‘Everyday Practices’ at Singapore Art Museum
By Ian Tee

SAM Curators Haeju Kim (left) and Teng Yen Hui (right). Image courtesy of Singapore Art Museum.

We speak to curators Haeju Kim and Teng Yen Hui about the ongoing exhibition ‘Everyday Practices’ at Singapore Art Museum’s (SAM) new collection gallery. Notably, it is the first show curated from SAM Collection since the move to Tanjong Pagar Distripark in 2022. Featuring works by 19 artists and one collective from Southeast Asia and beyond, ‘Everyday Practices’ explores how daily gestures can express powerful statements of resilience and endurance in navigating difficult circumstances.

In this conversation, the curators unpack the themes in ‘Everyday Practices’ and share one highlight artwork which is exhibited for the first time in Singapore. They also delve into SAM’s collection strategy and the processes behind acquiring artworks. Through the interview, one gets an understanding of the functions served by institutional collections as not merely “preserving an artwork’s materiality but to keep its relevance alive, ensuring it continues to resonate with diverse audiences.”

Installation view of 'Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

‘Everyday Practices’ is the inaugural show in a gallery at SAM dedicated to collection exhibitions. Could you say more about the plans for this space and how the SAM collection will be activated?

Gallery 4 is the very first of SAM’s galleries that is dedicated to showcasing and programming around our collection. With a significant holding of Southeast Asian contemporary art, the opening of a dedicated gallery for our collection enables us to feature a broad range of artworks and practices representing the region’s diversity and to connect with the global community. It allows us also to look across our acquisitions over time to deepen the narratives that have developed.

The inaugural show ‘Everyday Practices’ runs from 30 August 2024 to 20 July 2025 – an extended duration compared to our usual shows to encourage deeper engagement with the collection. Exhibitions will be refreshed on an annual basis, with each next show bringing forth perspectives that build on its previous cycle. The annual refresh is intended to illuminate topical strands emerging from its preceding show. We hope this creates a web of knowledge presented through the unique perspectives of artists from Singapore, the region, and around the world.

Installation view of Tehching Hsieh’s ‘One Year Performance 1978–1979’ as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Could you tell us more about the premise of ‘Everyday Practices’?

The concept of ‘Everyday Practices’ draws inspiration from ‘One Year Performance 1978–1979’ by Tehching Hsieh, a work which profoundly explores ideas of time, endurance, and the essence of living through repetition. The year-long work, where Hsieh subjected himself to solitary confinement and reduced life to its most fundamental elements, could certainly resonate with the collective experience of the pandemic during which many of us faced prolonged isolation, uncertainty and the repetitive rhythms of daily life.

‘One Year Performance 1989-1979’ and the broader philosophies of Hsieh’s practice became an anchor for this exhibition, inspiring the three keywords “everyday”, “repetition” and “endurance” that guided the selection of the other works in the show. The exhibition considers how everyday actions could transform into meaningful gestures amidst adversity, and how art could offer a means of coping and making sense of the world. Many artworks in the exhibition reflect on the social and political realities of their respective geographies. There are also others that touch on personal themes of loss and grief which equally make up the fabric of everyday existence.

“The exhibition considers how everyday actions could transform into meaningful gestures amidst adversity, and how art could offer a means of coping and making sense of the world.”

Detail view of Wong Hoy Cheong’s ‘Tapestry of Justice’ (1999-2004) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

What is one recent acquisition or artwork which you are excited about?

One artwork would be ‘Tapestry of Justice’ by Wong Hoy Cheong which is showing for the first time here since its acquisition some years ago. The work is not only visually compelling, but also resonates deeply with the themes of the exhibition.

In this work, over 10,000 photocopied thumbprints are connected into a delicate tapestry, held together with leaves and petals from plants such as the hibiscus, rose and beech. Made over six years, from 1999 to 2004, the artist conceived of this to serve simultaneously as a work of art and a petition during Malaysia’s Reformasi movement in the late 1990s, when the redress of social injustices and other political issues held sway. For the next six years, Wong collected the thumbprints shown here to repeal the nation’s Internal Security Act, which allowed for detention without trial. The dual symbolism of thumbprints is ironic – conventionally viewed as evidence of criminal activity, the thumbprint was also the most reliable form of personal identification before the advent of DNA sequencing. Fragile and hopeful, the tapestry emphasises the power of collective action in effecting transformation.

Are there curatorial interventions or exhibition design features that build on the show’s themes which you wish to highlight?

Time is a key element of the exhibition that we tried to bring out. While each artwork engages with the themes of the “everyday”, “repetition” and “endurance” to varying degrees, we decided against dividing the exhibition into distinct sections. Instead, we tried to create a cohesive flow, positioning works that resonated conceptually or visually close to one another. The narrative arc begins with artworks addressing broader social and political realities, gradually transitioning into more personal explorations of illness, loss and grief. It was our hope to create a layered experience for visitors.

