It is far from an isolated question — “and what of art, really?” — and it is no less urgent historically. In post-WWII Europe, the philosopher Theodor W Adorno declared, “There can be no poetry after Auschwitz.” Even earlier, on the brink of WWI, the Imagist poet Vladimir Mayakovsky pronounced art dead: “It found itself in the backwater of life … It was soft and could not defend itself.”
Much of this scepticism towards art was shaped by historical circumstance — precisely where the art movement stands today, confronting the loom of the machine and the great swallow of the artificial.
In movements such as those in Thailand and Indonesia, the trend has been to grapple with developments — technological, imagistic and mechanical — by reaching not so much to the recent past as to the primordial, engaging with mythology, brutal history and sexuality. Some works present screens of endless, weaving, sequential images — perhaps chaotic at first glance, but grounded in purpose, story and context.
When it commenced in 2013, Singapore Art Week (SAW) chose a different path. It aimed not to assert a particular artistic stance, attitude or aesthetic, but to serve as a platform, not solely for national expression, but for a more regional, global and cosmopolitan one.
And one rooted in what it calls the “capital” of art, as it states in its press release: “With opportunities for exchange of ideas and networking between artists, curators and thought leaders, SAW’s growing presence in the region reflects an increasing market potential.” Here, SAW shows its acuity, moving beyond the perennial focus on national identity to offer, within the region, the chance to encounter — and often be surprised by — the eccentric presence of remarkable artists in unexpected and repurposed spaces.
Now in its 13th edition, SAW promises a larger assemblage of artists and exhibitions — and a broader artistic vision — particularly exploring the intersection of art and technology. Its focus remains, however, on building an ecosystem that supports individual artists and collaborative ventures, while transforming the island itself into an artistic landscape brimming with creative spaces.
The 2026 edition sees the transformation of LRT stations, malls, repurposed spaces such as former military barracks, and the pier at Tanjong Pagar — now home to the Singapore Art Museum and other galleries, as well as independent institutions such as the Private Museum.
Tay Tong, director of Arts Ecosystem Group (Visual Arts) at the National Arts Council Singapore (NAC), emphasises the visual arts festival’s growing regional significance. “Each year, SAW expands its reach and depth of offerings as the visual arts community from Southeast Asia and the world converge in Singapore to showcase some of the best works, forge meaningful connections and inspire groundbreaking collaborations,” he says.
