The seventh edition of Art Stage Singapore returned from 12 to 15 January 2017 (Vernissage on 11 January) with the second Southeast Asia Forum and regional and international galleries presenting artists from across Asia and the world. 
Featuring more than 130 galleries from 27 countries, three quarters of the upcoming exhibitors are returning galleries. 
The second Southeast Asia Forum, titled Net Present Value: Art, Capital, Futures, focused on capitalism as its theme and directed attention to questions surrounding the values of art, imagination, and progress, and the price of doing business as usual amidst the changing dynamics of the international capitalist system.
Art Stage Singapore 2017 also presented the Collectors' Stage titled Expose, a collaborative project with The Artling featuring artworks from the exclusive private collection of 6 leading Singapore-based collectors. It was a revival of the highly successful Collectors' Stage first held in 2011, and an echo of the Collectors' Show presented at Art Stage Jakarta's debut in August 2016. 




Resurrection, 2000
Acrylic on gesso wood
218 x 112 cm
Image courtesy of the private collection of Hady Ang.


English Deleted, 2016
Image courtesy of Whatiftheworld.


Untitled (Anxious Men), 2015
White ceramic tile, black soap, wax
184.2 x 125.7 x 6.4 cm 
Image courtesy of the private collecton of Kenneth Tan.


Pose 1, 2008
Fiberglass, polythurethane paint
120 x 90 x 56 cm 


Revolutionary Past, 2010
Oil on canvas, neon, Diptych
195 x 300 cm each
Image courtesy of Arario Gallery, Korea. 


Mandala Study #3, 2015
300 x 300 cm
Contributed by private collector. 
Image copyright Albert Yonathan S., courtesy of Mizuma Gallery.



For the 2017 edition, 6 public artworks were exhibited in various areas of the fairground, with Iqi Qoror's mixed medial installation Animum No. 2 (Construct What is Ideal) (presented by Art Front Gallery) as the entrance artwork. Other featured works include Yellow Joy (presented by Mark Hachem and Sophia Contemporary Gallery); wooden sculpture  by Japanese artist Tanada Koji titled Cloaked Boy (presented by Mizuma Gallery); mixed media installations by Indieguerillas (presented by Mizuma Gallery) and Bagus Pandega (presented by ROH Projects; and a collage on wood piece by PHUNK (presented by Art Seasons). 



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Art Stage Singapore 2017 Highlights Video

Art Stage Singapore 2017 Highlights Video

Art Stage Singapore 2016 Highlights Video

Art Stage Singapore 2016 Highlights Video



Art Stage Singapore 2016 returned on 21 through 24 January (Vernissage on 20 January) with a bold new vision for contemporary art from the region. The Fair’s sixth edition continued to be innovative in market development by matchmaking segmented regional markets and encouraging dialogues about contemporary art. Through its latest programme, Art Stage Singapore 2016 referenced the Roman forum or the agora of ancient Greece, thus positioning the Fair as an intersection that facilitated not merely the exchange of art, but also of ideas. 

The fair also presented a diverse range of carefully selected galleries from across Asia and the world, featuring 170 galleries from 33 countries and 30 global cities. In line with Art Stage Singapore’s strong Asian identity, there was a strong showing of 75 percent Asia-based galleries at Art Stage Singapore 2016.

In its 2016 edition, Art Stage Singapore introduced the Southeast Asia Forum, a thematic programme that drew attention to contemporary art’s significant place in the blueprint of modern society and the central role the artist plays in the context of Southeast Asia. An extension of the Southeast Asia Platform exhibitioned at the Fair from 2014 to 2015, the Forum aimed to emphasise the balance between art, commerce and content by taking discussions beyond the artistic and into larger society.

The inaugural Southeast Asia Forum was titled Seismograph: Sensing the City – Art In the Urban Age. Comprising two symbiotic parts – an exhibition and a talk series, it was centred on the theme of urbanization and explored the role of artists as seismographs of society’s pulses.

Download the full details for the Southeast Asia Forum here.



Public Artworks

Notable public artworks on the Fairground featured, Dada on Tour (presented by Bruno Art Group), a multimedia installation celebrating the 100th anniversary of Dadaism in 2016. Visitors to Art Stage Singapore 2016 were welcomed by the entrance artwork by Thai artist Ploenchan Vinyaratn (Mook) titled Nestscape (presented by Serindia Gallery) executed in her signature style of using handwoven textiles.executed in her signature style of using handwoven textiles.

