INDEX
ART TAIPEI 2026
Art Fair, Group Presentation
28 October–02 November 2026
Taipei World Trade Center Exhibition Hall
Taipei, Taiwan
Images Coutesy of Kahying Gan, & Richard Koh Fine Art
Related Artworks
Go On, It’s Your Cheat Day (2025)
I Wish We Were More Alike (2024)
I Could Never Be a Saint Like You (2024)
Art Fair, Group Presentation
28 October–02 November 2026
Taipei World Trade Center Exhibition Hall
Taipei, Taiwan
Images Coutesy of Kahying Gan, & Richard Koh Fine Art
Related Artworks
Go On, It’s Your Cheat Day (2025)
I Wish We Were More Alike (2024)
I Could Never Be a Saint Like You (2024)
Description
Text by Richard Koh Fine Art
Richard Koh Fine Art (RKFA) is thrilled to participate in ART SG 2025, Southeast Asia’s premier contemporary art fair, showcasing a distinguished selection of contemporary artworks. This year’s presentation includes a special selection of young Singaporean artists, as well as artists from Malaysia, Vietnam, Thailand, Myanmar, and Iceland. These artists bring together an eclectic range of themes including memory, identity, urban spaces, and socio-political commentary.
Excerpt from Artist Statement
“A Certified Organic, Delectably Ripe Banana” is a newly developed series of 12 text works for Art Taipei. Continuing my recent interest in text, the series draws heavily from 《愛》, a Taiwanese Hokkien-language soap opera that I encountered throughout a childhood being partially raised by grandparents.Each work begins with a phrase spoken in the series, selected for an existing affinity I had with it, whether through remembering its use in my own life or recognising something familiar in its tone or cadence. My relationship to Hokkien is one of proximity rather than fluency, a language I inherited in fragments through family, television, memory and sound.
This fragmented relationship also sits within a wider history of language suppression across Singapore and Taiwan. From the mid-twentieth century onwards, Singapore promoted Mandarin over Chinese dialects, alongside a broader push towards English as a unifying language (Speak Mandarin Campaign 1979) (Newman 52). For example, when 《愛》 was broadcast in Singapore, due to restrictions on dialect programming, it was dubbed in Mandarin. Whilst in Taiwan, Mandarin was similarly promoted while Taiwanese and other vernacular languages were restricted in schools and public life (Speak Mandarin / 國語運動 , 1950s) (Hall 149–50). These policies contributed to the decline of dialect use and the fragmentation of linguistic inheritance across time.
Rather than treating this linguistic distance as a deficiency, I embrace and find humor in what remains: remembered words, mispronunciations, sounds and characters whose meanings may only be partially understood. By shifting between phonetics, meaning and written character, I want these fragments to be altered, misheard, and recomposed, reflecting how language can be inherited without ever being fully possessed.
Text by Richard Koh Fine Art
Richard Koh Fine Art (RKFA) is thrilled to participate in ART SG 2025, Southeast Asia’s premier contemporary art fair, showcasing a distinguished selection of contemporary artworks. This year’s presentation includes a special selection of young Singaporean artists, as well as artists from Malaysia, Vietnam, Thailand, Myanmar, and Iceland. These artists bring together an eclectic range of themes including memory, identity, urban spaces, and socio-political commentary.
Excerpt from Artist Statement
“A Certified Organic, Delectably Ripe Banana” is a newly developed series of 12 text works for Art Taipei. Continuing my recent interest in text, the series draws heavily from 《愛》, a Taiwanese Hokkien-language soap opera that I encountered throughout a childhood being partially raised by grandparents.Each work begins with a phrase spoken in the series, selected for an existing affinity I had with it, whether through remembering its use in my own life or recognising something familiar in its tone or cadence. My relationship to Hokkien is one of proximity rather than fluency, a language I inherited in fragments through family, television, memory and sound.
This fragmented relationship also sits within a wider history of language suppression across Singapore and Taiwan. From the mid-twentieth century onwards, Singapore promoted Mandarin over Chinese dialects, alongside a broader push towards English as a unifying language (Speak Mandarin Campaign 1979) (Newman 52). For example, when 《愛》 was broadcast in Singapore, due to restrictions on dialect programming, it was dubbed in Mandarin. Whilst in Taiwan, Mandarin was similarly promoted while Taiwanese and other vernacular languages were restricted in schools and public life (Speak Mandarin / 國語運動 , 1950s) (Hall 149–50). These policies contributed to the decline of dialect use and the fragmentation of linguistic inheritance across time.
Rather than treating this linguistic distance as a deficiency, I embrace and find humor in what remains: remembered words, mispronunciations, sounds and characters whose meanings may only be partially understood. By shifting between phonetics, meaning and written character, I want these fragments to be altered, misheard, and recomposed, reflecting how language can be inherited without ever being fully possessed.
