Featured Events in Singapore in April, 2025 (April Updated)

Saito Sho, born in Tokyo in 1970, is a graduate of Tama Art University’s Graduate School and a member of the Dokuritsu Art Association and Jukkakai. Known for his warm and whimsical animal-themed artworks, Saito's creations often present a seemingly innocent and playful world while subtly reflecting profound thoughts on social emotions and human relationships. This exhibition marks Saito Sho’s first-ever solo showcase abroad and represents a significant milestone in his artistic career. To prepare for this milestone exhibition, Saito traveled to Singapore which was his first time to the sunny island. Through this trip, he observed the city's cultural diversity, tropical environment vastly different from Japan, and vibrant social dynamics. He incorporated these local elements into his new creations, imbuing his works with a unique connection to Singapore and a fresh layer of artistic depth.

Zao Wou-Ki: The Spirit of Infinity is an exceptional retrospective exhibition showcasing the remarkable artworks of Zao Wou-Ki (b. 1920 - d.2013), a highly acclaimed modernist master. With a curated selection of approximately one hundred pieces spanning from the 1940s to the 2000s, this exhibition meticulously traces Zao's artistic journey and his creative progression. It encompasses his early works completed in China, the development of a new pictorial vision during his Paris period, and culminates with the large-scale gestural pieces created in his later years. The exhibition celebrates Zao Wou-Ki's mastery across various mediums, including oil painting, ink, and lithography.

City of Others: Asian Artists in Paris, 1920s-1940s is a groundbreaking exhibition that examines the art history of Paris from Asian perspectives. The exhibition compares the experiences of Asian artists in Paris during a dynamic period of time, featuring works by Asian artists like Foujita Tsuguharu, Georgette Chen, Lê Phổ, Liu Kang, Pai Unsoung, Itakulla Kanae and Hamanaka Katsu.

City of Others: Asian Artists in Paris, 1920s-1940s is a groundbreaking exhibition that examines the art history of Paris from Asian perspectives. The exhibition compares the experiences of Asian artists in Paris during a dynamic period of time, featuring works by Asian artists like Foujita Tsuguharu, Georgette Chen, Lê Phổ, Liu Kang, Pai Unsoung, Itakulla Kanae and Hamanaka Katsu.

City of Others: Asian Artists in Paris, 1920s-1940s is a groundbreaking exhibition that examines the art history of Paris from Asian perspectives. The exhibition compares the experiences of Asian artists in Paris during a dynamic period of time, featuring works by Asian artists like Foujita Tsuguharu, Georgette Chen, Lê Phổ, Liu Kang, Pai Unsoung, Itakulla Kanae and Hamanaka Katsu.

City of Others: Asian Artists in Paris, 1920s-1940s is a groundbreaking exhibition that examines the art history of Paris from Asian perspectives. The exhibition compares the experiences of Asian artists in Paris during a dynamic period of time, featuring works by Asian artists like Foujita Tsuguharu, Georgette Chen, Lê Phổ, Liu Kang, Pai Unsoung, Itakulla Kanae and Hamanaka Katsu.

City of Others: Asian Artists in Paris, 1920s-1940s is a groundbreaking exhibition that examines the art history of Paris from Asian perspectives. The exhibition compares the experiences of Asian artists in Paris during a dynamic period of time, featuring works by Asian artists like Foujita Tsuguharu, Georgette Chen, Lê Phổ, Liu Kang, Pai Unsoung, Itakulla Kanae and Hamanaka Katsu.

Rising to prominence in the 2010s amidst a surge of left-of-center indie pop, Beach Fossils quickly amassed a loyal cult following thanks to its dreamy, far-away sound, grounded by dreary, realist lyricism. Throughout the last fifteen years, they have steadily earned their stature as one of the most definitive and enduring bands emerging from the 2010s New York underground. They consistently reachnew listeners thanks to the steady evolution of their sound from the DIY solo project of Dustin Payseur to an influential self-produced four-piece dream pop band, where Payseur is joined by core band members Tommy Davidson (guitar), Jack Doyle Smith (bass), and Anton Hochheim (drums). Now, after seven years, this iconic quartet returns to Singapore with new material alongside fan favourite songs, drawing from beloved albums such as the recently-releasedBunny(2023), the jangly melancholy of their self-titled 2010 album, the gritty post-punk inspiredClass the Truth(2013), and many more. Through tone and mood, Beach Fossils communicate a coming-of-age narrative of self-discovery. Payseur’s slice-of-life lyrics reflect on depression, love, adventure, loss, mistakes, New York City, friendships coming and going—a mélange of granular pieces in the process of continuing to find yourself.

