Last week, Singapore welcomed its third edition of Art SG at the Marina Bay Sands Expo and Convention Center, presenting a myriad of both international and regional galleries. Running from the 17 – 19 January 2025, this year’s fair was buzzing with international and local collectors alike, cementing Singapore as a prominent art capital in the region. With a diverse programme alongside the fair and a range of events held in conjunction with Singapore Art Week (SAW), the Singapore art scene has seen an exciting start to the year. Cassi Young, Global Fine Art Director at Art Works, shares her top 5 insights and observations on the fair.

 

1)        INTERNATIONAL PRESENCE 

This year saw the strong presence of prominent international galleries such as Gagosian, White Cube, Thaddaeus Ropac, and P.P.O.W. Alongside this was the significant number of international collectors and buyers, which could be seen as a positive indication of Singapore’s position within the global art scene. White Cube reported overall sales of $2.5 million, of which included George Baselitz's Mettere mano a – anfangen (2019) for $125,000 and Tunji Adeniyi-Jones’ Celestial Gathering (2024). The top sale of the fair, made by Cardi Gallery, was a Picasso colored pencil drawing titled Buste d’Homme à la pipe (1969) sold for $1.2 million.

 

 

Tunji Adeniyi-Jones (b. 1992), Celestial Gathering, 2024

 

2)        SPOTLIGHT ON REGIONAL TALENT

While there was a prominent international presence at the fair, it is also important to acknowledge the celebration of local and regional artists. This was particularly highlighted through Singaporean artist Khairulddin Wahab’s large scale installation piece titled, The Lands Below the Winds (2024). Presented by Cuturi Gallery, the piece’s sail shaped structure and nautical subject reflects Southeast Asia’s complex relationship with water, with its extensive coastlines, riverways, and archipelagos. The work weaves together a narrative of both historical geography and maritime history, exploring the boundaries of the water as both a barrier and a channel. With Khairulddin’s previous works predominantly focusing on the significance of land within the context of colonial history and the postcolonial condition, it is interesting to note the artist’s departure and evolution into the exploration of the intricacies of the sea. This multi-faceted approach provides a distinctly Southeast Asian perspective to approaching the topics at hand. The work was presented under the PLATFORM section, a programme that focuses on large, site specific installations and performances.

 

 

Khairulddin Wahab (b. 1990), The Lands Below The Winds, 2024

 

3)        POSITIVE ATTENDANCE ON PREVIEW DAY

Art SG started off strong with high attendee numbers on the preview day on the 16^th of January. In addition to the buzzing atmosphere, several galleries had reported sales from the first day, marking a positive start to the fair. In an article in The Straits Times, Wendy Xu, the managing director of White Cube in Asia, shared that there has been a shift in the behaviours of Singaporean collectors from a more “observational phase” two years ago to active buying. It has also been noted that sales were not as high as galleries may have anticipated, although this could be a reflection of the current global climate.

 

4)        PRESENTATION OF INTERNATIONAL ARTISTS

This year’s edition of Art SG saw the presence of a number of works by significant international artists by mega galleries. These included artists such as Amoako Boafo, represented by Gagosian, and Tunji Adeniyi-Jones and Antony Gormley, represented by White Cube. With Boafo’s position as a key artist in defining the contemporary culture of Africa and the African diaspora, Gagosian’s exhibiting of Green Suit (2019) was positive for both Art SG and collectors alike. Not only was it exciting for such works to be exhibited at Art SG, but the sale of pieces by such prominent artists also marks the development of Singapore’s place within the art ecosystem. There was also a celebration of artists such as Kim Lim, a Singaporean British artist whose works are currently on show in Kim Lim: The Space Between. A Retrospective, at the National Gallery. Bowman Sculpture, a sculpture gallery based in London, presented a piece by the artist titled, Trace I (1981), with Trace II (1982) currently on show at the retrospective.

 

 

Installation shot of the Gagosian booth at Art SG 2025

 

5)        PROGRAMME HIGHLIGHTS

Alongside Art SG, there were a diverse range of events and fairs open, from S.E.A. Focus, a Southeast Asian contemporary art fair, to a major Sotheby’s auction and major gallery and museum exhibitions. With Singapore Art Week (SAW) running from 17 – 26 January 2025, there was no shortage of events and exhibitions to visit. Many of the galleries held talks and presentations, adding a further layer of context and background to the works and artists. Additionally, Art SG presented a FILM programme, curated by Stefano Rabolli Pansera, Artistic Director of St Moritz Art Festival and Founding Director of Bangkok Kunsthalle and Khao Yao Art Forest. With regards to the Sotheby’s auction, a new artist record was achieved for Indonesian artist Christine Ay Tjoe with Lights for the Layer (2011) selling at a hammer price of SGD 2,940,000.

