Singapore Stories: Pathways and Detours in Art. National Gallery Singapore’s new long-term exhibition
Get a first look at Singapore Stories: Pathways and Detours in Art,
National Gallery Singapore’s new long-term exhibition
Visitors will get to explore the evolving identity in Singapore’s arts scene from the 19th century to the 1960s.

SINGAPORE, 28 November 2024 – National Gallery Singapore presents the first part of its new long-term exhibition, Singapore Stories: Pathways and Detours in Art in the revamped DBS Singapore Gallery, where masterpieces and new artworks from the National Collection will be presented alongside loans from private and institutional collections. The exhibition explores Singapore’s stories through art, showing how artists have used their artworks to reflect and respond to societal changes over time.
Featuring over 200 artworks and artefacts across four sections, the exhibition examines how artists created art while addressing themes such as colonialism, urban change, and globalisation – experimenting in both medium and expression, underscoring the dynamic evolution of Singapore art. It juxtaposes familiar narratives with fresh perspectives, encouraging visitors to consider new ways of looking at art and reignite the public’s imagination through the stories that artworks tell.
Dr. Eugene Tan, Chief Executive Officer and Director of National Gallery Singapore says, “The Gallery reaches a significant milestone with its 10th anniversary in 2025. This date also marks a decade since we launched Siapa Nama Kamu? Art in Singapore since the 19th Century, which introduced Singapore's modern and contemporary art to both local and international audiences. Our new exhibition, Singapore Stories: Pathways and Detours in Art, builds on this foundation to expand the narrative and deepen public appreciation of Singapore's art, artists, and artistic heritage. This preview offers a glimpse of our upcoming long-term exhibition, which will expand to fill the entire second level of the Gallery's City Hall Wing in July 2025 – just in time for Singapore's 60th birthday celebrations.”
Ms Karen Ngui, Head, DBS Foundation and DBS Group Strategic Marketing and Communications, says, “DBS has been a key part of Singapore’s story since 1968, when it was established as the Development Bank of Singapore to fund the nation’s development, and this sense of purpose continues to make us who we are today. We’re thankful for avenues like the DBS Singapore Gallery that preserve these meaningful chapters of Singapore’s journey, and are proud to support its mission to bring local art history to more in the community and pay homage to the artists who have shaped it over the years.”
The first part of Singapore Stories delves into Singapore’s art history from the 19th century to the 1960s, tracing pivotal historical moments including colonialism, and Singapore’s independence and urban development. This section celebrates key artists who embraced innovation, experimentation, and a search for identity during these transformative years. Featured artists include Chen Wen Hsi, Georgette Chen, Cheong Soo Pieng, Dora Gordine, Liu Kang, Annaratnam Gunaratnam, S. Mahdar, P. Ramlee, and more.
Dr. Seng Yu Jin, Project Director of Singapore Stories: Pathways and Detours in Art says, “This exhibition expands the narrative beyond just showing artworks to address themes such as class and labour, which were of great concern to the artists themselves. My team and I have tried to incorporate new entry points into visual culture, extending beyond painting and sculpture to include other disciplines such as graphic design, film, and literature. By including clusters of multiple works by individual artists, we bring focus to lesser-known artists and provide the room to rediscover familiar ones. For instance, we showcase Chen Wen Hsi’s versatility in representational and abstract styles through his oil and ink works, including Gibbons and Oasis.”
Pathways and detours through Singapore’s art
The first part of the exhibition is divided into four sections and opens with Market of the Tropics. This section portrays 19th-century Singapore as a vibrant hub for trade and cultural exchange. Visual depictions of Singapore in prints, paintings, and photographs emphasise Singapore’s colonial-era economic potential as a trading port and marketed its cultural diversity and image of a quiet fishing village as a tourist destination. Visitors can see rare posters that promoted the industrious railways connecting the region which served to entice tourists and market commercial exports such as tinned pineapples.
The second section, Community and Self, explores how local artists in Singapore embraced innovation and stylistic experimentation to tell diverse stories of individuals and communities. A unique feature of this section is a spotlight on moving images, showcasing Singapore’s vibrant local film industry. Visitors can sit on refurbished cinema seats and immerse themselves in excerpts from some of P. Ramlee's most beloved films, such as Pendekar Bujang Lapok. Such films, with their comedic tones, entertained audiences while exploring themes of class dynamics and the clash between tradition and modernity, offering an engaging blend of escapism and subtle commentary on urbanisation, poverty, and relationships.
The central section of the exhibition, Imagining Nation, invites visitors to reflect on what defines Singaporean art. It highlights works that explore themes of belonging and identity during a period of rapid societal change in the 1950s and 1960s. Art became a medium for negotiating personal and collective identities and reflected the everyday lives of those who made Singapore home. An example is Georgette Chen, whose iconic artwork Self Portrait embodies her personal journey and the determination she brought to the significant contributions she would make to art in Singapore. Other key works such as Liu Kang’s Working at the Brick Factory and Chua Mia Tee’s Workers in a Canteen foreground the image of the labourer, drawing attention to much-overlooked individuals who shaped modern Singapore.
Seeking Connections, the final section, explores how both physical travel beyond Singapore and exposure to diverse aesthetic sources shaped artists' styles and enriched Singapore’s artistic landscape. A centrepiece of Singapore Stories, Chen Wen Hsi’s monumental Gibbons (1977), measuring five meters in length, stands as a striking example of this influence. In preparation for its display in the first section of the DBS Singapore Gallery, the artwork underwent a meticulous 15-month conservation process at the Heritage Conservation Centre, funded by the Bank of America Art Conservation Project. Chen Wen Hsi’s spirit of innovation, experimentation and relentless pursuit of artistic identity is emblematic of the drive of many Singaporean artists from the 1950s through to the 1970s. His evolving style is further highlighted in Oasis (1972), a playful exploration of abstract forms through vibrant colours and shapes.
The story of abstraction, and how artists experimented with representation and form will continue with the full opening of Singapore Stories. Subsequent sections will trace how artists embraced diverse pathways as they charted their creative journeys.
Come explore Singapore Stories
The first part of Singapore Stories: Pathways and Detours in Art opens on 2 December 2024, with the full exhibition opening in July 2025. The new long-term exhibition boasts a broader footprint and new spaces across Level 2 of the Gallery’s City Hall Wing, including a new project space for smaller, more agile narratives, and a digital immersive space. Admission is free for Singaporeans and Permanent Residents, while general admission applies for other visitors. For more information, please refer to the attached annexes. Media assets are available through this link.
- Annex A: Singapore Stories: Pathways and Detours in Art Sections and Key Artworks
- Annex B: Singapore Stories: Pathways and Detours in Art Exhibition Programme
- Annex C: Phased closure and opening periods of DBS Singapore Gallery
Annex A: Singapore Stories: Pathways and Detours in Art Sections and Key Artworks
Singapore, a place for opportunity in the 19th century