Rising to prominence in the 2010s amidst a surge of left-of-center indie pop, Beach Fossils quickly amassed a loyal cult following thanks to its dreamy, far-away sound, grounded by dreary, realist lyricism. Throughout the last fifteen years, they have steadily earned their stature as one of the most definitive and enduring bands emerging from the 2010s New York underground. They consistently reachnew listeners thanks to the steady evolution of their sound from the DIY solo project of Dustin Payseur to an influential self-produced four-piece dream pop band, where Payseur is joined by core band members Tommy Davidson (guitar), Jack Doyle Smith (bass), and Anton Hochheim (drums). Now, after seven years, this iconic quartet returns to Singapore with new material alongside fan favourite songs, drawing from beloved albums such as the recently-releasedBunny(2023), the jangly melancholy of their self-titled 2010 album, the gritty post-punk inspiredClass the Truth(2013), and many more. Through tone and mood, Beach Fossils communicate a coming-of-age narrative of self-discovery. Payseur’s slice-of-life lyrics reflect on depression, love, adventure, loss, mistakes, New York City, friendships coming and going—a mélange of granular pieces in the process of continuing to find yourself.

Fistful of Colours: Moments of Chinese Cosmopolitanism brings together artworks from the late Qing Dynasty to the present moment to explore the social history of art, with a particular emphasis on the situatedness of Chinese ink works amidst its political milieus. With reference to the concept of Chinese cosmopolitanism as proposed by scholar Pheng Cheah, the exhibition connects the artistic and scholarly advocation embodied by the artists presented, telling a story of the social life between artists and society through both modern and contemporary experiences of the overseas Chinese intellectual and mercantile communities, their pursuits of Chinese modernity, and their collective cultural commitments at the dawn of globalisation.

Fistful of Colours: Moments of Chinese Cosmopolitanism brings together artworks from the late Qing Dynasty to the present moment to explore the social history of art, with a particular emphasis on the situatedness of Chinese ink works amidst its political milieus. With reference to the concept of Chinese cosmopolitanism as proposed by scholar Pheng Cheah, the exhibition connects the artistic and scholarly advocation embodied by the artists presented, telling a story of the social life between artists and society through both modern and contemporary experiences of the overseas Chinese intellectual and mercantile communities, their pursuits of Chinese modernity, and their collective cultural commitments at the dawn of globalisation.

Fistful of Colours: Moments of Chinese Cosmopolitanism brings together artworks from the late Qing Dynasty to the present moment to explore the social history of art, with a particular emphasis on the situatedness of Chinese ink works amidst its political milieus. With reference to the concept of Chinese cosmopolitanism as proposed by scholar Pheng Cheah, the exhibition connects the artistic and scholarly advocation embodied by the artists presented, telling a story of the social life between artists and society through both modern and contemporary experiences of the overseas Chinese intellectual and mercantile communities, their pursuits of Chinese modernity, and their collective cultural commitments at the dawn of globalisation.

Fistful of Colours: Moments of Chinese Cosmopolitanism brings together artworks from the late Qing Dynasty to the present moment to explore the social history of art, with a particular emphasis on the situatedness of Chinese ink works amidst its political milieus. With reference to the concept of Chinese cosmopolitanism as proposed by scholar Pheng Cheah, the exhibition connects the artistic and scholarly advocation embodied by the artists presented, telling a story of the social life between artists and society through both modern and contemporary experiences of the overseas Chinese intellectual and mercantile communities, their pursuits of Chinese modernity, and their collective cultural commitments at the dawn of globalisation.

This exhibition offers a new, revealing look at the world-class Portland Collection of art. The museum will be filled to the brim with fascinating art and objects, a giant cabinet of curiosities. There will be silver and tapestry, paintings and jewels; art that has come home after a long loan to a prestigious national gallery, and stunning star items that visitors know and love – such as Michelangelo’s ‘Madonna of Silence’ or the pearl earring worn by Charles I at his execution. A highlight of the display is a Picture Gallery, stacked with Tudor and Jacobean portraits – many of which have never been seen publicly before.

