southeast Asia’s artistic narratives. It’s a powerful reminder of how culture and history intertwine.
LOOKING AHEAD
As the Gallery enters its second decade, its challenges will be as formidable as its achievements. Balancing the demands of scholarship with accessibility, navigating funding models, and sustaining international collaborations will require constant reinvention. Yet if its first 10 years are any indication, the Gallery is well placed to meet them.
For Tan, the measure of success is not only in blockbuster shows or international partnerships but in how deeply the Gallery resonates with its public. “As we celebrate this dual milestone, what matters most is that the Gallery continues to evolve alongside the people it serves,” he said.
Ultimately, the Gallery’s story is not only about curators, collections, or collaborations. It is about people: The visitors who step into its halls, the artists who find their voices amplified, and the nation that sees its own journey reflected in brushstrokes and sculptures.
The September gala may have sparkled with jewels, champagne, and record-breaking bids. But its true significance lay in what it symbolised: That a decade on, the Gallery has become a cornerstone of national pride, a mirror of Singapore’s identity, and a beacon for Southeast Asia’s artistic future.
Or, as Tan himself put it: “The Gallery has grown into a people’s museum – one that connects, reflects, and inspires. And as Singapore enters its next chapter, we remain committed to ensuring art is not just seen, but felt, by all.”
Continue reading...