Contemporary art in Singapore can be loosely described as a flexible art practice that breaks with modern art that had a traditional focus on specific materials and physical objects, embracing a more fluid and multi-disciplinary approach. Its flexibility comes from recognising that art is constituted by concepts, but this does not mean however, that art’s aesthetic dimensions can be eliminated.

In Singapore, contemporary art is rooted in the social transformation that took place during the 1970s and 80s. As a young nation, the focus then was on generating economic wealth, along with the pursuit of rapid urbanisation and technology. Urbanisation invariably resulted in entire communities being uprooted and relocated to high-rise housing which, in turn, led to a general weakening of societal and familial relationships. This resulted in a sense of displacement, and gave rise to issues of identity and alienation. In the context of these conditions, young Singaporean artists responded in diverse ways to ‘issues relating to the nature of art, and questions regarding the self in relation to social, cultural and environmental conditions’. By the mid 1980s, these artists began using a variety of new artistic techniques that were vastly different in their intent and approach compared with the abstract art forms of the preceding decades.

By 2000, Singapore was not only a global city, but an aspirational Global City for the Arts. The rise of art institutions such as the National Gallery Singapore, the Singapore Biennale, and the Singapore Art Museum have played foundational roles in interpreting and presenting the inter-regional diversity of social experiences. These institutions create cultural spaces dedicated to exploring both the similarities and differences within multicultural contexts through art.

In 1987 A group of Nanyang Academy of Fine Arts (NAFA) students staged a rebellion that reshaped contemporary art in Singapore. Dissatisfied with NAFA’s emphasis on naturalistic copying and the Nanyang School tradition, Salleh Japar, S. Chandrasekaran, and Goh Ee Choo boycotted their graduation show and instead organized their own exhibition, Quintet. The following year, they continued their defiance with another exhibition titled Trimurti, at the Goethe-Institute, marking a pivotal moment in Singapore’s contemporary art history. That same year, The Artists Village was formed. Despite the Quintet exhibition in 1987, art historian T.K. Sabapathy cautioned that “all too often each and every endeavour of developing new or alternative methods of making art, especially installation and performance, is invariably and unthinkingly attributed to the influence of the Village and/or Da Wu.” Nevertheless, 1988 is widely regarded as the watershed year in which contemporary art in Singapore took root, with the establishment of The Artists Village, founded by Tang Da Wu. The collective played a crucial role in shaping contemporary art in Singapore through performance, installations, and experimental practices. As contemporary art gained momentum in Singapore, it was meant to be provocative, interactive, and challenging. Meanwhile, both society and the media grappled with understanding the avant-garde and experimental works that had begun to emerge.

The growth of contemporary art in Singapore during this period was driven by a combination of factors, including institutional support, media recognition, visionary artists and collectives, and groundbreaking exhibitions. These elements provided the momentum that propelled contemporary art into the 1990s and beyond.

Singaporean visual artist Robert Zhao Renhui (b. 1983) works predominantly with photography but adopts a multidisciplinary approach integrating images with documents, objects, textual analysis, and media such as video. His decades-long practice delves into the intricate relationship between man and nature. He is the founder of the fictitious Institute of Critical Zoologists, a platform in which a wide variety of projects involve scientists, zoologists, conservationists, artists and various organisations. The projects of this organization aim to improve the practice of zoology and contribute conceptual advances to our knowledge and understanding of zoological studies.

Torijon Grassland is a photograph by Zhao depicting an individual concealed within the grass, wearing what appears to be a camouflaged cloak. Only a pair of binoculars, gazing into the distance, is visible. This work is part of the Abacus Art collection. It is based on actual recent development of composite materials, which have the ability to curve electromagnetic light waves, potentially facilitating the invention of ‘invisibility cloaks’.The human subjects search borders on voyeurism, in the natural animal habitats of forests and grasslands. In the process, the artist also questions the concept of ‘truth’ and ‘objectivity’ through the stories he presents to the viewer via the manipulated imagery he has created using the medium of photography.

Robert Zhao’s Seeing Forest, presented at the 60th Venice Biennale in 2024, aligns seamlessly with the overarching theme of Stranieri Ovunque – Foreigners Everywhere, which interrogates migration, displacement, and the tensions of identity across borders. ‘Seeing Forest’ by Zhao calls to take a second glance at the garden city of Singapore, it explores the alternate narrative of the island through secondary forests, which are forests regenerated through natural processes after significant human caused disturbances, displaying differences in structure and species composition compared to primary or virgin forests. The curatorial framework for Seeing Forest highlights how history, memory, humanity, and nature intertwine within these spaces, challenging the perception of rigidly controlled environments. A discarded rubbish bin, repurposed as a watering hole for migratory birds, symbolizes how transient presences—whether human or non-human—leave behind traces that impact ecosystems.

Other contemporary artists and collectives in Singapore have explored various facets of culture and globalization. Among them is :phunk studio, a collective that connects design, illustration, and installation to create a distinctive visual language reflective of Singapore’s multicultural landscape and the evolving globalized world.

