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This article looks at artistic exchanges in Southeast Asia that are created through person-to-person contact, rather than the circulation of objects, in the form of performance art events, re-enactments, and large travelling exhibitions. It argues that close physical contact and creative collaborations among artists have become a means of writing alternative art histories that rely on oral transmission and live recordings. The creation of networks among artists have helped develop bonds among artists, as well as foster the development of art history in the region.

Today, cities the world over are entangled in aspirational future visions, as regions compete with others in different parts of the world for investment, tourists, and talent to guarantee economic growth. This paper approaches the cities of Kuala Lumpur, Singapore, and Vienna via their self-presentations and projections of the future. It sees cities as learning assemblages and pays attention to the narrative construction of imaginaries and future trajectories, as depicted in the respective city galleries and planning museums. All cities are found to be entangled in international policy trends and, in their unique ways, strive for recognition, competitiveness, and conviviality. Singapore emerges as torn between ambition, transparency, and control, while wanting to foster creativity and revive its cultural heritage; Kuala Lumpur appears simultaneously geared by boosterism and at home in opacity and multiplicity, privileging Malays while trying not to alienate other ethnic groups; and Vienna ambivalently projects a future that reconciles nostalgia for monarchic splendor and the social-democratic heritage of egalitarian urbanism with ambitions for international recognition and newly popular trends for citizen participation and \"rights to the city.\"

Singapore has seen a proliferation of contemporary art exhibitions and auctions in recent years. Installation art, like the infamous shark suspended in a tank of formaldehyde, can be worth millions of dollars in the world of contemporary art. This article examines whether installation artworks can satisfy the requirements for the subsistence of copyright in Singapore. The intrinsic characteristics of installation art, including the transient nature of particular works and its frequent use of readymade and natural objects, seem to be in conflict with the statutory definition of an 'artistic work' and with the copyright subsistence requirements of fixation and originality. The authors argue that there should not be a per se rule either against the recognition of installation works as sculptures—a specific category of artistic works—or more generally as artistic works. It will examine three of the most famous—and controversial—Turner Prize-nominated and winning works as illustrative case studies. The article also suggests that 'artistic purpose' is likely to have a more prominent role in the evaluative criteria used by courts for the classification of 'artistic works', particularly in the courts' approach to non-propositional installation works.

In the aftermath of the devastating terrorist attacks in the USA and Europe, most notably the 9/11 attacks on New York, there has been renewed interest in the role of cultural diplomacy in international relations as a strategic platform for engaging with other nations and for wielding \"soft power\" on the international stage. Central to this renewed interest on cultural diplomacy is that culture can provide a critical platform for contact and negotiations when political relations are in jeopardy or for recalibrating relationships with emerging powers. This study provides an analysis of cross-cultural museum exchanges as an instrument of \"soft power\" and cultural diplomacy by considering Singapore's motives and outcomes of engaging in the Singapore-France cultural collaboration. The study demonstrates that while cross-cultural museum exchanges can serve as symbolic gestures of political goodwill, their effectiveness in shaping the preferences of other nations through exerting \"soft power\" on the international stage is limited. These exchanges are often apolitical in their initiation because museums seldom take their nations' political goals into consideration in selecting their prospective partners and the subject of collaboration. While cross-cultural museum exchanges are apolitical in their initiation, their consequences are nonetheless political due to inherent unequal power relations between the collaborating parties.

The Asian Civilisations Museum, Singapore, is to be congratulated for organising a splendid exhibition of Thai Buddhist art entitled 'Enlightened ways: The many streams of Buddhist art in Thailand', which ran from 30 November 2012 to 17 April 2013, and for publishing the exhibition catalogue as well as a separate monograph, Buddhist storytelling in Thailand and Laos, which elucidates the long cloth scroll depicting the story of Prince Vessantara on display at the exhibition. Adapted from the source document.

Every Sunday, on a broad tree-lined street near the National Gallery Singapore, Burmese migrant workers gather to talk, drink and smoke. By Monday morning, they have returned to their jobs and the street seems just like any other in this affluent district, facing the gallery's neoclassical facade on one side and the pristine lawns of St Andrew's Cathedral on the other. The workers' presence is explained by the proximity of Peninsula Plaza, or 'Little Burma': a labyrinth of travel agencies, currency exchanges, souvenir shops and restaurants, all with a Burmese flavour. Their absence, however, speaks more profoundly of issues dividing Singapore - entrenched social inequality and an overwhelming cultural diversity that defies government attempts to impose order.

Review(s) of: APB foundation signature art prize 2018', by National Museum of Singapore until 2 September 2018.

An Indonesian gamelan orchestra has a distinctive, subtle sound: the gentle tones can be mesmerising. In Boedi Widjaja's work, though, the music is digitally reversed, producing a different effect. This soundscape has become a hallmark of Widjaja's 'Black-Hut’ series, first shown in Singapore in 2016 and now in a new iteration for the 9th Asia Pacific Triennial of Contemporary Art (APT9) at the Queensland Art Gallery / Gallery of Modern Art in Brisbane (until 28 April 2019).

Under the thematic banner 'An Atlas of Mirrors', the recent Singapore Biennale initiated conversations on how we navigate and conceptualise geographies and our place in the universe. Though sharing familiar concerns in global discourse, this theme provided a foundation of ideas encumbered in Singapore's history and its relationships in Southeast Asia, the region with which the Biennale continues to be primarily concerned.

Just over a year since opening, the National Gallery Singapore (NGS) is setting the benchmark for Southeast Asian art museums. With its impressive building and expert staff, lively programming and energetic educational initiatives, and especially through curatorial innovations that radically challenge standard accounts, NGS is placing Southeast Asian art and artists into world histories. One important route to this broad aim is partnering with European museums, bringing Southeast Asian and European art histories in dialogue.