EXPERIENCE MODERN SOUTHEAST ASIAN ART
FACING PAGE
Chuah Thean Teng. Untitled (Two Malay Women and a Child). c. 1955. Batik. 101.5 x 72 cm. Gift of the Loke Wan Tho Collection.
Copyright in the content on this publication may also reside in persons and entities other than, and in addition to the Gallery. The Gallery seeks to share our artworks with as many people as we can. We are fully committed to respecting the intellectual property rights of others and always use our best efforts to obtain permission for artwork images used. Please contact us should you have any queries about this. Unless otherwise mentioned, all artwork images have been provided through the courtesy of National Heritage Board. Unless otherwise stated, all artworks featured are from the National Gallery Singapore collection. All information is correct at time of print. Every effort has been made to ensure the accuracy of information within this guide. However, changes are sometimes unavoidable and the Gallery reserves the right to make modifications to the programmes without prior notice. Please check www.nationalgallery.sg to confirm details closer to each event. The views and opinions expressed by speakers, facilitators and docents at the workshops and tours do not necessarily represent the position of the Gallery. This brochure is published by National Gallery Singapore. All rights reserved. Materials in this publication may not be reproduced in part or in whole without written consent of the Gallery.
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CONTENTS
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FOREWORD
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ABOUT US
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BUILDING H I S T O RY
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OUR PERMANENT GALLERIES
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OUR SPECIAL EXHIBITION GALLERIES
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A R T E D U C AT I O N & PROGRAMMES
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ART RESEARCH & PA R T N E R S H I P
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SUPPORT T H E G A L L E RY
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The curved veil at an entrance of the Gallery between the two monuments. ©Fernando Javier Urquijo / studioMilou singapore
ABOVE
Mohammed Abdul Kadir (S. Mohdir). Sandiwara (Theatre). 1964. Oil on masonite. 50.5 x 70 cm. Gift of the Loke Wan Tho Collection.
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FOREWORD
TH E G ALLE RY IS ABOUT EXPERIENCING ART A milestone that has been years in the making, National Gallery Singapore is a visual arts institution that bridges the past and the present. It is housed in two of Singapore’s most historic buildings and oversees the largest collection of modern art in Southeast Asia. Our focus is on the art that has shaped this region, but our outlook is resolutely global. Through collaborative research, education and exhibitions, we aim to highlight the importance of modern art in Southeast Asia in a wider, international context. Our two permanent galleries, DBS Singapore Gallery and UOB Southeast Asia Gallery will excite and inspire visitors with the art of Singapore and Southeast Asia, while our changing exhibitions at the Singtel Special Exhibition Gallery will enable visitors to better understand their connections with art from other parts of the world. The Gallery’s engagement with its audience however, extends far beyond these spaces. The Keppel Centre for Art Education is the first dedicated art education facility of its kind in Singapore and the region. Visitors can also enjoy outdoor art at the Ng Teng Fong Roof Garden Gallery and a vibrant line-up of programmes throughout the year ranging from film screenings to performances, artist workshops and talks. Overtime, the National Gallery hopes to strengthen Singapore’s role as a leading regional and international destination for the visual arts.
Ms Chong Siak Ching
Dr Eugene Tan
CHIEF EXECUTIVE OFFICER
DIRECTOR
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ABOUT US
A B O U T N AT I O N A L GALLERY SINGAPORE National Gallery Singapore is a new visual arts institution which oversees the largest public collection of modern art in Singapore and Southeast Asia. Situated in the heart of the Civic District, two national monuments—City Hall and former Supreme Court— have been beautifully restored and transformed into this exciting venue. At an impressive 64,000 square metres, its total floor area matches the scale of established museums such as Musee d’Orsay (France) and Tate Modern (UK). Reflecting Singapore’s unique heritage and geographical location, the Gallery will feature Singapore and Southeast Asian art from Singapore’s National Collection in its permanent and special exhibitions. The Gallery will also work with international museums to jointly present Southeast Asian art in the global context, positioning Singapore as a regional and international hub for the visual arts.
