The National Gallery Singapore recently welcomed a group of foreign journalists from Southeast Asia to explore its rich heritage and experience firsthand how the 64,000-square-metre venue serves as a catalyst for creativity and inclusivity.
Located in the historic Civic District, the Gallery occupies two national monuments – City Hall and the former Supreme Court – that have been meticulously restored and repurposed into a vibrant cultural hub.
The visit was part of the Journalist Visit Programme (JVP) titled “Driving Towards a Sustainable and Resilient Singapore”, organised by the Singapore International Foundation (SIF) from June 3-6.
During their time at the Gallery, the journalists had the opportunity to explore various gallery rooms and engage with exhibits curated by skilled gallery staff.
Representatives from several ASEAN countries, including Cambodia, Indonesia, Laos, Malaysia, the Philippines, Thailand, and Vietnam, participated in the programme.
As a leading institution in the visual arts landscape, the Gallery boasts the world’s largest public collection of Singaporean and Southeast Asian modern art.
With a focus on fostering dialogue and understanding between Singapore, Southeast Asia, and the global community, the Gallery strives to be a progressive museum that inspires a creative and inclusive society.
Outstanding Collections
Ling Ying Shing, Assistant Director of Integrated Marketing at the National Gallery Singapore, emphasised the institution’s vision to be a progressive art museum that fosters and inspires a thoughtful, creative, and inclusive society.
“We would like to create dialogues between the art of Singapore, Southeast Asia and the world through collaborative research, education and exhibitions,” she said, adding that it also provides a memorable experience through outstanding collections and innovative programming in a historical landmark.
With over 8,000 artworks in its collection, the Gallery, which opened its doors to the public in 2015, boasts one of the world’s foremost collections of art from Southeast Asia, spanning from the 19th century to the contemporary era.
Among the notable artists represented are Chen Chong Swee, Georgette Chen, and Liu Kang, whose works have significantly contributed to the cultural heritage of the nation.
Ling introduced the concept of “Permanent Galleries” and “Changing Exhibitions”. This year, the gallery will feature major exhibitions focusing on four Singaporean artists – Cheong Soo Pieng, Teo Eng Seng, Kim Lim, and Lim Tze Peng.
“Next year, in 2025, we will celebrate our 10th anniversary. It’s a significant milestone for us, and we have a plethora of activities planned,” she stated.
In 2020, the Gallery distinguished itself as the only museum in Southeast Asia to be ranked in The Art Newspaper’s annual global survey of art museum attendance, securing the 20th spot.
Additionally, in 2018, it became the first museum in Asia to receive the Children in Museums Award, presented by the European Museum Academy and Hands On! International Association of Children in Museums.
Environmental
Chua Swee Leen, Assistant Director (Sustainability) at the National Gallery Singapore, highlighted its strong commitment to sustainability, emphasising a three-pronged approach.
“We focus on environmental respect, aim for a positive social impact, and prioritise responsible spending and investment,” she said.
The Gallery is dedicated to implementing sustainable environmental practices and aspires to transform into a Super Low Energy building in the near future. With a goal of achieving net zero emissions by 2045, the Gallery aligns its efforts with the Singapore government’s ambitious net zero target.
She noted the Gallery is certified by the Building and Construction Authority (BCA) at the “Gold Plus” level.
“Since the gallery was built, we have focused on sustainability in the building features. We consulted with a sustainability expert a couple of years ago and completed an energy audit.”
Chua emphasised that the Gallery is very focused on reducing energy consumption and increasing the use of solar panels. They already have some solar panels installed but plan to add more.
This initiative will lead to lower operational costs. She highlighted that their near- to medium-term goal is to reduce energy use intensity by 30%, which will enable the gallery to become a super low energy building.
“We have a mechanical and electrical engineer working with us because they are looking at further studies to implement projects, specifically with regards to optimising our building management system,” he said. “We’re also going to be installing smart lighting and also retrofitting our air conditioning system and our heat recovery system which controls humidity levels.”
Chua said the gallery is also focused on reducing water usage, noting that they recently completed a waste audit and are exploring and implementing opportunities to reduce the amount of waste generated.
In terms of audiences and community access, she highlighted that the gallery focuses on investing in people and having a positive social impact, aiming for resilience through responsible spending and investments.
As a museum with numerous exhibitions, she said it is important to ensure that the exhibition infrastructure – such as walls, plinths, and cabinets – is reused as much as possible.
Social Sustainability
Alicia Teng, Deputy Director (Community and Access) at the National Gallery Singapore, said the Community & Access is part of the larger museum planning and audience engagement team at the gallery.
“We’re focusing more on the audience that my team serves, but across the Gallery, we really look into all the different audience segments that we aim to serve at the museum,” she explained.
She highlighted that through various festivals, the Gallery welcomes everyone to join in. Additionally, the Tapper Centre focuses on younger children and families, while the learning and outreach team develops programmes for schools and educational initiatives.
Teng mentioned that the outreach team actually brings the museum out into community spaces. “So we go to shopping malls, we go to parks, we go to libraries. These are a lot of the initiatives that the Gallery does beyond our walls here in the museum,” she explained.
“But what I’ll be focusing on today will be what my team does in community and access. Our team was formed in 2018, about three years after the gallery opened in 2015. So when it first opened, being such a large institution, kind of like a first in Singapore, we wondered what it would look like in terms of bringing people into the museum, the first few years were focused a lot on bringing people into the museum.”
Teng explained that the gallery aims to offer equitable opportunities to its visitors. “Equal opportunities would mean that you give everybody the same thing, right? But equitable would consider the individual and their needs, and how we can support them based on where they are at and what their needs are, quite specifically to their group and their context,” she elaborated. “So that’s where we come from, in wanting to then make meaningful connections with our art, heritage, and offerings.”
Calm Room
The journalists were introduced to a unique room located at Level B1 of the City Hall Wing, known as the Spine Hall. This space is designed for visitors who may feel over-stimulated or overwhelmed by their surroundings. In this soothing and sensory-friendly room, individuals can take a moment to calm down, regulate their stress responses, and renew their focus. The room is wheelchair-accessible and features an ambient soundscape, private seating pods, and sensory kits.
Teng explained the intentionality behind the room’s design, noting that the COVID-19 pandemic highlighted the potential for anyone to experience sensory overload, not just those with neurodivergent conditions.
Opening the room to everyone was considered a radical decision, requiring careful consideration of who may benefit from its use and appropriate training for staff, she added.
