As the previous Head of Culture at Mandala Club, in its own words, “a community of communities,” she brings her love of the arts to the fore by crafting a diverse cultural calendar that caters to varied tastes and curiosities of its members. From bringing members on regional art tours in Hong Kong to raising funds for important causes like mental health and endangered natural environments, and producing a massive Halloween party based on the true story of Bukit Pasoh’s deep-rooted (and seedy) culture and history, it may be the least traditional choice for creating a career in the arts but it’s an actual front row seat to witnessing ideas, inspiration and pure energy pulsate in each human interaction. And that in itself, might be the most artful of living life, after all.
Anmari Van Nieuwenhove
Born to an artist mother, Anmari had only ever known a life in the arts. The only daughter to a single mum, she spurred her on to make choices based on unbridled passion and intuition—the choice was always hers. She chose an education in English Language and Literature, followed by a burgeoning career with the Singapore Arts Museum. Each choice along the way has brought her to an intersection of curation, commerce, and connection.
You’ve had an eclectic career in the arts. How have your experiences led you to the role you have today?
When starting my career with the Singapore Arts Museum (SAM), I was in the Marketing and Communications department and took to social media quickly, because SAM had a very small social media presence then, with no dedicated team or strategy. I ran with it instinctively, approaching it with a content-driven, people-oriented strategy. I continue to use the lessons I’ve learned then till today. I’ve curated, consulted, created. Delving deep into the arts has allowed me to view the world through a multi-faceted lens. I’ve cultivated a rich understanding of people and stories—human emotions, personal narratives, and the myriad ways to convey them through marketing and programming but especially for the nuances of art. Art, in its vast expanse, covers everything from food, history, and society, to geography. Over the years, my immersion in this world has allowed me to forge invaluable connections and networks within the arts community.
What’s your take on the role of fashion and design in Singapore’s arts and culture scene?
Fashion and design play a very important role in Singapore’s arts and culture scene. There is so much talent in this space and many individuals working in silos to create impact, but I believe it requires much more institutional investment to reach its potential. By creating more intersectionality and cross-sections between mediums and art forms we could see something really interesting emerge. It’s all about creating networks across the various ‘silos’ of performing and visual arts, media, private companies and institutions that we will see an ecosystem form. We have the talent. We need the belief.
Who are some of your greatest heroes in the art space?
There are plenty of artists whose work I admire, including (my mother) Susie Wong’s practice, but I want to highlight a few of my other favourite Singaporeans, like Pooja Nansi, the SWF’s Festival Director for five years running and a poet whose recent ode Singapore Writers Festival reflects Singapore's vanishing cultural landmarks. Then there's June Yap, who is currently the Director of Curatorial and Collections at SAM and has been a driving force in putting Singapore and regional artists on the world map. I’m also a big fan of director Tan Pin Pin, whose work examines Singapore’s history through a personal, nostalgic lens. One of her more recent films, To Singapore with Love (2013) was banned here but I believe it is a very important piece for Singaporean film.
How has your love for the arts influenced your approach to style?
It’s made me open to all styles, all cultures — I love colour and its effect on me. I embrace all sorts of styles and not what an editor might say is trendy. I love mixing and matching. I try to break out of convention. There are no rules. Just have fun!
What are some practices that you adopt to stay creative?
There was a long period post-Covid where I think I lost a bit of myself. I wasn’t interested in much. A lot had happened and if you are depressed it’s hard to be creative. But as the saying goes, "adversity breeds creativity." It’s important to enjoy yourself, enjoy things, serve yourself - a cup of tea, a scrub in a long shower. Listen to yourself. Listen to your body. Keep things open and random, don’t overplan every single aspect of your day. Your openness to unexpected outcomes, being ok with that — is key. Creative inspiration often flows from the most unexpected places.
You had a role that was very much about bringing people together and fostering connections. How would you define a meaningful collaboration?
It’s about feeling on an equal footing, that’s mutually serving. And the energy needs to come from both sides. If it’s one sided or lacking, you’ll feel it. Collaboration celebrates the beauty of collective effort, the richness that comes from diverse opinions converging. Only when we genuinely listen, then can we adapt and grow together.
How does IN GOOD COMPANY resonate with you personally and how does the brand fit into your lifestyle?
IN GOOD COMPANY to me is simple, intentional, and thoughtful. The brand has an ethos that deeply resonates with my personal values and perspectives. The aesthetics don’t overshadow utility but both are allowed to exist together. It has a gentle spirit that I love with unexpected surprises, often reflected through their choice of material or colour.
Special credits to Mandala Club for hosting the photoshoot. Photography by Nicky Loh.
Styled by IN GOOD COMPANY.
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