Tender Assemblies
Group Presentation
17 July–22 September 2026
Wearesuper @ Enabling Village
Singapore, Singapore
Curated by Shireen Marican
Images Courtesy of Jonathan Liu
Related Artworks
A Snake in the Grass (2026)
Group Presentation
17 July–22 September 2026
Wearesuper @ Enabling Village
Singapore, Singapore
Curated by Shireen Marican
Images Courtesy of Jonathan Liu
Related Artworks
A Snake in the Grass (2026)
Description
Exhibition Text by Shireen Marican
Tender Assemblies is an exhibition celebrating the act and idea of assembling and gathering objects, food, symbols and textures where personal preference meets deliberate form. Bringing together artists across disciplines, the exhibition explores the art of composition: the choices we make when we decide what enters the frame, what earns its place, and what we offer to the rest of the world to see, to feel, to share and to appreciate. To assemble is to edit, to reveal, to commit and in doing so, every artist lays something of themselves bare. Each artist brings a private vocabulary of colour and texture, ritual and memory, and taste and culture, accumulated over a lifetime. Through objects, symbols, gestures and form, these preferences are more than aesthetic. They are what shapes a person, marking the things that have moved and changed them. Together, these works form a larger conversation, revealing how personal the act of assembly is, and yet how universally human.
Excerpt from Artist Statement
In the year since my solo exhibition Welcome Back, Boo, I have found myself returning to textile hangings with a renewed interest to push its formal possibilities through colour and composition whilst also refining my making process. “A Snake in the Grass” expands upon the textile works from that exhibition, where strips of hand assembled textiles undulate, drape, and ruffle to create sculptural forms. Like before, these works explore a multitude of ideas, but are mainly rooted in my ongoing fascination with textiles as a way of preserving my personal history with fashion and dress, while also addressing more intangible concerns surrounding visibility.
At-large, for this series of works, I looked towards the idea of armour, drawing from my time training as in womenswear tailoring, where I approached dress as a form of social armour. The resulting works have an almost fortified quality, and present themselves almost like ceremonial adornment. Although far from being wearable, these wall-based works continue what I previously described as an absence of the body. Their compositions retain semblances of bodily proportions and bilateral symmetry of a body no longer present instead becoming a critique of the ways bodies (esp queer bodies) are so often treated as decorative surfaces and contested sites of politics.
Exhibition Text by Shireen Marican
Tender Assemblies is an exhibition celebrating the act and idea of assembling and gathering objects, food, symbols and textures where personal preference meets deliberate form. Bringing together artists across disciplines, the exhibition explores the art of composition: the choices we make when we decide what enters the frame, what earns its place, and what we offer to the rest of the world to see, to feel, to share and to appreciate. To assemble is to edit, to reveal, to commit and in doing so, every artist lays something of themselves bare. Each artist brings a private vocabulary of colour and texture, ritual and memory, and taste and culture, accumulated over a lifetime. Through objects, symbols, gestures and form, these preferences are more than aesthetic. They are what shapes a person, marking the things that have moved and changed them. Together, these works form a larger conversation, revealing how personal the act of assembly is, and yet how universally human.
Excerpt from Artist Statement
In the year since my solo exhibition Welcome Back, Boo, I have found myself returning to textile hangings with a renewed interest to push its formal possibilities through colour and composition whilst also refining my making process. “A Snake in the Grass” expands upon the textile works from that exhibition, where strips of hand assembled textiles undulate, drape, and ruffle to create sculptural forms. Like before, these works explore a multitude of ideas, but are mainly rooted in my ongoing fascination with textiles as a way of preserving my personal history with fashion and dress, while also addressing more intangible concerns surrounding visibility.
At-large, for this series of works, I looked towards the idea of armour, drawing from my time training as in womenswear tailoring, where I approached dress as a form of social armour. The resulting works have an almost fortified quality, and present themselves almost like ceremonial adornment. Although far from being wearable, these wall-based works continue what I previously described as an absence of the body. Their compositions retain semblances of bodily proportions and bilateral symmetry of a body no longer present instead becoming a critique of the ways bodies (esp queer bodies) are so often treated as decorative surfaces and contested sites of politics.
Art Basel Hong Kong 2026
Art Fair, Group Presentation
25 March–29 March 2026
Hong Kong Convention and Exhibition Centre
Hong Kong SAR, China
Images Courtesy of Richard Koh Fine Art
Related Artworks
World’s Toughest Marathon (2025)
Art Fair, Group Presentation
25 March–29 March 2026
Hong Kong Convention and Exhibition Centre
Hong Kong SAR, China
Images Courtesy of Richard Koh Fine Art
Related Artworks
World’s Toughest Marathon (2025)
Description
Text by Richard Koh Fine Art
Richard Koh Fine Art is pleased to announce its participation in Art Basel Hong Kong 2026, presenting a curated selection of works by artists whose practices span painting, installation, textile assemblage, and mixed media. Bringing together voices from Southeast Asia and its diasporas, the booth foregrounds artistic practices shaped by memory, perception, spirituality, and socio-political experience.
The presentation features works by Bao Vuong, Hoang Duong Cam, Htein Lin, Justin Lim, Natee Utarit, Oca Villamiel, Samuel Xun, and Yeoh Choo Kuan.
