Curation, Urban Mobility, and Heritage Narratives in the Singapore Biennale 2025 - Maxthon

The Pedestrian Biennale: Analyzing Decentralized Curation, Urban Mobility, and Heritage Narratives in the Singapore Biennale 2025

Abstract

The Singapore Biennale 2025 (SB2025), organized around the theme of “pure intention,” represents a significant contemporary articulation of decentralized curatorial practice. Featuring over 100 artworks spread across non-traditional sites, the Biennale transforms the city-state into a vast, navigable exhibition space. This paper analyzes the strategic use of curated public routes—specifically the Rail Corridor, Orchard, and Civic District itineraries highlighted by media coverage—to argue that SB2025 employs a strategy of geopedagogy. By integrating art viewing with physical movement (“clocking steps”) and situating major works (such as Kate Newby’s A Line Through Time and Salad Dressing’s Square Forest) within historically and economically liminal spaces, SB2025 actively challenges centralized museum authority, promotes accessibility, and leverages spatial juxtaposition to prompt urban critical insight rather than mere aesthetic consumption. The study concludes that the Biennale’s success lies in its transformation of the urban environment into a dynamic, corporeal engagement with local heritage and ongoing urban redevelopment.

Introduction: Biennials, Decentralization, and the Search for “Pure Intention”

Contemporary biennials have evolved beyond traditional institutional models, increasingly embracing decentralized, site-specific, and participatory formats to reflect critically on global and local contexts (Filipovic, 2010). The Singapore Biennale 2025 (SB2025), running from October 31, 2025, to March 29, 2026, and encompassing over 100 artworks, is positioned within this trend. The chosen theme, “pure intention,” suggests a focus on essential artistic motivations, which is reflected spatially through the radical dispersion of the exhibition across Singapore’s diverse urban fabric.

This mass scale presents a logistical challenge: how does the vastness of the show retain coherence and accessibility? Media intervention, specifically through curated public itineraries, becomes a de facto aspect of the curatorial presentation. This paper examines the pathways suggested to the public—the Rail Corridor, Orchard, and Civic District routes—as crucial frameworks for understanding SB2025’s objectives.

We posit that SB2025 utilizes guided mobility to achieve three primary aims: 1) to enact a corporeal engagement with the art, linking viewing to physical action (“clocking steps”); 2) to employ spatial juxtaposition as a critical tool, placing artworks in dialogue with contrasting urban histories; and 3) to democratize access by focusing on free admission routes that deliberately deviate from established “luxurisation” narratives in key commercial areas.

Curated Mobility and Geopedagogy

The shift from viewing art in a sterile gallery to encountering it along a defined pedestrian path represents a move toward geopedagogy—a learning process derived from navigating geographical space (Tuan, 1977). In SB2025, the viewing experience is structured not by gallery walls but by topographical and historical markers, transforming the journey itself into an essential part of the artistic encounter.

The curated routes function as micro-narratives designed to manage the scale of the exhibition. By condensing the 100+ artworks into manageable, thematic “hikes” (e.g., the 1km family-friendly Rail Corridor route or the 2.5km adventurous Orchard route), the Biennale emphasizes accessibility and encourages the blurring of leisure, exercise, and intellectual contemplation. The explicit inclusion of advice to “clock steps and grab food along the way” domesticates the traditionally high-brow biennial experience, integrating it firmly into everyday urban life.

The Rail Corridor Route: Contrasting Heritage and Liminality

The Rail Corridor route offers the most explicit example of SB2025’s spatial critique through contrast. This route mandates engagement with two neighboring yet socio-historically distinct estates: Tanglin Halt and Wessex Estate.

Tanglin Halt, identified as “Singapore’s oldest public housing estate slated for redevelopment,” represents the state-led vernacular architecture and the ongoing cycle of urban renewal. Wessex Estate, conversely, consists of “idyllic black-and-white houses once reserved for British military personnel,” embodying colonial legacy and exclusive architectural heritage.