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Lee Boon Wang. Before the Moment of Painting. 1959. Plaster of Paris. 82 × 26 × 25 cm. FACING PAGE
Chua Mia Tee. National Language Class. 1959. Oil on canvas. 112 × 153 cm.
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D R AW I N G O N OV E R
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A R T WO R K S , I T OV E R S E E S T H E L A RG E S T CO LLE C T I O N O F M O D E R N A R T I N SO U T H E A S T A S I A .
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We want our visitors to engage with great works of art from the moment they walk through our doors, not only through our exhibitions but also our programmes and facilities.
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Courtroom 3 of the former Supreme Court, now Gallery 7 of the UOB Southeast Asia Gallery. @ Darren Soh RIGHT
Padang Atrium and link bridges
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BUILDING HISTORY
CITY HALL BUILDING HISTORY The City Hall and former Supreme Court buildings have borne witness to many pivotal events in Singapore’s history. Landmarks of our colonial past and journey to independence, they were gazetted as national monuments in 1992. It was in the City Hall building that Admiral Lord Louis Mountbatten accepted the surrender of the Japanese forces on 12 September 1945. This officially ended the Japanese occupation of Southeast Asia during the World War II. It was also here that Lee Kuan Yew was sworn in as Singapore’s first Prime Minister. He took the Oath of Allegiance and the Oath of Office in City Hall Chamber alongside members of his cabinet on 5 June 1959. A seat of power, its historic rooms have been occupied by various government departments including the Prime Minister’s office, the Ministry of Culture and the Ministry of Foreign Affairs.
C I T Y H A LL WA S B U I LT B E T W E E N
1926 1929 AND
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ABOVE
Skylight over Singapore Courtyard. ©Fernando Javier Urquijo / studioMilou singapore NE XT PAGE
National Gallery Singapore façade © MCCY
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BUILDING HISTORY
SUPREME COURT BUILDING HISTORY An icon of the Civic District, the imposing copper-green dome of former Supreme Court stands out amidst the landscape of modern Singapore. The last grand neoclassical building constructed during Singapore’s colonial era, a row of 28 Corinthian columns and a tympanum depicting the Allegory of Justice front its façade. Visitors can now soak in the rich history and architecture of the building on a self-guided or docent-led Building History Highlights tour. These tours will lead them through hallowed halls to spaces that have been meticulously restored such as Courtroom 1, the Chief Justice’s Office and Chamber and the stately Rotunda. Originally a law library, the Rotunda’s cabinets now house archival materials that can be read at leisure. Once the highest court in the land, former Supreme Court continues to hold a prime place in Singapore’s history. Prime Minister Lee Hsien Loong announced at the National Day Rally in 2005 that the former Supreme Court and City Hall buildings would be converted into the new National Gallery Singapore.
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THE FORMER SUPREME COURT WAS BUILT BET WEEN
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BUILDING HISTORY
THE BUILDINGS’ T R A N S F O R M AT I O N The design for National Gallery Singapore elegantly integrates the historical City Hall and former Supreme Court buildings with contemporary architecture. A renewed icon for the 21st century, it maintains a masterful balance between heritage and modernity. studioMilou Architecture in partnership with CPG Consultants Pte. Ltd won the two-stage international design competition for the Gallery in 2007, edging out 111 entries from 29 countries worldwide with their bold vision. A sculptural canopy made from gold filigree aluminium and glass veils an entrance to the building and continues to the roof, forming a marquee that provides protective shelter and bathes the Padang Atrium in filtered, natural light. Two sleek link bridges in this main atrium connect City Hall and former Supreme Court buildings with minimal interference to the original architecture. The space, integrated at roof level and complemented by the steel tree-like structures that support the canopy, resembles a civic plaza in the sky. Previously an empty space, the rooftop is now a stunning art and dining destination. A key attraction is the Ng Teng Fong Roof Garden Gallery, which presents a series of outdoor artworks against a canvas of lush greenery. This sits alongside restaurants and bars, two reflection pools and a public viewing deck inviting visitors of all ages to enjoy the panoramic views.
