As the National Gallery Singapore celebrates its 10th anniversary, CEO Eugene Tan reflects on a transformative decade that has redefined Singapore's position in the global art world. Under his visionary leadership, the institution has evolved from an ambitious cultural project into a recognized powerhouse for Southeast Asian art, coinciding perfectly with Singapore's 60th year of independence.
On September 13, the heart of Singapore pulsed with celebration as a red carpet unfurled across the steps of the National Gallery Singapore. Three hundred impeccably dressed guests swept into the City Hall Chamber for The Gallery Gala 2025: A Decade of Imagination, an event that would break fundraising records and symbolize the institution's remarkable journey. The evening raised a record-breaking S$2.8 million, the highest fundraising total in the gallery's history, with guests bidding enthusiastically on nearly 90 rare artworks and luxury experiences in a Sotheby's-managed auction.
The gala's highlight came when Li Huayi's "Pine Breezes in Golden Glow II" sold for S$517,000, achieving the highest value ever recorded at the gallery. Works by renowned artists Yayoi Kusama and Lim Tze Peng sparked equally spirited competition among collectors, while luxury experiences such as the Britannic Explorer Train Journey by Belmond set bidding paddles flashing throughout the evening. The Singtel Special Exhibition Gallery was transformed into an elegant dining hall among artistic masterpieces, where culinary maestros Julien Royer, Damian D'Silva, and Violet Oon orchestrated a multi-sensory performance that married gastronomy with fine art.
Deputy Prime Minister and Minister for Trade and Industry Gan Kim Yong, serving as the evening's Guest of Honor, reminded attendees of the deeper mission behind the glamour. He emphasized that philanthropic support remains essential to sustaining the arts, with funds from the gala destined to fuel new exhibitions, community programs, and research initiatives that ensure art remains accessible to every Singaporean. The evening's success represented more than financial achievement – it demonstrated that the gallery had truly come of age and helped define what cultural pride means for Singapore at 60.
Much of this remarkable transformation can be traced to one pivotal figure: Eugene Tan. Armed with a PhD in Art History from the University of Manchester, Tan has been deeply involved with the gallery since its opening in 2015, initially serving as director. In 2019, he expanded his role to also direct the Singapore Art Museum (SAM), and since 2024, he has held the dual title of CEO of both institutions while leading the Visual Arts Cluster, which includes STPI. His remit is expansive, but his vision remains crystal clear: each institution must retain its distinctive identity while contributing to a larger ecosystem that places Singapore at the center of Southeast Asian art discourse.
"Since I became director of SAM in 2019, I have sought to make the distinction between the two institutions clearer," Tan explained. "The Gallery's focus is now on the art of Southeast Asia, regardless of time – meaning both modern and contemporary. SAM's focus, on the other hand, is on contemporary art regardless of place, so it looks at the art of the present internationally, from the perspective of Singapore and Southeast Asia." Together with STPI, these three institutions create a comprehensive ecosystem that supports artists, educates the public, and positions Singapore as a premier cultural destination.
This carefully crafted ecosystem has not only nurtured local and regional artists but also fundamentally shaped how Singaporeans see themselves reflected in art. For Tan, the gallery's 10th anniversary coinciding with SG60 represents more than fortunate timing – it embodies poetic symmetry. "Celebrating both SG60 and the Gallery's 10th anniversary is deeply symbolic and special for us," he reflected. "The Gallery is housed within two national monuments – the City Hall and Former Supreme Court – buildings that have witnessed Singapore's journey from colony to nation. Just as Singapore turns 60, the Gallery too marks a decade of contributing to our cultural identity and sense of pride."
When the gallery opened its doors in 2015, its mission was nothing short of ambitious: to shine a spotlight on Southeast Asian art and make art an integral part of everyday life in Singapore. Ten years later, Tan believes the institution has achieved a resounding success. "The Gallery has grown into a people's museum – a shared civic space where art connects people, where stories of Southeast Asia come alive, and where visitors of all generations encounter new perspectives on our art and history," he said.
Tan points particularly to the younger generation as evidence of this success. "Today's visitors, especially younger Singaporeans, approach our collection with a sense of curiosity that was perhaps less evident a decade ago. They see themselves reflected in the works, and this growing sense of ownership and connection is one of the most encouraging signs of progress." This sense of ownership stems not only from the buildings' historic significance but also from the carefully curated stories told within their walls – narratives that balance Singapore's artistic journey with that of the wider region.
The gallery's international reputation has been built exhibition by exhibition, each one representing a bold statement of ambition and scholarly vision. From its very beginning, the institution positioned itself as a venue capable of not only telling regional stories but also situating them within crucial global conversations. The 2016 blockbuster exhibition "Reframing Modernism: Painting from Southeast Asia, Europe and Beyond," co-curated with France's Centre Pompidou, challenged the traditionally Eurocentric art historical canon by placing works by Picasso and Mondrian in direct dialogue with pieces by Georgette Chen and Latiff Mohidin. "It was about rewriting our art histories in relation to global art histories," Tan recalled.
