7 Gallery Shows to See During Singapore Art Week 2024

Elaine YJ Zheng, Ocula, January 10, 2024
Casey Tan, Muttnik (2023). Acrylic on canvas. 120 x 120 cm. Courtesy Cuturi Gallery.
The largest celebration of visual arts in Singapore returns this month with a monumental selection of exhibitions to see across Singapore Art Week (19–28 January 2024).
In addition to our recommended institutional offerings, we share seven exhibitions worth a visit at Singapore's galleries, including conceptual artist Heman Chong's solo presentation at STPI – Creative Workshop & Gallery, and Htein Lin's paintings on longyi (traditional Myanmar garb) at Richard Koh Fine Art.
Priyageetha Dia, Turbine Tropics (2023). Two-channel video (colour, sound). 11 min. Edition of 3 + 2 AP. Courtesy the artist and Yeo Workshop.

Priyageetha Dia & MaryantoArchiving Landscape
Yenn and Alan Lo Foundation (presented by Yeo Workshop), 63 Kim Yam Road
17–28 January 2024


Expect: two moving-image works exploring Southeast Asia's geopolitical and postcolonial landscape.


Located in a shophouse on Kim Yam Road, Archiving Landscape presents two moving-image works by artists Priyageetha Dia and Maryanto that address socio-political concerns in Southeast Asia through the shifting landscapes of its natural environments.


Dismayed by the ongoing pillaging of land and natural resources in his native Indonesia, Maryanto presents a documentary that centres on the active volcano Mount Merapi. Also exhibited are the artist's earlier monochromatic paintings and drawings that allude to a more sustainable future.


Priyageetha Dia's two-channel video TURBINE TROPICS (2023) draws compelling links between the extractivism of colonial plantations and our present-day digital era. For the artist, the appropriation of data perpetuates, in a new guise, the historical disenfranchisement of Southeast Asia's plantations.




Heman Chong, A History of Amnesia / Alfian Sa'at (2014). Acrylic on canvas. 61 x 46 x 3.8 cm. © Heman Chong. Courtesy the artist and STPI – Creative Workshop & Gallery.


Heman ChongMeditations on Shadow Libraries
STPI – Creative Workshop & Gallery, 41 Robertson Quay
17 January–10 March 2024


Expect: conceptual artworks reflecting on the ideological nature of libraries, publishing, and the circulation of information.


Recalling recent debates on data privacy and online censorship, Singapore-based conceptual artist Heman Chong presents a solo exhibition of nine bodies of work that reflect on how information is recorded, shared, and controlled.


Curated by e-flux founding editor Brian Kuan Wood, Chong's exhibition takes as its primary concern the physical sites and conceptual ideologies of the public library. Conceived as a labyrinth of ideas, the exhibition explores the library's different forms, audiences, and functions in order to probe deeper questions about the accessibility of data and information.


Heman Chong contemporary artist


Heman Chong




J. Jackson, A Group of Rangoon Coolies (c. 1868). Courtesy Gajah Gallery.

Customised Postures, (De)colonising Gestures
Gajah Gallery, 39 Keppel Road
19 January–18 February 2024


Expect: to find connections between colonial photography and contemporary art in Southeast Asia.


Curated by Dr Alexander Supartono, Customised Postures, (De)colonising Gestures is a group exhibition of modern and contemporary photographic practices that investigates how the camera informed the body language and representational politics of Southeast Asian colonial subjects.


Exhibited alongside photographs from Southeast Asia's colonial era are multimedia artworks by contemporary artists including Abednego Trianto, Ashley Bickerton, and Robert Zhao, who, the exhibition suggests, develop historical iconography and portraiture as decolonising gestures.

Teo Hui Min on 'Tropical' as Attitude

Julia Trybala, The Dance of Life, after Edvard Munch (2023). Oil on canvas. 137.5 x 290.5 cm (triptych). Courtesy Yavuz Gallery.

Julia TrybalaMetabolism
Yavuz Gallery, 9 Lock Road, 2–23
13 January–18 February 2024


Expect: paintings about bodies, interpersonal relationships, and femininity.


Julia Trybala uses painting to convey the physicality and emotional complexity of human existence. Her figures are typically female and depicted close-up, their body parts cropped and contorted, almost near enough for viewers to touch.


Unsurprisingly, the paintings in Metabolism, Trybala's first exhibition in Asia, continue to draw from the artist's personal experiences such as her conversations with family and friends. Trybala also references art history in her paintings—The Dance of Life, after Edvard Munch (2023), for instance, reinterprets Munch's classic painting of a screaming figure.


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