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Link bridge connecting the buildings. FACING PAGE
Supreme Court Terrace bathed in light. Š Darren Soh
A renewed icon for the 21 century the National Gallery maintains a masterful balance between heritage and modernity.
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OUR PERMANENT GALLERIES
The heart of the Gallery’s research efforts lies in its two core galleries, the DBS Singapore Gallery and the UOB Southeast Asia Gallery. These feature long-term displays of Singapore and Southeast Asian art from the 19 th century to present day.
FACING PAGE
Georgette Chen. Bananas in a Basket. c. 1953 – 1955. Oil on canvas. 55.3 × 46.6 cm. Gift of estate of Georgette Chen Liying.
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OUR PERMANENT GALLERIES
S I A PA N A M A K A M U? A R T I N S I N G A P O R E S I N C E T H E 19T H C EN T U RY “Siapa Nama Kamu?” means “What is your name?” The inaugural long-term exhibition of the DBS Singapore Gallery poses this question, inviting visitors to consider how art may relate to issues of self and community, and what it means to look at Singapore through its art. Siapa Nama Kamu? weaves together a rich and captivating narrative of artworks in a broadly chronological sequence, covering Singapore’s art history from the 19th century to the present day. Drawing on close to 400 works, it explores the influences and practices that have shaped and transformed Singapore art. Each artwork provides insights into why and how an artist responded to his surroundings and circumstances. Taken as a whole, the wide range of artworks reflects the complexities involved in telling this extensive story.
T R O P I C A L TA P E S T R Y: 18 8 0 s – 19 3 0 s
From 1819, sojourners and settlers began to arrive at the shores of this young British colony bringing with them different artistic traditions. Their impressions of this island located within Southeast Asia ranged from natural history drawings to portraits and landscapes. These early materials highlight how Singapore came to be imagined through its people and places. By bringing these diverse materials together, this section sets the stage for the rise of modern art in Singapore by the 1930s.
N A N YA N G R E V E R I E : 1 9 3 0 s – 1 9 7 0 s
It was the wave of artists that arrived in the 1920s and 1930s that began to shape the development of art in Singapore. Schooled in different artistic traditions and in different parts of the world—Shanghai, London, Paris—they brought a fresh perspective and renewed focus to local subject matter. Amongst them were Chen Chong Swee, Chen Wen Hsi, Cheong Soo Pieng, Liu Kang and Georgette Chen who laid the foundations for the Nanyang school. Widely seen as the first Singapore art movement, it was marked by its indigenous subject matter and innovative use of traditional techniques like batik. In stark contrast to the tumultuous developments in Singapore and the world, the Nanyang school broadly presented an idealised vision of local identity and place.
FACING PAGE
Georgette Chen. Self Portrait. 1946. Oil on canvas, 22.5 × 17.5 cm. Gift of Lee Foundation.
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OUR PERMANENT GALLERIES
R E A L C O N C E R N S : 19 5 0 s – 1970 s
In the wake of raging anti-colonial movements in Malaya after World War II, the belief that art had the power to effect social change flourished. As artists of a new generation questioned their identity during this time of upheaval, it became apparent that artworks showing idyllic views of Singapore were insufficient. These artists asked themselves: For art to serve a social purpose and have an impact on people’s lives, who and what should be depicted, and how? Art took a turn towards realistic depiction, exposing the social inequalities of the time. ABOVE
Ong Kim Seng. Drunkard. 1977. Watercolour on paper. 38 × 56 cm. Gift of the artist. FACING PAGE
Choy Weng Yang. Horizontals 1. 1977. Oil on canvas. 92 × 92 cm. Gift of the artist.