Together, the booth reflects Richard Koh Fine Art’s continued commitment to supporting artists whose practices are grounded in personal histories while engaging critically with broader cultural, political, and philosophical questions within contemporary art discourse.
Text by Richard Koh Fine Art
Richard Koh Fine Art is pleased to announce its participation in Art Basel Hong Kong 2026, presenting a curated selection of works by artists whose practices span painting, installation, textile assemblage, and mixed media. Bringing together voices from Southeast Asia and its diasporas, the booth foregrounds artistic practices shaped by memory, perception, spirituality, and socio-political experience.
The presentation features works by Bao Vuong, Hoang Duong Cam, Htein Lin, Justin Lim, Natee Utarit, Oca Villamiel, Samuel Xun, and Yeoh Choo Kuan.
Together, the booth reflects Richard Koh Fine Art’s continued commitment to supporting artists whose practices are grounded in personal histories while engaging critically with broader cultural, political, and philosophical questions within contemporary art discourse.
Of Dreams and Contemplation I Am All But A Story:
Selections From The Collection of Richard Koh
Group Exhibition, Private Collection
09 January–09 March 2025
The Private Museum
Singapore, Singapore
Images Courtesy of The Private Museum
Related Artworks
I Still Can’t Believe I Blamed Myself (2021)
Group Exhibition, Private Collection
09 January–09 March 2025
The Private Museum
Singapore, Singapore
Images Courtesy of The Private Museum
Related Artworks
I Still Can’t Believe I Blamed Myself (2021)
Description
Exhibition Text by The Private Museum
In conjunction with Singapore Art Week 2025, The Private Museum is proud to present Of Dreams and Contemplation: I am All but a Story – Selections from the Collection of Richard Koh. This exhibition marks the second showcase of Richard Koh’s evolving journey as a collector and gallerist, showcasing over 50 works from his personal collection.
Building upon the narrative of the first instalment in 2019—held at the museum's former home at 51 Waterloo Street—the second instalment expands the scope of Koh's deeply personal collection. The first showcase o ered an intimate glimpse into Koh’s collection—emphasising monochromatic, abstract, and landscape works that reflected quiet introspection. Now, Of Dreams and Contemplation: I am All but a Story continues to unfold a collection rich in personal meaning—presenting works that trace Koh’s decades-long interactions with art and the artists he admires.
Collected with a focus on memory and emotion, Koh’s private collection spans Southeast Asia and beyond, blending local, regional, and global perspectives. This exhibition deepens the dialogue between art and life, revealing Koh’s ongoing exploration of what he calls a “visual diary”—works that evoke deeply personal moments and emotions. This new selection of works reflects an evolving journey that continues to resonate with new meanings in The Private Museum’s expansive space at the Osborne House.
As both a collector and the founder of Richard Koh Fine Art, Richard Koh has played a pivotal role in shaping and contributing towards the art ecology in Southeast Asia. This collaboration with Richard Koh underscores the collective effort and dedication towards fostering meaningful exchanges between artists, collectors, the arts communities, and audiences from all walks of life.
Kickstarting the Museum’s 2025 programme, Of Dreams and Contemplation: I am All but a Story invites all to explore the richness of art and discover how collections can tell deeply personal stories. As Richard Koh aptly states, “Art, in any collection, should have its own story,” inspiring audiences to embark on their own journey of collecting and storytelling through art.
Exhibition Text by The Private Museum
In conjunction with Singapore Art Week 2025, The Private Museum is proud to present Of Dreams and Contemplation: I am All but a Story – Selections from the Collection of Richard Koh. This exhibition marks the second showcase of Richard Koh’s evolving journey as a collector and gallerist, showcasing over 50 works from his personal collection.
Building upon the narrative of the first instalment in 2019—held at the museum's former home at 51 Waterloo Street—the second instalment expands the scope of Koh's deeply personal collection. The first showcase o ered an intimate glimpse into Koh’s collection—emphasising monochromatic, abstract, and landscape works that reflected quiet introspection. Now, Of Dreams and Contemplation: I am All but a Story continues to unfold a collection rich in personal meaning—presenting works that trace Koh’s decades-long interactions with art and the artists he admires.
Collected with a focus on memory and emotion, Koh’s private collection spans Southeast Asia and beyond, blending local, regional, and global perspectives. This exhibition deepens the dialogue between art and life, revealing Koh’s ongoing exploration of what he calls a “visual diary”—works that evoke deeply personal moments and emotions. This new selection of works reflects an evolving journey that continues to resonate with new meanings in The Private Museum’s expansive space at the Osborne House.
As both a collector and the founder of Richard Koh Fine Art, Richard Koh has played a pivotal role in shaping and contributing towards the art ecology in Southeast Asia. This collaboration with Richard Koh underscores the collective effort and dedication towards fostering meaningful exchanges between artists, collectors, the arts communities, and audiences from all walks of life.
Kickstarting the Museum’s 2025 programme, Of Dreams and Contemplation: I am All but a Story invites all to explore the richness of art and discover how collections can tell deeply personal stories. As Richard Koh aptly states, “Art, in any collection, should have its own story,” inspiring audiences to embark on their own journey of collecting and storytelling through art.