Our graphic designers, gideon-jamie, also contributed to this reflection on time with thoughtful design choices. For instance, the artwork labels were printed on a particular type of paper that is sensitive to light and that would gradually change colour over the course of the exhibition. This subtle gesture and shifts, we hope, deepen the engagement with the exhibition’s themes and foster a sense of time’s presence within the space.

Installation view of Guo-Liang Tan’s ‘Peripheral Ritual I–III’ (2018) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

How would you describe SAM's acquisition strategy or approach?

SAM is focused on building a distinct and diverse collection of contemporary art featuring significant works from Singapore, Southeast Asia, and beyond. By deepening research on and expanding the collection scope of artist practices from the 2000s onwards, SAM aims to develop narratives and perspectives that highlight the region’s diversity and connect with the global community.

Through curating exhibitions centred on its collection, SAM strives to make these artworks accessible to all, offering diverse entry points for visitors of all backgrounds to encounter contemporary art, and inviting everyone to engage with and define the art of the present.

Briefly, what are the procedures undertaken or considerations before an artwork enters the SAM collection, and after acquisition?

Before an artwork enters the SAM collection, it undergoes a rigorous evaluation aligned with the museum’s vision of building a leading Southeast Asian contemporary art collection connected to global practices. SAM adopts a research-led approach, selecting artworks that explore new narratives, address gaps in representation between histories, narratives, and discourses, and highlight Southeast Asia’s interconnectedness with the world. Artworks tend to reflect recent or emerging practices, deepening understanding of the region’s diverse and evolving artistic landscape within a global context.

After acquisition, our focus shifts to stewardship. The artwork is carefully documented, photographed and assessed for any immediate conservation needs. It is then registered into our collection management system, making it accessible for research and future exhibition planning. Depending on the work, we may also initiate conservation treatment or work with the artist to understand the ideal conditions for its display and preservation.

Finally, the work is integrated into SAM’s broader programming, through use in exhibitions or research projects where it can engage with the public and contribute to ongoing cultural dialogue. Our ultimate aim is not merely to preserve the artwork’s materiality but to keep its relevance alive, ensuring it continues to resonate with diverse audiences.

“Our ultimate aim is not merely to preserve the artwork’s materiality but to keep its relevance alive, ensuring it continues to resonate with diverse audiences.”

Yen Hui, based on your experience as Collection Manager, what are the major shifts you observed in the last decade?

One major shift in collecting has been a growing emphasis on time-based and participatory artworks, reflecting the rise of performance, video, and socially-engaged practices in contemporary art. These works often challenge conventional collection frameworks, requiring us to think a bit more creatively about documentation, preservation and future reactivation. Yet, this shift has also prompted us to engage in deeper conversations with artists to understand their intentions and ideas as to how these works can evolve over time.

While SAM has always championed Southeast Asian art, there has been a stronger emphasis on representing diverse voices and practices from across the region. These include artists who address overlooked histories, marginalised communities, and environmental concerns.

Curatorial developments have also shaped the types of works acquired. Increasingly, there is an interest in works that transcend traditional media boundaries or embody interdisciplinary approaches—whether through science, technology, or community engagement. These works often reflect urgent global issues, such as climate change or social justice, making the collection more reflective of contemporary realities.

Overall, these shifts mark a dynamic period for SAM as our collection evolves as a sort of living archive of the region’s artistic and cultural pulse.

“Increasingly, there is an interest in works that transcend traditional media boundaries or embody interdisciplinary approaches—whether through science, technology, or community engagement.”

Detail view of Imhathai Suwatthanasilp’s ‘The Flower Field’ (2012) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

What is one question or idea you hope visitors to ‘Everyday Practices’ will hold with them as they experience the exhibition?

‘Everyday Practices’ was developed to explore how daily routines and actions can become powerful forms of expression and meaningful acts of resistance. The artworks exhibited reveal powerful statements of human resilience and endurance, prompting reflection on how collective strength can be found in individual actions. Through this, we invite visitors to explore how art can be a tool for sense-making and coping with adversity in the face of life’s challenges.

Are there upcoming programmes or events around ‘Everyday Practices’ or the collection gallery that readers should look out for?

Visitors can deepen their experience with ‘The Everyday Enigma’, an interactive question trail designed to encourage thoughtful exploration of selected artworks. Free guided tours led by SAM curators and docents are available, with Singapore Sign Language (SgSL) interpretation provided.

This interview is presented in partnership with Singapore Art Museum.

‘Everyday Practices’ is on view at SAM at Tanjong Pagar Distripark from 30 August 2024 to 20 July 2025. More information about the exhibition and programmes can be accessed here.