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Nanyang art is connected to the arrival of Chinese migrant artists during the 1920s and 1930s
N E W L A N G UAG E S : 19 6 0 s – 19 8 0 s
With Singapore gaining independence in 1965, artists shifted their focus to the country’s modernisation. A new artistic language—abstraction—came to the fore. Many of these artists had studied in places like New York and London and sought to align themselves with the emerging international movement of the time that rested on abstraction. These artists did not seek to reproduce physical reality, but relied on form, colour and texture to convey meaning and emotion in their art.
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OUR PERMANENT GALLERIES
T R A D I T I O N U N F E T T E R E D : 19 4 0 s – 19 8 0 s
There is a fine line between the past and the present. Tradition in art can be a creative source but also a burden. The development of Chinese ink in Singapore is a story of continuity but also of transformation. For much of the 20th century, migrant scholars and artists had been teaching calligraphy and ink painting to a younger generation. Together, these artists strove to express local subject matter in their work. Over time, what emerged was “Singapore ink”—a distinct strand that integrated the aesthetic legacies of Chinese ink with Western art techniques.
S H I F T I N G G R O U N D S : 19 8 0 s – P R E S E N T
Artists sought to break free from conventional presentation in museums and galleries in the 1980s. Radical performances in public spaces, gathering of scavenged materials and site-specific installations heralded new approaches to art. Artists shifted their focus to examine not only how art was produced but also consumed by the public. Avant-garde collectives fostered the exchange and development of ideas, leading us to question: “What is, or could be art?”
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Tan Swee Hian. Night Kites. 1988. Chinese ink and colour on paper. 181 × 98 cm. ABOVE
Amanda Heng. Another Woman. 1996. C-Print. 75.4 × 100.9 cm.
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OUR PERMANENT GALLERIES
B E T W E E N D E C L A R AT I O N S & DREAMS ART OF SOUTHEAST ASIA SINCE THE 19TH CENTURY Between Declarations and Dreams, the inaugural long-term exhibition of the UOB Southeast Asia Gallery, traces the development of modern art in the region. If Southeast Asia can be characterised by one thing, it is change. A meeting point for major civilisations, religions and colonial powers, it has experienced a tumultuous social and political history, marked by a complex relationship between local traditions and influences from the West.
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Southeast Asian art is characterised by negotiations between the region’s traditions and modernity...
Featuring about 400 works, many on public display for the first time, it looks at how artists have expressed changing historical, ideological and political tides. The story begins in the 19th century, when most of Southeast Asia was under colonial rule, and continues through to the birth of nations and beyond.
BELOW
Nguyen Van Nhan. Grande tenue de la Cour d’Annam (Official Dress of the Court of Annam). 1902. Watercolour on paper, bound into linen-covered album. 23.6 × 31.8 × 1.5 cm.
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A U T H O R I T Y & A N X I E T Y: 19 T H T O E A R LY 2 0 T H C E N T U R Y Drastic cultural and political changes swept through the region in the 19th century. Most significant amongst these was the rise of European colonial powers, and the subsequent influence of Western art on local forms of visual expression. Some artists and artisans began to use new tools, styles and genres of art which signalled a conceptual break with tradition and reflected the beginning of the modern. This shift affected different areas of image making. On display in this section of the exhibition are works that exemplify this range—from works of fine art like oil paintings to other images like prints, photographs, illustrations and maps.
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Juan Luna. España y Filipinas (Spain and the Philippines). 1884. Oil on canvas. 229.5 × 79.5 cm. FACING PAGE
Galo Ocampo. Dancer. 1946. Oil on canvas, 94.4 x 74 cm. 28
Wakidi. Ngarai Sianok (Silent Canyon). c. 1940s. Oil on canvas. 85 × 145 cm.
OUR PERMANENT GALLERIES
The theme of imagining self is also significant in this period, especially regarding the consciousness of the identity of the artist.
I M AG I N I N G C O U N T RY & S E L F: 19 0 0 s – 19 4 0 s
By the 1920s, the consolidation of colonial rule was complete for most parts of Southeast Asia. As a result, paintings of picturesque landscapes became more popular. These showed the land uninterrupted by challenges to authority. The growth of art schools and institutions led artists to develop a stronger sense of professional identity. A new visual language emerged from the synthesis of local and Western styles and techniques. Breaking new ground, two of the key innovations of this time were silk and lacquer paintings in Vietnam. Concurrently, some artists began to react against academic convention by exploring “new” and “progressive” ways to represent their realities.