Placing artworks curated for this route, such as Kate Newby’s site-responsive work A Line Through Time (2025), within this 1km stretch necessitates a critical reflection on Singapore’s layered history of housing, class, and architectural preservation. Newby’s work, positioned along a former railway track that itself symbolizes mobility and historical transit, serves as an active intervention into the dialogue between rapid modernization (Tanglin Halt’s impending demolition) and preserved imperial history (Wessex Estate).

The selection of this specific location, characterized by its “worlds apart” nature, transforms the family-friendly hike into an implicit lesson in Singaporean socio-economic geography, thereby enacting the “pure intention” through localized, deep engagement with place.

The Orchard Route: Resisting Affluence and Reclaiming Strata Space

The Orchard route explicitly addresses the political economy of Singapore’s commercial hub. The curatorial strategy here is to bypass the area’s celebrated symbols of global consumerism (e.g., Ion Orchard) and instead utilize “older strata malls like Lucky Plaza and Far East Shopping Centre.” These structures quietly resist the high-end “luxurisation” of the shopping street, maintaining a sense of architectural and commercial diversity often marginalized in official narratives.

By focusing viewing on these liminal commercial spaces, the Biennale uses art as a mechanism to reclaim visibility for marginalized economic activities and architectural typologies. This spatial choice aligns with a broader conceptual framework seen in contemporary art that challenges the homogenization of global city centers (Kwon, 2002).

Furthermore, the route includes Salad Dressing’s Square Forest (2025) at the former Raffles Girls’ School (RGS). The use of the former RGS, now a site of institutional memory stripped of its original function, emphasizes the transient nature of educational and public infrastructure. Square Forest thus interacts not just with the physical space, but with the memory of the institution, asking viewers to contemplate cycles of displacement and adaptive reuse within the relentless pace of urban change.

Institutional Reconfiguration in the Civic District

While the Rail Corridor and Orchard routes focus on periphery and contrast, the Civic District route engages with traditional centers of governmental and cultural power, but subverts expectations regarding access. The route features artworks within the National Gallery Singapore—providing a necessary institutional anchor, exemplified by Tuan Andrew Nguyen’s Temple (2025)—but also deliberately includes a stop in a “law firm.”

This detail is highly significant. By placing art within a private, professional, and typically inaccessible space like a law firm, SB2025 continues its decentralization strategy, blurring the boundaries between public art display and private corporate life. It forces an intersection between the formal structures of the city (law, governance) and ephemeral artistic presentation, challenging the notion that art viewing is confined solely to designated cultural zones. This boundary transgression reinforces the theme of “pure intention” by suggesting that art’s purpose should permeate the totality of civic and professional existence.

Conclusion

The Singapore Biennale 2025, operating under the mantra of “pure intention,” demonstrates a highly sophisticated approach to urban curatorialism. By strategically outlining paths of movement through the city, SB2025 transforms the viewing process into a physical, historical, and critical undertaking.

The curated routes serve as essential navigational and interpretive devices, enabling SB2025 to effectively manage its scale while maximizing accessibility. The juxtaposition of colonial structures with public housing (Rail Corridor), and the deliberate selection of older strata malls against luxury retail (Orchard), ensure that the art dialogue is deeply embedded in Singapore’s ongoing urban politics and heritage debates. SB2025 successfully establishes itself as a Pedestrian Biennale, prioritizing corporeal engagement and spatial narrative, thereby integrating the experience of high-caliber contemporary art into the very rhythm and footsteps of daily Singaporean life.

References

Filipovic, E. (2010). The Global White Cube: The Biennial and the Museum. In A. Vettese (Ed.), The Biennial Reader (pp. 526–540). Bergen Kunsthall/Hatje Cantz Verlag.

Kwon, M. (2002). One Place After Another: Site-Specific Art and Locational Identity. MIT Press.

Tuan, Y. F. (1977). Space and Place: The Perspective of Experience. University of Minnesota Press.

(Note: Specific citations for the artists/works are derived directly from the sourced news article, acknowledging the works and locations as empirical data for the analysis.)