Other public artworks included a wooden sculpture specially created for the Fair by prominent postwar Spanish artist Manolo Valdés (presented by Galerie Forsblom); a 3-metre ceramic sculpture by Taiwanese artist Hsu Yung-Hsu titled 2011-17 (presented by Double Square Gallery); and Thai artist Anon Pairot’s whimsical Sweet Words #HAPPY, LOVE, LIFE, FAITH (presented by Numthong Gallery).

Additional public artworks were presented by Opera Gallery, ARNDT, Pearl Lam Galleries, Sundaram Tagore Gallery, The Art Fellas, Leo Gallery, Mark Hachem and Yavuz Gallery.




Marina Bay Sands

Marina Bay Sands is Asia’s leading destination for business, leisure and entertainment, delivering unparalleled experiences for its guests. Located in the heart of Singapore’s Central Business District, Marina Bay Sands’ iconic design and multi-dimensional offerings have transformed Singapore’s city skyline and its tourism landscape since it opened on 27 April 2010.

The destination offers a luxury hotel, state-of-the art convention and exhibition facilities, theatres, world-class entertainment and the best shopping and dining in the region. The three hotel towers are crowned by the spectacular Sands SkyPark located on level 57.



Antony Gormley, Drift

Location: Hotel Tower 1 Atrium

Drift is a massive three-dimensional stainless steel polyhedral matrix of over 16,100 steel rods and more than 8,320 steel nodes. Measuring approximately 40m long, 23m high and 15m wide, it is suspended cloud-like in the air between levels 5 and 12 of the atrium of Hotel Tower 1. The geometry of the art installation was generated using a process specifically developed for Antony Gormley’s sculptures by engineer Tristan Simmonds and involves the packing of spheres around a “seed” body form or shape.

Chongbin Zheng,  Rising Forest

Location: Hotel Atrium (interior and exterior)

Rising Forest is a ceramic sculpture composed of 83 massive, glazed, stoneware ceramic vessels occupying approximately 4,000m² in the Hotel Atrium. Each vessel weighs 1,200 kg and measures 3m tall. Every vessel holds a tree, creating a “canopy” of trees across the interior and exterior areas of the Hotel Atrium. The vessels are so large that the artist had to build a customized kiln the size of a small building. The ceramic pieces were made in Yixing, China, known for its artistry and high-quality ceramics since the 11th century and the clay was mined from a special quarry in the Yellow Dragon Mountain and was aged for five years. Each vessel required 15–20 days to complete by hand using the coil construction method.

James Carpenter, Blue Reflection Facade with Light Entry Passage

Location: Upper & Lower Casino Podium Wall (exterior)

James Carpenter Design Associates Inc.’s artwork consists of a series of uniquely composed vertical glass and metal fin-like elements suspended in front of a reflective metal panel facade. The artwork is 112m long and 17m tall and features 80 stainless steel fins and over 200 glass fins. The floating fins accentuate the serpentine quality of the facade and capture a sense of the sky within the depth of the facade. As visitors pass by, the Blue Reflection Facade changes dynamically creating a visual layering that is luminous and reflective. Day and night, the shimmering facade provides viewers with a constantly changing experience of light.

Ned Kahn, Wind Arbor

Location: Hotel Atrium (exterior)

Wind Arbor is the largest and most visible piece of Marina Bay Sands’ Art Path. It covers 6,800 m², equivalent to the surface area of five-and-a-half Olympic-sized swimming pools. The sculpture consists of 260,000 aluminum metal “flappers” covering the entire western facade of the Hotel Atrium facing the Central Business District and encircling the air-conditioning towers at the north end of the property. When the flappers move, they reflect light, creating a shimmering piece of art. It is 15m tall at the north end and increases to 55m tall at the southern entry. The flappers are mounted on hinges and hung from steel cable so they are free to move independently in reaction to wind movements.

