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History Early contemporary activity (1980s to 1990s) įrom the 1980s to 1990s, artists such as Jimmy Ong, Teng Nee Cheong, and Ho Soon Yeen were notable for being some of the few openly queer artists of the time, or whose practices engaged with notions of queerness in Singapore. The 2005 exhibition at The Substation, Bao Bei, by Singaporean artist Jason Wee, which featured pixelated male genitalia, was mentioned in the press release and deemed to be "innocuous" by the state. The decision was made after consultation with MDA's arts advisory groups, following the recommendations of the 2003 Censorship Review Committee appointed by the Government arts watchdog of the time, the Ministry of Information, Communications and the Arts (MITA) to exempt more arts entertainment from licensing. Īt the end of May 2005, in an amendment to the Public Entertainment and Meetings Act (Chapter 257), nine categories of arts entertainment events including "displays or exhibitions of art objects or paintings" were exempted from having to apply for a Public Entertainment Licence from the Media Development Authority (MDA). Alongside Section 377A of the Penal Code, which de jure but not de facto criminalises consensual, private sexual acts between men, strict censorship laws remain in place regarding LGBT+ representation in Singapore, among other sensitive topics. Practitioners of LGBT+ visual arts have to contend with various restrictions imposed by Singaporean law.
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Queer art practices from Singapore have also been exhibited internationally, more often beyond the specific curatorial framework of a queer art exhibition. In Singapore's contemporary art history, openly out queer artists whose art practices engage with notions of queerness have been documented since the 1980s. This was also in tandem with the rise of Pink Dot SG, which has now also influenced such events in many countries around the world.
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Ever since the early 2010s however, LGBT+ topics have been gradually liberalised, with regular discussions about such topics in the public sphere and local mainstream media. Īs homosexuality has been considered a taboo subject, practitioners in Singapore have historically contended with a host of limitations, with the avoidance of positive queer representation in local mainstream media, to operating with the risk of being blacklisted by the state, or vilification due to homophobia and transphobia from conservative aspects of wider Singaporean society. Queer visual art is a notable countercultural facet of contemporary Singaporean society, which currently criminalises, albeit unenforced, consensual, private sexual acts between men (legal for women) through the continued presence of laws such as Section 377A of the Penal Code.
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Such queer art practices are often by Singaporean or Singapore-based visual artists and curators who identify as LGBT+ or queer. LGBT art in Singapore, or queer art in Singapore, broadly refers to modern and contemporary visual art practices that draw on lesbian, gay, bisexual, and transgender+ imagery and themes, addressing topics such as LGBT rights, history and culture in Singapore.