Alvin Tan (b. 1974), Melvin Chee (b. 1974), Jackson Tan (b. 1974) and William Chan (b. 1973) are four Singaporean artists/designers that met in Lasalle-SIA College of the Arts, Singapore and came together in 1994 to form: phunk studio, a creative collective based in Singapore. Over the years the collective have propagated a visual signature that seamlessly blends and reinterprets their diverse influences such as traditional Chinese craft and folklore, Hong Kong pulp fiction, Japanese manga and otaku subculture, Western popular culture, art and design movements into a singular creative thought that reflects their multi-cultural identity, background and environment. Brought together by these common interests they constantly interrogate the concept of "universality" in the age of modern globalization.

Keong Ruoh Ling, a specialist in Southeast Asian Modern & Contemporary Art at Christie's Singapore, writes about :phunk studio and their style: ‘Decidedly cool and lithe, phunk exude, by way of personality and creation, an affable and essential sentiment that is both chic and cute. This is a sentiment also inherent in the art of Murakami Takashi and Nara Yoshitomo, arguably two of most celebrated contemporary artists of our time (and undoubtedly big inspirations to the quartet). It is perhaps phunk's nonchalance towards highbrow art history and art theory, and their self professed claim to be a ‘visual rock band' that ground their success story, making it plausible and believable.’

When asked in an interview about the distinction between being a designer and an artist, they responded: ‘There is not much difference in the creative process between our art and commercial design work. We do not distinguish between art and design. We like to explore, express and communicate our ideas through different mediums. Our projects span across art, design, publishing, fashion, music, film and interactive media. We like to blur the lines between art and design; creativity and commerce; craft and technology; east and west; fantasy and reality; control and chaos; love and hate; friendship and partnership; and audio and visual.’

Artists across Southeast Asia have responded to their own socio political landscapes with equal dynamism. In the Philippines, the late 1960s and early 1970s marked a turning point for contemporary art. It marks a departure from classical forms and the emergence of new artistic movements. At the same time, it was an era of significant social and political change, which artists responded to with innovation, critical discourse and experimentation with new materials and techniques. As a result, the groundwork was laid for a flourishing contemporary art scene that continues to evolve, reflecting the complexities of Philippine society and contributing to the global art landscape.

Alfredo Esquillo Jr (b. 1972 in Las Pinas City, Philippines) graduated from the University of Santo Tomas with a Bachelor’s Degree in Fine Arts in 1993. His practice examines individual, social, historical and communal identities, reimagining familiar representations to question how these viewpoints are constructed.

He remains deeply influenced by the Philippines’ successive generations of social- realist artists, both in formal devices and political commitment, through which a certain warping of reality is operated, influenced by sources as diverse as Filipino mythology—the country’s abundant visual culture—or its absurdist political milieu.

Esquillo Jr.’s highly precise and detailed paintings often incorporate figures and styles derived from the Catholic religious iconography present across the Philippines, merging seamlessly with the nation's consecutive episodes of colonization and foreign domination, always imagining a future free from this predicament. As is common in many Esquillo paintings, the narrative questions the ideas of mortality, faith and existence.

Thai artist Natee Utarit (b. 1970, Bangkok) is the most recent feature in the Abacus Capital corporate calendar for the year 2025. He began his artistic education at the College of Fine Arts (1987, Bangkok) before earning a degree in Graphic Arts from the Faculty of Painting and Sculpture at Silpakorn University (1991, Bangkok). His formal training was deeply influenced by Western art history and painting, a legacy of Silpakorn University, Thailand’s oldest art institution, which was established by an Italian sculptor commissioned by King Rama VI.

His work incorporates diverse metaphors and imagery to critically examine and question Western-dominant histories and their complexities in relation to Southeast Asian territories. Utarit’s intricate compositions invite reflection on the complexities of transnational identities, religious symbolism, and various aspects of personal and collective identity.

Natee Utarit’s recent solo exhibition (28. 09.2024 - 01.12.2024) at STPI Creative Workshop & Gallery in Singapore titled Natee Utarit – Déjà Vu: Buddha is Hiding, the exhibition features 40 works created in collaboration with STPI, showcasing innovative approaches to print and paper. In this series, Utarit imagines a hypothetical journey of Lord Buddha to the West.

“With this series made in collaboration with the STPI Creative Workshop, he invites the audience to discover overlooked stories and histories of the East, in order to weave a clear perspective of the world for ourselves,” says John Tung, Curator.

He also recently participated in a group exhibition, The Spirits of Maritime Crossing, showcased at the Palazzo Mangilli Valmarana in Venice, Italy (20.04.2024 - 24.11.2024). Alongside 60th International Art Exhibition, La Biennale di Venezia, as one of the collateral events. The exhibition was set within the neoclassical architecture of the Palazzo and featured works by artists such as Marina Abramović, Yee I-Lann, Priyageetha Dia, and others. It explored the ebb and flow of moving waters, symbolizing cultural exchange, migration, and displacement. In his large paintings, encounters reveal foreigners scattered across temples and piazzas. The interplay of time and space transports viewers to the days of the Serenissima and early Bangkok, bridging travelers that sought prosperity and sanctuary between Venice and Bangkok.