THE GAP BETWEEN SINGAPOREANS AND CONTEMPORARY ART: A CASE STUDY OF THE SINGAPOREAN’S EXPERIENCE IN THE SINGAPORE BIENNALE 2019

Abstract

Since the 2010’s, Singapore policy has attempted to convert its population into art event-goers in hopes that they will develop ‘art competence’ (Bourdieu & Darbel, [1960] 1991) and a “cultured” Singaporean identity. (ACSR Committee, 2012) This study however, by following six arts-educated Singaporeans to the Singapore Biennale 2019 (SB2019), finds that even with art event attendance and ‘art competence’ accounted for, there remains deeper obstacles between Singaporeans and art. Firstly, ‘art competence’ itself can be an obstacle; the participants’ assumptions that art must be intellectually created, curated and viewed only led to frustration upon perceiving that many of SB2019’s artworks did not have ‘something to say’ at all. I argue that this ‘intellectual bias’ itself is a characteristic of a global, Eurocentric elite’s habitus, one that has long stymied art’s more democratic potential modes of access such as aesthetics or affect. Additionally, by maintaining an anti-populist façade, this Eurocentric art field inhibits itself from being adopted by the masses almost by definition. This study also finds that, contrary to the argument that art should simply feature Singaporean content to be relatable to Singaporeans, they may not even recognize technically ‘Singaporean’ subject matter in art- especially those excluded in ‘The Singapore Story’ (Tan K. P., 2016)- as ‘Singaporean’. Finally, in view of the aforementioned circumstances, I suggest how various stakeholders can better create, curate and view art in the context of Singapore’s modern context and policy goals.