EXHIBITIONS FROM 2025

Going North is the first exhibition of the year at Hin Bus Depot, presented by CHETAK 17, a collective pushing the boundaries of printmaking. Moving beyond past studio-based showcases, this edition highlights members’ individual artistic explorations, emphasizing experimentation through diverse techniques and influences. Featuring works by CHETAK 17 members and invited artists, the exhibition blends print-based, mixed-media, and experimental approaches, showcasing evolving creative processes while reinforcing CHETAK 17’s role in fostering collaboration, discovery, and innovation in contemporary printmaking.

Void is the first collaboration between Penang-based Hin Bus Depot and Blank Canvas, showcasing works from Leong Kwong Yee’s personal collection. Through varied media and perspectives, the exhibition explores the many forms of emptiness—physical, emotional, and spiritual—asking whether every void can truly be filled, while also reflecting the roles both platforms play in addressing gaps within the local art scene.

Brought to you by a like-minded bunch from the Narrow Marrow community, ever eager to brain-flush their thoughts, emotions, and the occasional philosophical nonsense (emphasis on 𝘱𝘩𝘪𝘭𝘰𝘴𝘰𝘱𝘩𝘪𝘤𝘢𝘭, of course).

Originally conceived as a community zine project, it’s essentially an experimental mixtape in print: raw, unfiltered, and delightfully chaotic. There’s no grand curation here, just a glorious absurdity of anything printable; writings, essays, short stories, plays, scripts, code, advertisements, poetry, lyrics, drawings, doodles, sketches, collages, photos (if it fits on a page, it gets in).

This issue, titled 𝙧𝙚𝙎𝙩𝙖𝙧𝙩, leaks off the printed page and splatters unapologetically into the real, physical world. It’s a group show made up of Penang artists, plus one George Town artist (yes, apparently that’s a thing). Expect a heady mash-up of new and old works: seasoned fermentations from familiar names, stirred together with a bold dash of first-timers. Altogether, it’s a savoury spread of tropical spice, definitely compatible with local tastebuds but very likely to cause a bit of tummy trouble for Far West Asians (think Nasi Kandar banjir levels of unexpected intensity).

Presenting works by : Aboud Fares, bibichun, Caranotok, Dhavinder Singh, Hiro Namba, Hoo Fan Chon, IMMJN, J.ArtStudio, Jamie Muxian, Kangblabla, Lijynn, Max Shee, S. Teoh, Shin Yen, Sputnikforest, TAZONE, Trina Teoh, Tupperware.noise and Vinnee.

The 𝗪𝗮𝘆𝘀 𝗼𝗳 𝗦𝗲𝗲𝗶𝗻𝗴 is CULT Gallery’s annual platform spotlighting emerging artists. Curated as a group exhibition, each artist presents a body of work as opposed to a singular work, offering an entry into their individual practices at this early stage of their careers.

Now in its fifth edition, Ways of Seeing 2025 brings together seven artists, with each exploring an array of methodologies and materialities. 𝘈𝘥𝘢𝘮 𝘉𝘢𝘥𝘳𝘶𝘥𝘥𝘪𝘯 𝘚𝘺𝘢𝘩, 𝘐𝘻𝘩𝘢𝘳 𝘠𝘶𝘴𝘳𝘪𝘯 and 𝘓𝘶𝘲𝘮𝘢𝘯 𝘐𝘴𝘮𝘢𝘪𝘭 present works familiar within the fine art space, all rooted in the traditions of painting and printmaking, while 𝘈𝘺𝘶𝘦 𝘑𝘶𝘮𝘢𝘯, 𝘊𝘩𝘢𝘶 𝘟𝘩𝘪𝘦𝘯, and 𝘟𝘦𝘦𝘮 𝘕𝘰𝘰𝘳 embrace craft techniques through a contemporary lens, drawing on cross-stitch, rattan weaving, beadwork, and embroidery. 𝘚𝘩𝘪𝘯 𝘠𝘦𝘯 conjures text-based works that poetically interact with the space, using mirrors as her chosen medium.

Through their varied approaches in their art-making, these artists reveal how they see and shape the world around them, developing visual expressions that are uniquely theirs, early in their careers.

From Singapore to Penang, one island to another, the Critical Craft Collective (CCC) presents From Palais to Pulau (Penang Edition), in collaboration with Hin Bus Depot, following its successful debut during Singapore Art Week 2025. Reimagining ‘Mrs Beeton’s Book of Household Management’, a Victorian-era domestic guide, the project critically examines invisible labour, gender roles, and the decentering of colonial legacies in the home. It foregrounds the oft-overlooked cultural practices that shape domestic life, engaging deeply with how these narratives take root in specific sites of presentation.

The first edition in Singapore was staged in a heritage shophouse, responding to the layered histories of that space and shifting the conversation from the European 𝘱𝘢𝘭𝘢𝘪𝘴 to the Southeast Asian 𝘱𝘶𝘭𝘢𝘶. In this context, participating artists explored the interplay between care, ritual, and the artistic process, particularly as shaped by heat and temperature, integral elements of both creative and domestic labour. This shift from European to Southeast Asian lenses signals a deliberate decentering and recentering of what constitutes home and how its stories are told.

Curated by Adeline Kueh and Hazel Lim, the Penang edition at Hin Bus Depot expands the project’s focus on care, kinship, and island living, exploring shared & divergent understandings of home and household management. It considers how temperature, humidity, and environmental factors intersect with urban redevelopment and climate change, while reflecting on the historical trade connections between Singapore and Penang. The exhibition poses critical questions: What shared notions of belonging shape our understanding of home today? How do movement, displacement, and reciprocity influence the making and naming of home? And what other critical perspectives emerge in these ongoing conversations?