Mr Low Sze Wee, Director, Curatorial, Collections & Education, National Gallery Singapore, shared with Rattana Lao (Modern Diplomacy) on the origin, expectation and reception of the Artist and Empire: (en) countering colonial legacy exhibition at the National Gallery Singapore.
Can you tell us about the rationale of Artist and Empire? Why do you bring all of these pieces to Singapore? What’s the meaning behind hosting such exhibition?
The complex and contested nature of the British Empire was reflected in the considerable public attention drawn by Tate Britain when it held the Artist and Empire exhibition in London in 2015. This was the first time in the United Kingdom that an exhibition had been mounted to examine the topic of Empire through the lens of art. Whilst some applauded Tate for tackling a sensitive topic, others criticised the show for not sufficiently highlighting the exploitative excesses of colonialism.
In deciding to hold the Artist and Empire exhibition in Singapore in 2016, the National Gallery Singapore was drawn to the show’s potential resonance with its audiences, given Singapore’s history as a former British colony. Our curatorial team adopted a different approach for Singapore. Using Tate’s main exhibition themes as a point of departure, we examined the topic from the perspective of the former colonies, particularly from the Asia-Pacific region.
The first aspect of our show examines key types of artworks created at the height of the Empire. Produced mainly by British artists or for British patrons, artworks like history paintings, and formal portraits helped justify imperialism and colonial expansion. Other artworks such as botanical or ethnographic paintings, were part of colonial endeavours to produce and exploit knowledge about the colonised worlds. Unlike the Tate Britain show, the Singapore exhibition juxtaposed such historical works with those by contemporary artists. Usually hailing from the former colonies, these contemporary artists often adopt a critical stance towards the legacies of colonialism in their own societies. Hence, their perspectives serve as useful entry points in understanding works from the past.
The second aspect of our show focuses on the rise of modern art movements in the waning years of the Empire as the colonies moved towards self-determination and independence. We took a comparative case study approach to look at how local artists in the colonies responded to the demands for national identity in the context of their own colonial experiences. Many of these works were created by local artists for local audiences, as reflected through their choice of subjects and forms of expressions.
The Artist and Empire exhibition in Singapore draws upon close to 200 works from international and regional collections as well as Singapore institutions. About 15% of the artworks came from the Tate’s 2015 exhibition.
What do you expect to get from this exhibition?
The locus of our exhibition has shifted from Britain to the Asia-Pacific region, with an emphasis on works from the former colonies of India, Australia, Brunei, Myanmar, Malaysia and Singapore. Through this, we hope the exhibition will generate greater discussion on the formation of national identities and their complex relationships with the colonial experience.
At critical junctures of the exhibition, contemporary artworks have also been included to intervene and critically examine the postcolonial condition. We hope that these juxtapositions help generate insights and dialogue in how we should relate to the past.
How has the public respond in Singapore been? Positive, negative or neutral toward “colonialism” as a theme? How do you think your exhibition help to change or challenge Singapore mindset?
The response to the exhibition has been encouraging. One of our goals was to generate deeper conversations and understanding of Southeast Asian art within a larger global context such as the colonial experience.
It is not possible to point to any one thing, place or person as representing the British Empire. As an entity that spanned so many centuries and regions, and affected the lives of millions of people, its rise and decline remains hotly debated. The Empire is, therefore, a complex idea which continues to change, even till today. What and how artists create are inevitably coloured by their subjective world views and agendas. In turn, the circulation of such visual images, whether through exhibitions or publications, affects how the Empire is imagined by the public. Through this exhibition, we hope visitors will look more deeply into art and realise the cultural specificities of art, and the power of art to change and shape perceptions. In this way, we gain a deeper understanding of our past and present.
What roles do art – and the National Gallery of Singapore – play in promoting education in Singapore?
Art helps to hone visual literacy, critical thinking and analysis. Hence, art education is a critical means with which to cultivate greater interest in the arts amongst our diverse audiences, especially the young.
The Gallery has a dedicated facility, the Keppel Centre for Art Education, which offers a wide array of experiential activities and programmes for our young visitors. We also have regular and special programming during the weekends and school holidays. All these are part of our efforts to nurture an interest in art among our young visitors.
We also want to foster a deeper understanding of Singapore and Southeast Asian art among our adult audiences. Hence, we also organise special programmes such as curator tours and art talks to accompany our exhibitions.
What do you think needed to be done in order to stimulate the art scene in Singapore? How do you see the trend for art?
There is a growing recognition that arts and culture play an integral role in building social bonds and identities. The fact that two significant national monuments have been transformed to establish Singapore’s largest public museum devoted to the visual arts is testament to this. However, in order for there to be a sustainable art scene in Singapore, the state cannot be the only driver of development. We need a more diverse arts eco-system that can cater to a wide range of audiences. This will need the support and active participation of many stakeholders from individuals to corporations and foundations.