The contemporary art space redefines the museum experience as we know it, when it opens to the public on January 14, as part of Singapore Art Week
Sonic mushrooms, video memes and a post‑apocalyptic wasteland—these are just some of the works you can expect to see when the Singapore Art Museum (SAM) opens its new contemporary art space at Tanjong Pagar Distripark on January 14. Oh, and don’t forget the stunning backdrop of hulking container ships at Tanjong Pagar Terminal, which can be seen through the picture window in The Engine Room (so named to reflect the different parts of a ship, a hat tip to its iconic location).
This pop‑up space reflects SAM’s new strategic direction, which is to provide transformative, thought‑provoking and meaningful everyday encounters with art of our times—and within unexpected spaces—redefining the notion of a museum and the experience of art, which is no longer confined to a single physical space. It also addresses the fact that it’s a long wait yet before SAM’s two heritage buildings in the Civic District, which have been closed for renovations since 2017, reopen—delays caused by conservation issues have pushed back completion to 2026.
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“Contemporary artists today are not limited by geography or the cultures of their origin. They are collaborative in their practices, investigative and curious about what’s happening around them. What we’re doing is reflecting how contemporary practice is right now,” shares June Yap, SAM’s director of curatorial and collections. “We want to respond to the artists’ needs, which is to look at contemporary art in an expanded sort of way, where it’s not about a white cube space. Sometimes, it’s more site specific, or in a space located within the community. So it makes sense for us to think flexibly about our spaces too.”
Spread over two floors that span a total of more than 3,300 square metres, SAM at Tanjong Pagar Distripark offers up various settings for different artistic practices. For its opening, The Observatory, an early pioneer of the local indie music scene, takes over Gallery 1 from January 14 to April 17 with Refuse, an immersive world built on waste and detritus that is an exploration into fungi and mycelial networks as well as biosonification. True to their nature as musicians, and now as artists in the broader sense, the band uses technology to translate the biorhythms of living organisms into sound, looking into ideas of decomposition and composition.
This is just one curatorial aspect with which Yap hopes to attract audiences. “We want to create exciting experiences, so that the possibility of bringing them to new places excites them too,” she says.
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