Oct 31 – Nov 2, 2025

Event Overview

The Singapore Art Book Fair returns for its largest edition yet, featuring over 120 local and international exhibitors from around the world. Since its inception in 2013, SGABF has grown to become Southeast Asia’s premier art book fair, attracting 4,500 visitors in 2024. This year marks a significant milestone as the fair moves into expanded spaces at the New Art Museum Singapore and Whitestone Gallery.

What Makes It Special

Diverse International Presence: Exhibitors from Argentina to Vietnam, Cairo to Saigon, bringing global artistic perspectives
Fresh Discoveries: Approximately 50% of exhibitors are first-timers, ensuring novel experiences even for returning visitors
Notable Debuts: Local talent including graphic design trio Hause, Con-Temporary Art Editions, and visual artists Chin Lew and Isabell Hansen
Unique Art Books: Three specially created books from the 14-week Thing Books Residency Programme:
- Refugia by Yuen Chee Wai (The Observatory musician)
- In The Year Of The Snake by Seth Cheong (exploring cinema and print)
- What Is The Soul, But Crazed With Longing For You by Nur Wahidah (Subsonic Eye)
Hands-On Learning: Bookmaking workshops covering binding and printing techniques (additional registration required)
Risograph Enthusiasts: New booths by WEDOGOOD (Saigon) and Rizo Masr (Cairo) showcasing vibrant risograph prints

How to Get There by Public Transport

Primary Route:

MRT: Outram Park Station (East-West Line / North-East Line)
Walking: 10-15 minute walk to 39 Keppel Road
Route: Exit the station, head south along Cantonment Road, turn onto Keppel Road

Alternative Routes:

Bus Services: Take buses 10, 30, 57, 61, 80, 93, 97, 100, 145, 166, or 196 to stops near Keppel Road
From Tanjong Pagar MRT: 15-minute walk via Neil Road and Keppel Road

Venue Details:

New Art Museum Singapore and Whitestone Gallery
05-03/06 Tanjong Pagar Distripark
39 Keppel Road

Practical Information

Hours: Noon to 8pm daily
Tickets: $6 online (until Oct 27), $8 at door (limited availability)
Entry: Per-day tickets (not multi-day passes)
Website: singaporeartbookfair.org

Dining Options Near Venue

Within Walking Distance:

Tanjong Pagar Area (10 minutes): Famous food street with diverse options including Korean BBQ, Japanese izakayas, trendy cafes, and fine dining
Craig Road: Boutique restaurants and hip cafes
Keong Saik Road: Heritage area with fusion restaurants, traditional eateries, and specialty coffee shops
Chinatown Complex (15 minutes): Hawker center with affordable local food including Michelin-starred stalls
Duxton Hill: Upscale dining with European and Asian fusion restaurants

Quick Bites:

Convenience stores near Tanjong Pagar Distripark
Cafes within the museum complex (check availability)

Values and Lessons to Learn

1. Supporting Independent Publishing The fair champions small presses, independent publishers, and self-published artists who might not have access to mainstream distribution channels. This teaches the importance of alternative voices in the arts ecosystem.

2. Materiality in the Digital Age As founder Renee Ting emphasizes, the fair creates “space for meaningful engagement with the materiality of printed matter.” In our screen-dominated world, this reminds us of the tactile, sensory experience that physical books provide.

3. Cross-Cultural Exchange With exhibitors spanning continents, visitors gain exposure to diverse artistic traditions, printing techniques, and storytelling approaches from Argentina to Cairo to Vietnam.

4. Craftsmanship and Process The bookmaking workshops highlight the skill, patience, and technical knowledge required in print production, fostering appreciation for artisanal work.

5. Community Building Art book fairs serve as gathering places for artists, collectors, and enthusiasts, demonstrating how shared interests create meaningful communities.

6. Accessibility of Art With affordable entry ($6-8) and a range of price points for books and zines, the fair makes art collecting accessible beyond wealthy collectors.