Pagoda Odyssey 1915: From Shanghai to San Francisco reunites a set of 84 hand-carved model pagodas for the first time in over a century. Originally made in Shanghai, they travelled thousands of miles away to San Francisco for the Panama-Pacific International Exposition of 1915 – a massive world’s fair that attracted over 18 million visitors during its 288-day run. Exquisitely detailed, the models are based on real structures, and embody the diversity of iconic pagodas from different regions and historical periods. For many visitors to the exposition, they offered a first, tantalising glimpse of China’s rich architectural heritage. Together with related works, they paint a vivid picture of cosmopolitan Shanghai and San Francisco at the turn of the twentieth century. Pagoda Odyssey will be complemented by Towers of Faith, a photography display of religious landmarks in Singapore, and Journey into the Pagoda, a virtual reality fantasy experience. The exhibition will also be accompanied by a series of public programmes, including weekend festivals, curator-led tours, and talks.

Pagoda Odyssey 1915: From Shanghai to San Francisco reunites a set of 84 hand-carved model pagodas for the first time in over a century. Originally made in Shanghai, they travelled thousands of miles away to San Francisco for the Panama-Pacific International Exposition of 1915 – a massive world’s fair that attracted over 18 million visitors during its 288-day run. Exquisitely detailed, the models are based on real structures, and embody the diversity of iconic pagodas from different regions and historical periods. For many visitors to the exposition they offered a first, tantalising glimpse of China’s rich architectural heritage. Together with related works, they paint a vivid picture of cosmopolitan Shanghai and San Francisco at the turn of the twentieth century. Pagoda Odyssey will be complemented by Towers of Faith, a photography display of religious landmarks in Singapore, and Journey into the Pagoda, a virtual reality fantasy experience. The exhibition will also be accompanied by a series of public programmes, including weekend festivals, curator-led tours, and talks.

Family, art, and entrepreneurship converge in the story of three visionary Peranakan women from Indonesia – Nyonya Oeij Soen King, her daughter-in-law Nyonya Oeij Kok Sing, and her granddaughter Jane Hendromartono. From the 1890s to 1980s, they produced impressive batiks in the renowned batik centre of Pekalongan on Java’s north coast. This exhibition explores the lives and works of these women, revealing how each became a batik master in her own right, and how they responded to the rapid political, cultural, and economic changes of their times to run a business that produced great art.

After a popular exhibition in 15 cities including Sydney, Amsterdam, Berlin, Budapest, Vienna, Warsaw, Seoul, Miami, Seattle, etc., Banksy Art: No Limits is finally coming to Singapore in December 2024! When the topic is street art, there is no way around him: Banksy is probably the most famous and mysterious graffiti artist in the world. Banksy's Art: No Limits showcases more than 200 works of the artist, such as his original art, prints in different materials, photographs, sculptures, etc.

Housed in the former Supreme Court building, the UOB Southeast Asia Gallery features over 300 artworks that trace shared artistic impulses across Southeast Asia. Beginning in the mid-19th century, the exhibition navigates Southeast Asia’s art history as an ongoing encounter with the new, as artists across the region negotiate the meaning of art and seek to reinvent vernacular expressions and aesthetics. Presented largely chronologically and interspersed with key turning points in artistic sensibilities, the exhibition also identifies how art is inextricably linked to the region’s turbulent social and political history. The exhibition owes its title to Chairil Anwar, one of Indonesia’s most cherished poets. In his 1948 poem Krawang-Bekasi, Chairil Anwar lamented the massacre of villagers by Dutch colonial troops in West Java, giving vent to the desire for national independence at the time. This line can also be said of the experience of many artists in the region, caught between manifesto and dream, personal and political. The curatorial narrative explores four themed locations in roughly chronological order, each of which critically examines common artistic impulses in the region during each period: Authority and Anxiety, Imagining the Nation and the Self, Performing the Nation, and Redefining Art.