In 2017, the gallery brought international art superstar Yayoi Kusama to Singapore with "Life is the Heart of a Rainbow." Audiences queued for hours to step into her mesmerizing kaleidoscopic infinity rooms, and the exhibition became one of the gallery's most photographed and shared on social media – a powerful reminder of how contemporary audiences engage with art in the digital age. That same year, "Colours of Impressionism: Masterpieces from the Musée d'Orsay" drew massive crowds eager to see works by Monet and Renoir on local soil, reinforcing the gallery's dual identity as both a regional thought leader and an international must-visit destination.
The following year, 2018, saw minimalism take center stage with "Minimalism: Space. Light. Object," the first exhibition of its scale and scope in Southeast Asia. Featuring works by Donald Judd, Carmen Herrera, and Anish Kapoor alongside Southeast Asian contemporaries, the exhibition underscored the gallery's ongoing commitment to bridging East and West, past and present. More recently, 2023's groundbreaking "Tropical: Stories from Southeast Asia and Latin America" expanded the conversation even further, drawing fascinating parallels between two regions often marginalized in Western art discourse.
Equally important to the gallery's mission have been its homegrown showcases celebrating Singaporean artistic achievement. "Something New Must Turn Up: Six Singaporean Artists After 1965" (2021) and the 2024 SG Artist Series dedicated to Cheong Soo Pieng, Teo Eng Seng, Kim Lim, and Lim Tze Peng significantly deepened public appreciation of Singapore's unique artistic journey. These exhibitions emphasized that local art encompasses not only questions of identity but also innovation, experimentation, and deeply personal expression.
The gallery's ambitious vision has always looked outward as much as inward, with strategic partnerships with international heavyweight institutions positioning Singapore as a vital cultural interlocutor. "Our partnerships with institutions from Centre Pompidou to the Staatliche Kunstsammlungen Dresden have allowed us to co-create exhibitions and programs that raise Singapore's profile as a cultural hub," Tan explained. "Increasingly, global peers now approach us to bring our expertise abroad, whether through co-curated projects or traveling exhibitions."
Examples of this international reach abound throughout the gallery's decade of operation. "Georgette Chen: At Home in the World" traveled to overseas venues, introducing the pioneering Singaporean artist to entirely new international audiences. The innovative "Tropical" exhibition pushed curatorial boundaries as much abroad as at home. In November, the gallery will stage "Into the Modern: Impressionism from the Museum of Fine Arts, Boston" – the largest Impressionist exhibition ever held in Southeast Asia, featuring more than 100 masterpieces by Monet, Renoir, Cézanne, and Degas.
Hosting such a prestigious exhibition signals not only the gallery's soaring ambitions but also the deep trust that major global institutions now place in Singapore's cultural infrastructure and expertise. Even the gallery's innovative child-focused initiatives have found remarkable international resonance. Since its launch in 2017, the Gallery Children's Biennale has inspired sister editions at Germany's Staatliche Kunstsammlungen Dresden, the Groninger Museum in the Netherlands, and the Taoyuan Museum of Fine Arts in Taiwan, demonstrating how art can serve as both a national asset and a powerful form of soft power diplomacy.
In Singapore's increasingly sophisticated diplomatic toolkit, art has steadily taken its place alongside traditional pillars like finance, technology, and international trade. The gallery's high-profile exhibitions and strategic partnerships function not merely as cultural milestones but as carefully orchestrated exercises in nation branding. "As Singapore positions itself as a cultural capital of Southeast Asia, the Gallery plays a central role," Tan observed. "We serve as a platform for Singaporean and regional artists, while fostering meaningful exchange with international institutions. In this way, art becomes both nation branding and soft power."
This influential role is significantly amplified by the gallery's powerful physical presence in Singapore's urban landscape. Housed in the historically significant Former Supreme Court and City Hall, the museum sits at the symbolic heart of the Civic District. The very buildings that once witnessed the Japanese surrender in 1945 now serve as a grand stage for Southeast Asia's most important artistic narratives, creating a powerful reminder of how culture and history inevitably intertwine.
As the gallery confidently enters its second decade of operation, the challenges ahead will prove as formidable as its past achievements. Balancing the complex demands of rigorous scholarship with broad public accessibility, navigating evolving funding models, and sustaining meaningful international collaborations will require constant innovation and reinvention. Yet if the institution's remarkable first ten years offer any indication, the gallery appears exceptionally well-positioned to meet these challenges head-on.
For Tan, the ultimate measure of success extends far beyond blockbuster exhibitions or prestigious international partnerships to how deeply the gallery resonates with its diverse public. "As we celebrate this dual milestone, what matters most is that the Gallery continues to evolve alongside the people it serves," he emphasized. The gallery's story transcends curators, collections, or collaborations – it fundamentally concerns people: the visitors who step into its halls with curiosity and wonder, the artists who find their voices amplified on its walls, and the nation that increasingly sees its own complex journey reflected in brushstrokes and sculptures.
The September gala may have sparkled with jewelry, champagne, and record-breaking auction bids, but its true significance lay in what it powerfully symbolized: that a decade on, the gallery has become an indisputable cornerstone of national pride, a clear mirror of Singapore's evolving identity, and a bright beacon for Southeast Asia's artistic future. As Tan himself eloquently summarized: "The Gallery has grown into a people's museum – one that connects, reflects, and inspires. And as Singapore enters its next chapter, we remain committed to ensuring art is not just seen, but deeply felt, by all."