The exhibition begins with Market of the Tropics, presenting 19th-century Singapore as a lively, dynamic hub for trade and cultural exchange. Through vivid prints, paintings and photographs, this section highlights Singapore’s economic potential as a thriving trading port and celebrates its cultural diversity – a reflection of the communities who had called Singapore home for generations, from merchants and Asian migrant workers seeking opportunities to European merchants and administrators who settled in Singapore.
These artworks, often idyllic and exotic, promoted Singapore as a desirable destination for tourism and commerce. John Turnbull Thomson’s The Esplanade from Scandal Point (1851) portrays a cosmopolitan Singapore with a thriving social and cultural scene from the perspective of the colonial administration.


New artistic expressions for self-representation and remembrance

New artistic expressions for self-representation and remembrance
The second section, Community and Self, invites visitors to explore ways Singapore’s diverse communities have historically represented themselves and reflect on how these creative expressions continue to shape identity and cultural expression today. As Singapore approached the 20th century, local artists explored new ways to represent the rich stories of local communities and individuals, driving innovation and stylistic experimentation across mediums. This can be seen in Portrait of a Woman (20th Century) by pioneer portrait artist Low Kway Song, which blends painting with photographic realism, creating an empathetic and sincere portrait that captures the individuality of the everyday Singaporean.

The 1930s also saw the emergence of Singapore’s film industry, as early moving images portrayed relatable stories of moral struggle, the search for identity, and the drama of everyday life the shared space of the cinema. This section introduces visitors to the vibrant local film industry where directors, set and graphic designers, actors, and musicians could come together to envision stories about their communities. Iconic filmmakers, including the household name, director and actor P. Ramlee, used films as a platform to comment on social issues, relationships, and the challenges of urbanisation, playing a crucial role in shaping narratives that could speak to both local and regional audiences. Visitors can immerse themselves in the rich discourse of social issues at the exhibition as they watch excerpts from some of P. Ramlee's most beloved films on refurbished cinema seats, gaining insights into the narratives and visual representations of Singapore that resonated with audiences of that time.

Tracing the evolution of calligraphy both as a form of art and a feature of Singapore’s urban landscape, the section features how artists explored various styles and forms that allowed them to tailor their works to suit different audiences and intended meanings. Alongside Chinese scrolls and commissioned signboards are calligraphic works in Jawi, a regionally specific language and writing system developed from Arabic. As advances in printing and typography emerged, artists and designers creatively adapted the printing of Jawi script, exploring their expressive qualities in popular formats such as film and fashion magazines.

What does art from Singapore look like?
The next section Imagining Nation invites visitors to reflect on what defines Singaporean art by exploring works that highlight the country’s unique people, landscapes, and cultures – subjects that allow artists to articulate their sense of belonging. This section also tells the stories of artists who journeyed to and made Singapore their home, enriching the local art scene with their diverse life experiences and artistic training. An example is Georgette Chen, whose iconic artwork Self Portrait embodies her personal journey and the determination she brought to the significant contributions she would make to art in Singapore.

