ART SG kicks off the 2025 art fair schedule. The third edition of ART SG will return to the Sands Expo and Convention Center in Singapore on January 17, with a VIP preview on January 16. There are 106 exhibitors from the and region, including major galleries such as Gagosian, White Cube and Thaddaeus Ropac. Other international players strengthening their presence in Asia – Lehmann Maupin, Neugerriemschneider, Galerie Gisela Capitain, Annely Juda Fine Art, Goodman Gallery and PPOW – will also be present.
Singapore has experienced incredible growth over the past decade and the concentration of wealth is impressive. It is strategically located in the region and maintains a diplomatically neutral stance between China and the United States, making it arguably the most stable financial center in Asia. The numbers don’t lie: China’s family offices surged from 400 in 2020 to 1,650 in 2024, driven by favorable tax policies and a friendly business environment. Add to this the rise of Singapore as a vibrant tech hub—with a government-backed ecosystem that has global entrepreneurs and investors flocking to tap into cryptocurrencies and alternative markets—and it’s clear why the city-state is booming.
See also: The Observer talks to Philip Kwok about the growth of the Asian art market
The art world, on the other hand, remains relatively benign. While Singapore’s gallery and artist ecosystem is not yet quite at the level of Asian powerhouses like Hong Kong or Seoul, it has made progress through strategic investment. Chief among these was the 2015 opening of the National Gallery Singapore, now renowned for its dynamic programming. Established local galleries like STPI Creative Workshop & Gallery, which have been active for more than two decades, have joined a new wave of emerging and well-known galleries, such as Woaw Gallery (rooted in Hong Kong and Beijing).
With the art fairs approaching, The Observer spoke to Magnus Renfrew, co-founder of ART SG and founder of The Art Assembly, who is responsible for ART SG and the wider art fairs in the region (including Taipei Contemporary Art Fair, Art India fair, Sydney Contemporary Art Fair).
When we spoke to Renfrew, it was clear that ART SG aims to assert itself as this Singapore’s premier exhibition and a benchmark for the entire region. “Singapore is the host city, but we have strong gallery representation in Southeast Asia,” Renfrew said. He is quick to remind us of a fact that is often overlooked: the scale of Southeast Asia. “Southeast Asia has 650 million people. It’s about the same size as Europe,” he told the Observer. “For us, logic dictates that a region of this size deserves a major international art fair, especially when we consider that it is now home to many of the fastest-growing economies in the world. I think the rise of fairs will be part of the wider story of Southeast Asia and the rise of Singapore.
This year, Art SG has taken steps to strengthen its cultural partnerships, working with four iconic institutions in Singapore and the wider Southeast Asia region: Bangkok Art Museum, Delphine Foundation (London), M Art Foundation (Hong Kong, Singapore) and Art Outreach (Singapore). The result is a dynamic project that extends far beyond the confines of the fair, spreading into the city and covering the entire region. What’s the purpose? Expanding the fair into an indispensable regional platform for communicating, educating and promoting the South Asian art scene, which is not only dynamic but increasingly important, and connecting with the growing base of local art collectors.
The film section “ART SG FILM” will be curated by Stefano Rabolli Pansera, director of the Bangkok Art Museum, with the theme of “Artists, About Artists”. The program showcases film and video works produced by artists and films exploring their lives, designed to entertain and educate. Renfrew explained that the film program is a strategic tool to engage younger generations, making contemporary art less intimidating and more accessible. Angelle Siyang-Le echoed this sentiment when discussing Art Basel Hong Kong’s film program. “We want to be an inclusive fair that encourages younger generations to participate, but also allows everyone to see different art forms and have the opportunity to learn more about some of the artists through documentaries,” Renfrew said.
At the same time, ART SG is educating the next generation of arts professionals. Its partnership with Art Outreach (Singapore) has been key in nurturing young talent, providing hands-on opportunities for those eager to gain experience in the international art world. “We give them the opportunity to experience what it’s like to work at international art fairs and collaborate with international galleries,” explains Renfrew. “It’s an ongoing process; we started doing this last year and we found that some galleries have kept those connections and will be working with the same people in this edition. It’s a great way to connect people.
In addition, ART SG will also partner with the Delfina Foundation in London this year to deliver a series of talks aimed at promoting effective collecting and philanthropic practices in Singapore – a country that fosters a deeper understanding of high net worth individuals (HNWIs). A center with huge untapped potential in layer collector fundamentals. What’s the gain? Many people need guidance and education to navigate the arts industry with confidence. “Providing these opportunities is important in the context of our quest to broaden our audience. These lectures will allow us to share a wealth of experience in best practices among collectors and examine different collecting models,” explains Renfrew.
In other words, Singapore may have an impressive concentration of high-net-worth individuals, but getting them to open their wallets and buy art is the real challenge. Renfrew, however, is both pragmatic and optimistic: “You’re right, money doesn’t necessarily mean market, but no market means no market, and that’s also true… I’ve seen an increase in collections in Singapore itself, partly driven by previous There is also the stimulation of newcomers to the collection, which I think adds greatly to the discussion and energy.
While developing and educating the local collector community is a clear priority, Renfrew has returned to the broader goal of establishing ART SG as a platform for promoting art throughout the region. “I think education is very important in two aspects,” he clarified. “We also want to provide visitors from outside Southeast Asia with the opportunity to learn about Southeast Asia’s different cultural landscapes.”
When asked about ART SG’s strategic positioning within Art Assembly’s regional fair portfolio, Renfrew was quick to highlight Singapore’s role as a key hub: “All of our different fairs really play to the strengths of the specific location where they are held. We launch ART SG is about serving a different audience and in a way it really helps to expand the audience, mainly in Southeast Asia, but also allows people to rediscover some of the great things that are happening in Southeast Asia.
Renfrew’s belief in Singapore’s potential is unwavering, especially as the focus shifts from the Asia-Pacific to the Indo-Pacific. “If it can’t really claim to be the capital of the Asia-Pacific region, it’s definitely the de facto hub of the Indo-Pacific,” he said. “Historically, this has been the terminus of the Maritime Silk Road between India and China.” Singapore’s unique history, coupled with hundreds of years of cultural and economic exchanges, makes it a key cosmopolitan city. “I think Singapore is generally on a very positive trajectory. I think Singapore’s art market will benefit from the broader story of Singapore’s rise, and I’m sure that will continue over the next five or 10 years. He noted, Amid growing tensions between China and the United States, Singapore’s neutrality is a particular strategic advantage.
Of course, no arts center can thrive on optimism alone. South Korea offers a clear lesson: Successful transformation requires strong cultural policies and strong public support. In this regard, ART SG has spent the past three years strengthening relationships with key government agencies that share our vision of developing Singapore’s cultural landscape. “We are very grateful for the warm welcome we have received and for the spirit of cooperation shown by all government agencies, the tourist board, the National Arts Council and all the agencies who have been so welcoming to our visitors,” Renfrew added. “I think there’s a real sense that we’re all pulling in the same direction with a common goal to raise the profile of Singapore and Southeast Asia.”