Housed in the former Supreme Court building, the UOB Southeast Asia Gallery features over 300 artworks that trace shared artistic impulses across Southeast Asia. Beginning in the mid-19th century, the exhibition navigates Southeast Asia’s art history as an ongoing encounter with the new, as artists across the region negotiate the meaning of art and seek to reinvent vernacular expressions and aesthetics. Presented largely chronologically and interspersed with key turning points in artistic sensibilities, the exhibition also identifies how art is inextricably linked to the region’s turbulent social and political history. The exhibition owes its title to Chairil Anwar, one of Indonesia’s most cherished poets. In his 1948 poem Krawang-Bekasi, Chairil Anwar lamented the massacre of villagers by Dutch colonial troops in West Java, giving vent to the desire for national independence at the time. This line can also be said of the experience of many artists in the region, caught between manifesto and dream, personal and political. The curatorial narrative explores four themed locations in roughly chronological order, each of which critically examines common artistic impulses in the region during each period: Authority and Anxiety, Imagining the Nation and the Self, Performing the Nation, and Redefining Art.

Last year, Zhao Renhui’s exhibition project See the Forest was presented at the Singapore Pavilion at the Venice Biennale, deeply echoing the theme of “outsiders everywhere”. This year, the work will return to Singapore, a country known for its green environmental policies. In 2007, Zhao Renhui founded the Institute of Critical Zoologists as a creative platform that combines the study of nature, artistic expression, and strong narrative construction. Based on “documentary” and “research”, his works are highly subjective and imaginative. Through video works, sound and sculptural installations, See the Forest explores lesser-known intersectional stories and moments of obvious dependence between human society and nature. The exhibition reveals how secondary forests provide intersections for colonization, migration, sustainability and discovery, while also suggesting that the edges of cities - especially well-planned cities - may be the most intense boundaries in existence. Through this exhibition, people can better understand the evolution of Singapore, revealing how the shaping of the natural world by human urban design has formed an ecosystem that echoes the trajectory and composition of urban populations.

Angin Cloud imagines the rural industrialisation of a hill side from Vietnam’s Central Highlands. Pairing Jrai wood sculptures and suspended pillars that recall farming structures for growing pepper vine, the installation references ‘angin’, a Jrai concept for the dynamic potential for change found in water and air.

Immerse yourself in a captivating floral display created in collaboration with the Royal Thai Embassy Singapore, celebrating the relations between orchids and Thai culture. Orchids, symbols of elegance and nature’s beauty, take centre stage in this stunning homage to Thailand. Discover the heritage of Thailand through iconic features like the Royal Pantheon, a landmark of the Temple of the Emerald Buddha and the Grand Palace in Bangkok built to honour the kings of the Chakri dynasty. The display is adorned with a vibrant array of exotic orchid species and hybrids, complemented by iconic gilded chedis and majestic yakshas, mythical guardians from the Ramakien epic, bringing Thai culture and legend to life. Explore over 60 orchid taxa, including iconic vandaceous orchids of the country such as Vanda, Rhynchostylis and Aranda, as well as diverse groups of Dendrobium. This unique display highlights the diversity, craftsmanship, and prominence of Thai orchids.

Immerse yourself in a captivating floral display created in collaboration with the Royal Thai Embassy Singapore, celebrating the relations between orchids and Thai culture. Orchids, symbols of elegance and nature’s beauty, take centre stage in this stunning homage to Thailand. Discover the heritage of Thailand through iconic features like the Royal Pantheon, a landmark of the Temple of the Emerald Buddha and the Grand Palace in Bangkok built to honour the kings of the Chakri dynasty. The display is adorned with a vibrant array of exotic orchid species and hybrids, complemented by iconic gilded chedis and majestic yakshas, mythical guardians from the Ramakien epic, bringing Thai culture and legend to life. Explore over 60 orchid taxa, including iconic vandaceous orchids of the country such as Vanda, Rhynchostylis and Aranda, as well as diverse groups of Dendrobium. This unique display highlights the diversity, craftsmanship, and prominence of Thai orchids.

Immerse yourself in a captivating floral display created in collaboration with the Royal Thai Embassy Singapore, celebrating the relations between orchids and Thai culture. Orchids, symbols of elegance and nature’s beauty, take centre stage in this stunning homage to Thailand. Discover the heritage of Thailand through iconic features like the Royal Pantheon, a landmark of the Temple of the Emerald Buddha and the Grand Palace in Bangkok built to honour the kings of the Chakri dynasty. The display is adorned with a vibrant array of exotic orchid species and hybrids, complemented by iconic gilded chedis and majestic yakshas, mythical guardians from the Ramakien epic, bringing Thai culture and legend to life. Explore over 60 orchid taxa, including iconic vandaceous orchids of the country such as Vanda, Rhynchostylis and Aranda, as well as diverse groups of Dendrobium. This unique display highlights the diversity, craftsmanship, and prominence of Thai orchids.