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OUR PERMANENT GALLERIES
M A N I F E S T I N G T H E N AT I O N : 19 5 0 s – 1970 s
The rapid succession of wars—from the aftermath of World War II to the outbreak of the Cold War—had far-reaching consequences in the region. Power dynamics shifted, the struggle for independence intensified, and art became increasingly politicised. A new generation of artists used their work as a rallying cry. They turned away from idealism to more realist depictions, drawing on this authenticity to incite patriotism and social change. At the same time, artists were eager to be a part of the international trend of abstract art. They explored formal concerns such as colour, shapes and composition, whilst other artists simultaneously turned to their roots for inspiration, investigating local traditions, materials and subject matter.
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R E : D E F I N I N G A R T: 19 70 S A N D A F T E R
Art entered a new era in the 1970s. Avant-garde experiments proliferated across the region, transforming the ways in which art was made, displayed and received. Critical responses towards certain political regimes, the Cold War and Vietnam War, and consumer capitalism led artists to challenge existing accounts of history. They started making art that offered bold alternative interpretations of the past, and embraced interdisciplinary approaches to convey their complexity. This expanded the field beyond painting and sculpture to photography, video, performance and site-specific participatory events.
ABOVE
Manit Sriwanichpoom. Shocking Pink Collection. 1998. Duratrans prints in light boxes. 150 Ă— 100 cm each. FACING PAGE
Chua Mia Tee. Epic Poem of Malaya. 1955. Oil on canvas. 112 Ă— 153 cm.
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OUR PERMANENT GALLERIES
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Raden Saleh Boschbrand (Forest Fire) 1849 Oil on canvas 300 × 396 cm Adopted by the Yong Hon Kong Foundation
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OUR SPECIAL EXHIBITION GALLERIES
The Gallery constantly seeks to introduce new works to the public through its special exhibitions. In 2015 and 2016, these include exhibitions of works by Chinese master Wu Guanzhong at the Wu Guanzhong Gallery, and Singapore’s leading ink painter Chua Ek Kay at the Level 4 Gallery. There will also be co-curated exhibitions with major international arts institutions such as Centre Pompidou Paris and Tate Britain at the Singtel Special Exhibition Gallery.
FACING PAGE
Wu Guanzhong. Kites Seen Again. 2003. Ink on colour and paper. 61 × 46 cm.
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OUR SPECIAL EXHIBITION GALLERIES
W U G UA N Z H O N G : B E AU T Y B E YO N D F O R M 吴 冠中：大 美 无 垠 The Wu Guanzhong Gallery is named in honour of a significant gift of works by Wu to Singapore. This collection is the largest holding of his works on public display, and is one of the most valuable art donations ever presented to a museum in Singapore. Through its exhibitions, the Wu Guangzhong Gallery aims to be a platform for examining Wu’s practice within the broader context of ink aesthetics and world art history. Its inaugural exhibition Wu Guanzhong: Beauty Beyond Form covers over 50 years of his career. The show features both oil and ink works, many of which will be on display for the first time in Singapore. Wu (1919 – 2010) was a major advocate and forerunner of synthesising Chinese art and Western modernism. This show highlights his proficiency in both Chinese and Western art traditions, and his distinctive contribution to the discourse of modern Chinese painting. “To indigenise oil painting and to modernise Chinese painting,” he said, “are two sides of the same face.” Wu Guanzhong: Beauty Beyond Form is featured at the Wu Guanzhong Gallery
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Wu Guanzhong. Pines Upon the Yulong Mountains. 1997. Ink and colour on paper. 136.9 × 68.9 cm. Gift of the artist. FACING PAGE
Chua Ek Kay. After the Rain. 2004. Chinese ink and pigment on paper. 244 × 120 cm. Collection of Singapore Art Museum.