 

Christine Ay Tjoe (b. 1973), Lights for the Layer, 2011

 

INSIGHTS FROM THE ART WORKS TEAM

This year’s ArtSG had quite a few popular tech driven installations including works involving a VR headset by Filippo Minelli. Vibrancy and colour was also very apparent throughout. One piece that stood out for me for this reason alongside one of its themes of communal harmony was Celestial Gathering by Tunji Adeniyi-Jones. I was also pleased to see the intersection of sustainability, climate change and art, with Ruinart’s collaboration with the artist and naturalist, Marcus Coates and his “Nature Calendar” as well as Khairulddin Wahab’s installation, The Lands Below the Winds. There was a feeling of optimism around this year’s edition, despite obvious challenging global market conditions. It was wonderful to see everything from cutting edge emerging works to blue-chip artworks all in one space as well as local artists being supported alongside international representation from renown galleries. 

- Cash Siersma, General Counsel, Art Works Group

Installation shot of Marcus Coates in collaboration with Ruinart

 

The layout of this year’s Art SG meant that a lot of what I found most impactful was either textile pieces or sculptural. Marcos Kueh, who was showing with The Back Room gallery, was my stand-out favorite. The 4-piece installation depicting a Chinese Urn was a stunning centrepiece to the gallery’s booth and attracted attention from attendees looking to view the piece as a whole. Attendees weaved in and out of the textile posters making sense of the intricate detail and poignant message.

- Annie Teodorini, Head of Digital, Art Works Group

Marcos Kueh (b. 1995), Expecting, 2023

 

"Two of my favourite pieces were both works on paper, created with charcoal. The first, a large-scale piece by Robert Longo at Thaddaeus Ropac gallery, depicted a forest scene bathed in light—an image I found particularly striking. The second, a more minimal composition by Korean artist Lee Bae, was presented by Johyun Gallery. I noticed a strong presence of works on paper throughout the fair, aligning with market trends that have seen this medium grow in popularity among buyers in recent years." 

- Rob Willock, Marketing Manager, Art Works Group

Robert Longo (b. 1953), Untitled (In The Garden, Et in Arcadia Ego), 2009

 

“I enjoyed seeing more and more textile works at ArtSG, Marcos Kueh at The Back Room, Miya Ando’s PLATFORM installation with Sundaram Tagore and BAIK art gallery’s presentation of Mella Jaarsma, an artist dealing with female identity and the Netherlands’ colonial past in Southeast Asia.
For Singapore Art Week, Ari Bayuarji’s solo show at Mizuma is worth a visit, a very contemporary and eco-conscious take on textile art, referencing traditional Indonesian weaving but using found plastic “fibres”.” 

- Marie Deneux, Artist Liaison, Art Works Group

Miya Ando (b. 1973), Moon Ensō (Engessō 円月相), 2024

 

“There were three specific artists who caught my attention:

- Thandiwe Muriu; her optical effects are  mesmerising to me and I am excited to see a Kenyan artist showcasing in Art SG

- Antonio Santin’s "Alevosia"

- Sungmin Lee and his shadow play of engraved framed glasses 

I noticed there were a lot of artworks made on, or with, paper and a number of artworks which capture your attention by optical illusion, recalling back to OP art. I enjoyed this playful and tricky game approach the most. You look at many of the artworks exhibited at ART SG but they are not what you think they are. Visually and technically speaking. 

In terms of demographics I felt there was balance of local Singaporean collectors and buyers from around the world.” 

- Kseniia Coelho, Fine Art Advisor, Art Works Gallery

Antonio Santin (b. 1978), Alevosia, 2024

 

I enjoyed many art works at Art SG, one of the stand out works was an untitled piece by Sohan Qadi. A deep blue work on dyed paper pasted on canvas shown by the DAG Gallery. 

I also really liked an oil on canvas work, Facing the Sun by Li Jie shown by the Hofa Gallery which had an interesting of mixed media works being  displayed. Including an interactive work that created quite a crowd as it mirrored the people in front of it.

- Tom Woods, Fine Art Advisor, Art Works Advisory

Li Jie (b. 1985), Facing the Sun, 2024