If the 2000s were about growth, the 2010s were about consolidation and cultural confidence. The 2010s were a vibrant and exciting time for Singapore art, characterised by a flourishing of creativity and innovation. This decade saw the rise of a new generation of artists who embraced diverse mediums and themes, reflecting the complexities of contemporary life.
Entering the new millennium, Singapore art in the 2000s continued to build on the foundations laid in the 1990s. The "Renaissance City" plan (2000) further advocated for increased funding and development in the arts, aiming to foster even greater creativity and innovation. Most notably, Singapore launched its first Singapore Biennale in 2006, positioning the city-state as a regional hub for contemporary art. This international exhibition brought global artists to Singapore while showcasing local talent on a larger stage.
The 1990s brought about a wave of globalisation, and Singapore art was no exception, largely driven by significant government initiatives. As the government embraced the idea of a “Renaissance City,” significant investments were made in arts infrastructure. Singapore aimed to become a "Global City for the Arts." Following the 1985 economic recession, there was a recognition of the arts' value in national development. This led to the 1989 Report of the Advisory Council on Culture and the Arts (ACCA), which profoundly shaped cultural policy for the decade. The result? The establishment of the National Arts Council (NAC) in 1991 to spearhead cultural development and funding, a substantial increase in public funding for the arts, and the conceptualisation of major art infrastructure like the Esplanade – Theatres on the Bay. This decade saw the professionalisation of the local theatre scene and a surge in homegrown dramatic texts.
As Singapore’s economy grew and society modernised, so did its art. The 1970s saw artists pushing beyond the Nanyang Style. It was a decade of experimentation and a growing interest in contemporary art practices. Influenced by modernism, they began exploring abstraction, conceptual art, and new materials. The 1970s also witnessed the rise of performance art, with artists using their bodies as a medium to express social and political commentary. The focus also broadened from simply depicting the local to engaging with more critical political and cultural issues. You would find artists asking questions about what defined art itself and the circumstances of its creation. While formalism was still a keen focus for many (think about artists exploring the arrangement of colours and shapes, often influenced by international abstract movements), individual artists also ventured into more personal and symbolic expressions, particularly in Chinese ink painting. This was a time of dynamic shifts, setting the groundwork for more avant-garde explorations.
The 1960s was a defining decade for Singapore, not just politically (with independence declared in 1965), but also artistically. Naturally, Singapore art in the 1960s reflected this journey of self-discovery and nation-building. This was the era of the Nanyang Style, a unique visual language created by Chinese immigrant artists trained in both Western and Eastern techniques, which emphasised the use of local subjects and vibrant colours, reflecting the region’s tropical landscape. You would see works that celebrated Singapore's multicultural ethos, blending Chinese, Malay, and Indian cultural elements with Western techniques. Institutions like the Raffles Library and Museum (precursor to our modern museums) played a crucial role, hosting exhibitions and facilitating cross-cultural exchanges, nurturing a generation of artists inspired by both their heritage and newfound Western influences. During this time, the establishment of the Singapore Art Society in 1945 and the formation of the Nanyang Academy of Fine Arts (NAFA) in 1938 played crucial roles in nurturing local talent.
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