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C H U A E K K AY: A F T E R T H E R A I N 蔡逸 溪: 雨后 Chua Ek Kay (1947 – 2008) was one of Singapore’s leading ink painters. His first show, in 1988, was a success, and within two decades of becoming a full-time artist, he enjoyed a level of acclaim that few other artists in Singapore had. After the Rain is a reflection of Chua’s artistic journey. He had a clear affinity with water, often referring to watery reflections, lotus ponds or rain in his paintings. Water also alludes to the potential for growth and renewal after adversity, which is a reflection of Chua’s artistic journey. It reminds us that although his practice has come to an end, his paintings have an afterlife, inspiring and captivating future audiences. This exhibition commemorates the significant donation of 38 works by the artist’s family to the National Collection in 2010 – 2011. Chua Ek Kay: After the Rain is featured at the Level 4 Gallery 37
SPECIAL EXHIBITIONS
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OUR SPECIAL EXHIBITION GALLERIES
NG TENG FONG ROOF GARDEN GALLERY The roof garden exhibition space located at Level 5 of the City Hall Wing commemorates the partnership between National Gallery Singapore and the family of the late Ng Teng Fong, founder of Far East Organization. Spanning 3,000 square metres, this outdoor space features the annual Ng Teng Fong Roof Garden Commission series. By taking exhibitions out of typical gallery spaces, it challenges artists to create thought-provoking pieces to be showcased against a canvas of lush greenery. The first Ng Teng Fong Roof Garden Commission will be created by Danh Vo as part of the Gallery’s Imagining Southeast Asia programme. This programme will feature annual site-specific commissions by leading artists that relate to the curatorial narratives of the museum’s collection and exhibitions.
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The large garden on the rooftop of City Hall. ©Fernando Javier Urquijo / studioMilou singapore
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A R T E D U C AT I O N & PROGRAMMES
The Gallery creates an expansive environment for visitors to enjoy and engage with art. The first dedicated art facility of its kind in Singapore and the region, the Keppel Centre for Art Education puts creative learning at the forefront. A vibrant mix of programmes also offers the opportunity to gain new perspectives and insights on art.
Bold Thick!
BE I N YO U R S T RO K E S , L AY T H E PA I N T O N
— C H EO N G S O O P I E N G TO H I S S T U D E N T S
FACING PAGE
Project Gallery at Keppel Centre for Art Education 41
A R T E D U C AT I O N & P R O G R A M M E S
ABOUT KEPPEL CENTRE F O R A R T E D U C AT I O N Discover art through imaginative play. The first dedicated art facility of its kind in Singapore and the region, the Keppel Centre for Art Education offers a dynamic environment that will stimulate children’s creativity and curiosity. Four vibrant spaces were conceptualised by the Gallery’s educators in collaboration with artists to introduce the theme of Homes: Past, Present and Future. Art Corridor features Voyage, an interactive artwork by Twardzik-Ching Chor Leng inspired by typographical maps and the waterways of Singapore. It encourages young visitors to explore colours, shapes and lines through tactile play.
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Discover art through active play
At Art Playscape, The Enchanted Tree House by Sandra Lee is inspired by the idea of “entering a painting”. The fantastical play area excites and engages through different adventure trails into a forest with a magical treehouse and a labyrinth. Providing a hands-on experience, Project Gallery fosters learning through making. Tan Wee Lit has created an immersive environment enlivened with hanging artworks inspired by future homes, from spaces in the sky to ones that travel with you. Children’s Museum takes young visitors into the artist’s studio. Visual Dictionary by Milenko Prvacki provides a close-up look at the artistic process and gives them a chance to handle his tools and materials.