Starting in the 1930s, specialised institutions and artist societies like the Nanyang Academy of Fine Arts, Persekutuan Pelukis Melayu Malaya (Society of Malay Artists of Malaya), and Singapore Art Society provided important infrastructure for emerging artists. They became vital spaces for learning, mentorship, and showcasing art. Alongside rapid societal change amid the quest for self-identity, Singapore’s vibrant artistic landscape allowed art to become a medium for negotiating personal and collective identities.

Embedded within this section is the updated Liu Kang Gallery, dedicated to pioneer Nanyang artist Liu Kang and featuring his contemporaries such as Lim Hak Tai, Tchang Ju Chi, and later generations of artists including Chua Mia Tee, S. Mahdar, and Wee Kong Chai. Liu was a founding member of the Singapore Art Society, the foremost society for artists in Malaya which welcomed artists of all ethnic backgrounds. Liu served as president from 1968 to 1978.


Notable works in this section include Liu Kang’s Working at the Brick Factory and Chua Mia Tee’s Workers in a Canteen, both depicting scenes of labour and expressing different visions of how art could engage with the reflection of everyday life. In a cluster showcasing the work of S. Mahdar, the allegorical drawing, Perjuangan di Malaya (Battle in Malaya) reflects his belief in art’s power to address societal concerns. Similarly, Wee Kong Chai’s Storyteller captures the lost vocation of storytelling, delving into the popular role of stories in creating shared narratives.
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One of several sculptural works on display, Annaratnam Gunaratnam’s Mavis connects with the broader theme of art as a means to reflect the rich stories of individuals in Singapore. One of Singapore’s pioneering female sculptors, Gunaratnam often showcased her work in Singapore Art Society exhibitions. Known for her meticulous attention to detail and masterful manipulation of material, the nuanced facial expression and delicate folds of Mavis are a testament to Gunaratnam’s expertise.

Singapore artists and regional connections

Seeking Connections, the final section, explores how both physical travel beyond Singapore and the exploration of diverse aesthetic sources were integral to shaping artists' styles. Tracing journeys such as a month-long trip to Indonesia in 1952 by Chen Chong Swee, Cheong Soo Pieng, Chen Wen Hsi, and Liu Kang, these explorations sometimes resulted in romanticised depictions of other cultures but also reflected a genuine desire to connect with the region. In the 1960s, informal collectives such as the Ten Men Group formed and championed travel as a key means of discovery and reflection, seeing it as a pivotal tool for artmaking. These engagements fostered a diverse blend of forms, subjects, and mediums that not only showcase the artists’ mobility but also underscore Singapore's close ties with the broader Southeast Asian region. This section invites visitors to explore how these connections influenced and enriched Singapore’s artistic landscape.
A master across style and medium, Chen Wen Hsi's expansive practice spans from representational and abstract styles across oil and ink. Chen’s spirit of innovation, experimentation, and relentless search for personal style and artistic identity through his art was emblematic of the drive of many artists in Singapore from the 1950s through to the 1970s.

Gibbons (1977), one of the centrepieces of Singapore Stories, is Chen’s largest artwork. It captures a contemplative scene of playful gibbons – a subject which the artist was most well-known for. The five-metre artwork underwent a 15-month conservation process at the Heritage Conservation Centre, funded by the Bank of America Art Conservation Project, in preparation for the reopening of the first section of the DBS Singapore Gallery.

Chen’s evolving style is further explored in Oasis (1972), which marks his concurrent exploration of abstract depictions through a playful composition of colours and shapes. Using tones of green, yellow, and white, Chen distils the essence of what appear to be cranes into geometric forms against a vast, swirling landscape. Gibbons (1977) and Oasis (1972) are testaments to Chen’s mastery of various mediums and artistic styles and the innovative spirit that local artists in Singapore during this period embodied. Oasis brings the first part of DBS Singapore Gallery to a close and serves as a link to the next part of the exhibition where new artistic languages and forms will be explored.
Annex B: Singapore Stories: Pathways and Detours in Art Exhibition Programme
Programme | |
Singapore Stories | In Dialogue with Teo Hui Min 11 am, Sat 7 Dec DBS Singapore Gallery 1, Level 2, City Hall Wing | Join co-curator Teo Hui Min for a tour of exhibition highlights followed by a conversation about some of the considerations behind developing the new display of Singapore art. |
Annex C: Phased closure and opening periods of DBS Singapore Gallery
| Closing Date | Opening Period |
DBS Singapore Gallery 1 | 8 April 2024 | 2 December 2024 |
DBS Singapore Gallery 2 | 2 December 2024 | July 2025 |
DBS Singapore Gallery 3 | 19 August 2024 | July 2025 |