Another World Is Possible at the ArtScience Museum is an exhibition about how we imagine the future. Held in conjunction with Singapore Design Week, the exhibition features over 100 projects spanning design, architecture, cinema and art.
Another World Is Possible: Imagining the Future
Rather than a dystopian and bleak view of the future, Another World Is Possible examines how world-building can create a better tomorrow by taking visitors on a journey of seven chapters.
The exhibition features 100 works by over 40 artists, designers, architects, writers and filmmakers. Amongst those represented in the exhibition are Liam Young, Björk, Andrew Thomas Huang, Osheen Siva, Ken Liu, Serwah Attafuah, Shiro Fujioka, Debbie Ding, Ming Wong, Ong Kian Peng, Youths in Balaclava, Jakob Kudsk Steensen, WOHA, Jason Pomeroy, Finbarr Fallon, RAD+ar, Superlative Futures, Interactive Materials Lab, Torlarp Larpjaroensook, Osborne Macharia and more.
UE SQUARE’S COSMIC SPACE EXPEDITION: Have An Out-Of-This-World Adventure!
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The sheer number of artists means that different perspectives are represented. These include Indigenous, Afrofuturist, and Asian perspectives, providing diverse visions of the future.
This exhibition at ArtScience Museum is presented in collaboration with ACMI in Melbourne, Australia.
Chapter 1: We Are Authors of the End
The exhibition starts off by exploring how cinema and television have influenced our views of the future. This include ideas such as the rise of machine intelligence, the breakdown of societal order, and a planet that is damaged beyond repair.
An installation by spatial design and build specialist Dezign Format provide a canvas for scenes of collapse, control, and catastrophe, drawing on images from cinema, television and video games.
Chapter 2: Imagination Echoes Through Us All
The next chapter features After the End (2024), a film by artist and exhibition co-curator Liam Young and co-creator First Nations artist Natasha Wanganeen.
Set in a post-fossil fuel future where stolen land has been returned to First Peoples, the work showcases how cinematic world-building can reimagine the use of existing infrastructure to create climate solutions-with new island communities rising from oil rigs that have been turned into artificial reefs and an indigenous space industry launching from old gas plants.
You can also view other works. For example, Indian artist Osheen Siva reimagines traditional jewelry from her Tamil and Dalit heritage as futuristic armour.
Björk’s music video The Gate, directed by Chinese-American artist Andrew Thomas Huang depicts love as a cosmic force born from the coexistence of technology and nature.
These other works present other possible futures that are based on diverse cultural values and ways of seeing.
Chapter 3: It Begins with Freedom
Next, the spotlight falls on Afrofuturism, a cultural movement where the future as a space for Black freedom, with technological advancements but grounded in memory and tradition.
Amongst the works here include Kenyan-Canadian photographer Osborne Macharia’s People of the Rift (2025) feature unique expressions of African beadwork. Artist Serwah Attafuah’s moving image work The Darkness Between the Stars (2025) merge Ghanaian heritage with futuristic aesthetics.
Chapter 4: Silk, Spice, a Punk Paradise
From Africa, the exhibition turns to Asia and draws on regional mythologies, cultures, practices and environmental contexts to imagine distinctly Asian futures.
The works imagine new dawn where tradition, technology, spirituality and innovation coexist.
Singapore-based media artist Ong Kian Peng’s generative art installation Cloud Scripts (2025) explores the relationship between humans and the spiritual world through abstract symbols and pictorial script in the form of talismans.
Chapter 5: From Console to Cosmos
Video games are examined as engines of world-building, featuring projects that invite visitors to become players and co-creators of new worlds-exercising agency, shaping outcomes, and taking responsibility in this chapter.
A highlight is Singapore artist Debbie Ding’s New Village (2025). This is a walking simulator game that reconstructs a 1950s Malaysian town from her father’s memories, transforming personal and postcolonial history into an explorable virtual space.
On the other hand, BARC (2024), by Yong Zhen Zhou and Clement Zheng from Interactive Materials Lab (NUS), reimagines the arcade shooter with players playing as warehouse employees armed with barcode scanners and tasks arriving via receipt printers. BARC explores how everyday tools can be reimagined for immersive play.
Chapter 6: A World Becoming
Looking beyond popular depictions of dystopian futures, this chapter looks forward to a more hopeful world.
You can’t miss the large-scale installations by Liam Young and his cinematic landscapes that explore urgent questions of the planet’s future.
Visitors can enter a world where the entire human population lives in a single hyper-dense city powered by renewable energy, as envisioned in Planet City (2021), or be a witness to the largest construction project in human history with The Great Endeavour (2024), where colossal machines are removing carbon from the atmosphere at a planetary scale.
These are mirrored by Ong Kian Peng’s work Sky River (2023) which imagines a future in which the weather becomes a medium of design, with cloud seeding serving as a way to acquire fresh water.
Chapter 7: This Future Island City
The final chapter of the exhibition celebrates Singapore as a site of world-building and a nation by design-where nature, technology, and policy converge
Here, the featured projects showcase what is possible through design when nature, technology and policy converge.
Link-Scape (2024) by architectural studio RAD+ar is a work that explores how the built environment might welcome nature back in, proposing a vertical habitat that links green zones across the city while integrating residential and commercial functions.
It is a nice way to round up the Another World Is Possible exhibition at ArtScience Museum.
Another World Is Possible exhibition at ArtScience Museum
The exhibition will run from 13 September 2025 to 22 February 2026. Tickets are available for purchase at all Marina Bay Sands box offices and online.