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A R T E D U C AT I O N & P R O G R A M M E S
PRE VIOUS PAGE
Discover art through imaginative play at the Art Playscape. ABOVE
The Arts Fission Company
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E NG AG ING OUR AUDIE NCE S THROUGH PROGRAMMES A series of innovative programmes with artists, curators, and other creatives in the field take art beyond the Gallery’s walls. These programmes range from panel discussions and talks, to participatory events like artist-led workshops and guided tours. Gallery After Hours feature live music and other performances for visitors who simply want to kick back and unwind. In addition to regular programming, thematic festivals offer a diverse line-up of activites for all ages, reaching out to families, youths and various cultural communities. The Gallery will also work with specific community groups including visitors with special needs, underprivileged children, youths at risk and seniors.
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ART RESEARCH & PA R T N E R S H I P
Partnerships with leading arts institutions around the world facilitate discourse and allow for sharing and exchange of resources and expertise. The Gallery is pleased to have lent five key works from the National Collection to the Fukuoka Asian Art Museum for its special exhibition The Birth and Development of Singapore Art from 29 March to 26 June 2012. The loan included two important paintings, namely, Lim Hak Tai’s Composition (1955) and Cheong Soo Pieng’s Indian Men with Two Cows (1949). The exhibition provided a rare opportunity for Japanese audiences to see early works by artists such as Cheong and Lim. It also commemorated the signing of a Memorandum of Understanding (MOU) between the Gallery and Fukuoka Asian Art Museum, where both institutions pledged to partner and collaborate on various curatorial and programming projects. To date, the Gallery has signed a number of important MOUs with leading international partners including the Tropenmuseum in the Netherlands, National Museum of Modern Art, Tokyo, Vietnam Fine Arts Museum and National Art Museum of China.
The mutual support between our museums will create opportunities for the presentation of our collections and exhibitions for international art lovers and practitioners, opportunities that will in turn generate greater understanding of Asian cultural values and the role of Asians in world history. – KURODA RAIJI, Fukuoka Asian Art Musuem Chief Curator
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ABOVE
Cheong Soo Pieng. Indian Men with Two Cows.1949. Oil on canvas laid on masonite. 75.3 × 104.5 cm. Gift of Loke Wan Tho Collection.
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SUPPORT THE GALLERY
Your support is crucial in fulfilling the Gallery’s vision of being the authority for art in Southeast Asia. It will enable us to build a world-class collection, pioneer original research and develop inspiring exhibitions and programmes for audiences in Singapore, the region and from around the world. National Gallery Singapore welcomes your support, whether as a corporate, foundation or individual. There are various ways to contribute, from naming opportunities and exhibition sponsorship to art adoption, the annual Patrons’ programme and volunteering your time. As an Institution of Public Character, your gift to National Gallery Singapore is eligible for a tax deduction in line with prevailing IRAS (Inland Revenue Authority of Singapore) guidelines. INSTITUTIONAL GIVING
The Gallery’s exhibitions and programmes provide a valuable platform to enhance corporate identity while giving back to the community. Sponsorship opportunities are available across various levels, and offer benefits including extensive brand exposure and a chance to engage clients and beneficiaries through guided tours and events in the Gallery’s unique spaces. INDIVIDUAL GIVING
There are many ways in which individuals can support the Gallery’s work, from making an annual cash contribution to donating an artwork to National Gallery Singapore. Your donation could be recognised in your name, or that of a loved one, to leave a legacy for the family name. If you would like to learn more on ways to give, please contact supportus@nationalgallery.sg. VO L U N T E E R AT T H E G A L L E RY
If you are passionate about art, join us as a Best Friend of the Gallery (BFG). Choose from a wide range of opportunities from engaging with visitors in the galleries to supporting the research efforts of the Gallery’s curatorial and education departments. If you would like to join us as a Best Friend of the Gallery, please contact BFG@nationalgallery.sg
FACING PAGE
Yusman Aman. Joy of Living 1. 1973. Batik. Gift of Times Publishing Ltd. 49
SUPPORT THE GALLERY
C O R P O R AT E PA R T N E R S National Gallery Singapore would like to thank our partners for their generous support.
FOU N D I N G PA R TN E R S
D E V E LO PM E NT PA R TN E R
I N N OVAT I O N PA R T N E R
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SUPPORTED BY
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