Unnerved by the lack of acceptance in contemporary art back in the 80’s, The Artist Village (TAV) was started by Tang Da Wu at Ulu Sembawang in 1988. Just like how Nanyang Artists of Chen Wen Hsi and Liu Kang marked the beginnings of artistic rigour in Singapore, TAV actively encouraged artists to embark on their artistic endevours.

Delving into performance, sound and video art, TAV initiated a platform for artists to evoke discourse, reflect and question issues surrounding history, politics and the society.

Currently, TAV is thriving and has new members ceaselessly making art under its wing. The Artists Village: 20 years On at the Singapore Art Museum is a retrospective of TAV’s achievements – a recollection of many memorable pieces including Amanda Heng’s Dishcover and Lee Wen’s Yellow Man series. TAV’s exhbition at SAM is a testament that perhaps, these artists are decidedly important enough to create history as local art practitioners who made a crucial difference.

Finally marking their territory at a museum, we can be assured Singapore possesses a brand of artists in a society that’s determined by economic pursuit. But will TAV artists be celebrated as warriors who ventured bravely into the unknown, defying standards and expectations for their own creative pursuit?

From a local perspective, how many even contend with being comfortable discussing contemporary art. Are we even aware of its roots or are we content that art should ignite nothing but aesthetic pleasure? What should the notion of art trigger?