Ned Kahn, Rain Oculus

Location: Waterfront Promenade / Retail Mall

Rain Oculus is a large acrylic and stainless steel structure located at the intersection of the retail mall and the waterfront promenade. It creates a whirlpool motion on the promenade level with the water falling one storey through a hole in the centre of the Oculus, creating a dynamic water skylight feature at the heart of the retail mall. It consists of a 22m diameter acrylic bowl mounted on top of a tubular stainless steel superstructure which forms a “basket” to support the acrylic panels. The combined weight of the acrylic Oculus and steel superstructure is 90 tons. Water flows at 6,000 gallons per minute through the Oculus and the maximum weight of water it can hold is 200 tons. The water is the art medium creating the sculptural effect in this installation.

Ned Kahn, Tipping Wall

Location: Hotel Tower 3

Tipping Wall, located at the cooling tower adjacent to the southern end of the hotel, features 7,000 mechanical polycarbonate tipping water channels on a large glass reinforced concrete wall about the size of a basketball court. Water running down the glass reinforced concrete wall splashes out and animates the white tipping channels, which are supported by stainless steel pins. As each channel fills with water, it tips left or right like a seesaw and spills water into either of the two channels below it. Water is recovered at the catchment area below the tippers and re-circulated to the distribution trough.

Sol LeWitt, Wall Drawing #917, Arcs and Circles, 1999

Location: Hotel Tower 1 Reception

Sol LeWitt, Wall Drawing #915, Arcs, Circle and Irregular bands, 1999
Location: Underground pedestrian network connecting Marina Bay Sands to Bayfront MRT (Mass Rapid Transit) station

Sol LeWitt’s (1928–2007) wall drawings redefined traditional concepts about discreet works of art. His innovation was two-fold: that the idea was the artwork, and that someone other than the artist could execute the work and it would still be a work by the artist. Wall drawings painstakingly follow Mr. LeWitt’s directions, and while a drawing may be installed many times, it may vary only slightly in size and never in format. Each drawing is accompanied by directions and a signed certificate that authenticates the work. The wall drawings are hand-painted and due to their scale, they require the execution and supervision of LeWitt-trained artists. The bold, colourful geometric design that comprises Wall Drawing #917, Arcs and Circles was drawn by two artists from the Lewitt Estate, Takeshi Arita and Gabriel Hurier, who worked with LeWitt for many years before he died. They were assisted by a select group of four local artists chosen through the Singapore Tyler Print Institute.

Wall Drawing #917, Arcs and Circles, 1999, measures 4.34 by 20.32m.
Wall Drawing #915, Arcs, Circle and Irregular Bands, 1999, measures 3.96 by 16.76m.

Zhan Wang, Artificial Rock #71 and #86, 2010

Location: Lions Bridge

Artificial Rock #71 and #86 are abstract sculptures inspired by The Scholar’s Rock, which has long been held in high regard by the educated and upper class in China for its complexity and beauty. For generations in China, The Scholar’s Rock held a place of honour in gardens and courtyards throughout the country. Zhan Wang’s Artificial Rocks are highly reflective to symbolically represent China’s rapid changes. As gardens and places of quiet contemplation make way for modern skyscrapers, the sculptures’ shiny surfaces reflect what is around them and through these mirror-like surfaces, reflect the ever-changing view of China’s modernization.

Artificial Rock #71 measures 62.5 X 74 X 38in.
Artificial Rock #86 measures 90.5 X 70.75 X 31.5in.

Israel Hadany, Motion, 2012

Location: Hotel Tower 1 Atrium

Motion consists of two “islands,” unit A and unit B, made of glass and stone. Each unit is fabricated from amorphously shaped glass plates glued together to form large glass sections partly bordered by a Jura Beige stone bench. Placed at a distance from one another, Motion represents the movement of the river currents in relation to dry land and its intention is to introduce nature into the architectural space.

Anish Kapoor, Sky Mirror, 2010

Location: Lily pond at ArtScience Museum

Sky Mirror, which depicts an “oculus in the space,” is a stainless steel reflective artwork by Anish Kapoor. Measuring 2.9m in diameter and weighing 1,800 kg, Sky Mirror appears to “bring the sky down to earth” creating an optical illusion that the sky and its surrounding are within reach. Positioned at an angle of 30-degrees, Sky Mirror captures the beauty of the sky and a portrait of the iconic lotus-shaped ArtScience Museum.