Saito Sho, born in Tokyo in 1970, is a graduate of Tama Art University’s Graduate School and a member of the Dokuritsu Art Association and Jukkakai. Known for his warm and whimsical animal-themed artworks, Saito's creations often present a seemingly innocent and playful world while subtly reflecting profound thoughts on social emotions and human relationships. This exhibition marks Saito Sho’s first-ever solo showcase abroad and represents a significant milestone in his artistic career. To prepare for this milestone exhibition, Saito traveled to Singapore which was his first time to the sunny island. Through this trip, he observed the city's cultural diversity, tropical environment vastly different from Japan, and vibrant social dynamics. He incorporated these local elements into his new creations, imbuing his works with a unique connection to Singapore and a fresh layer of artistic depth.

lris van Herpen: Sculpting the Senses showcases the work of one of the most visionary fashiondesigners of her generation. A pioneer in her use of technologies, lris van Herpen defiesconventional norms of fashion, blending the traditional with innovative production technigues From micro to macro, this exhibition interrogates the body in space, our identities andpotential futures in a rapidly changing world. Celebrating van Herpen's future-facing andmultidisciplinary approach, this unigue retrospective exhibition incorporates nine themes thatcombine fashion with art, design, sustainability and science. A selection of over 140 looks and accessories by lris van Herpen are placed in dialogue withworks of contemporary art and extraordinary natural history specimens. The Singaporeiteration of the exhibition features local and regional content including artefacts on loan fromthe Lee Kong Chian Natural History Museum as well as other contemporary artworks curatedby the ArtScience Museum team. Artists, architects and designers featured in the exhibition are David Spriggs, Philip Beesley,[Mé], Juliette Clovis, Jacques Rougerie, Tan Shao Qi, Rogan Brown, Ren Ri, CourtneyMattison, Heishiro lshino, Tim Walker, Enrico Ferrarini, Ferruccio Laviani, Yayoi Kusama, ChunKwang Young, Joseph Walsh, Wim Delvoye, Janaina Mello Landini, Lanny Bergner, KateMccGwire, Ruben Pang, Damien Jalet, Kohei Nawa, Casey Curran, lvana Basi¢ and KimKeever. Iris van Herpen: Sculpting the Sensesis an exhibition co-organised by Musee des ArtsDecoratifs, Paris, France and ArtScience Museum, Singapore, based on an original exhibitiondesigned by Musée des Arts Décoratifs, Paris.

lris van Herpen: Sculpting the Senses showcases the work of one of the most visionary fashiondesigners of her generation. A pioneer in her use of technologies, lris van Herpen defiesconventional norms of fashion, blending the traditional with innovative production technigues From micro to macro, this exhibition interrogates the body in space, our identities andpotential futures in a rapidly changing world. Celebrating van Herpen's future-facing andmultidisciplinary approach, this unigue retrospective exhibition incorporates nine themes thatcombine fashion with art, design, sustainability and science. A selection of over 140 looks and accessories by lris van Herpen are placed in dialogue withworks of contemporary art and extraordinary natural history specimens. The Singaporeiteration of the exhibition features local and regional content including artefacts on loan fromthe Lee Kong Chian Natural History Museum as well as other contemporary artworks curatedby the ArtScience Museum team. Artists, architects and designers featured in the exhibition are David Spriggs, Philip Beesley,[Mé], Juliette Clovis, Jacques Rougerie, Tan Shao Qi, Rogan Brown, Ren Ri, CourtneyMattison, Heishiro lshino, Tim Walker, Enrico Ferrarini, Ferruccio Laviani, Yayoi Kusama, ChunKwang Young, Joseph Walsh, Wim Delvoye, Janaina Mello Landini, Lanny Bergner, KateMccGwire, Ruben Pang, Damien Jalet, Kohei Nawa, Casey Curran, lvana Basi¢ and KimKeever. Iris van Herpen: Sculpting the Sensesis an exhibition co-organised by Musee des ArtsDecoratifs, Paris, France and ArtScience Museum, Singapore, based on an original exhibitiondesigned by Musée des Arts Décoratifs, Paris.