Photo by Morita Kenji, Courtesy of the Mori Art Museum
Photographed by Matthew Teo for ArtReview Asia Spring 2017
Born in Singapore in 1976.
A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976, Singapore) complex practice that primarily constitutes video and installation. Features in their own right, each work unravels unspoken layers of Southeast Asian histories whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not.
At the heart of Ho’s films is an observation of history; more specifically, a weaving of fact and myth to unravel and reveal what one is told versus what one believes to know, interprets and remembers. Ho’s work titters on the edge of fact and artifice, tending in scope from research-driven documentative exposure to the fantastical. ‘The Nameless’ (2014), for example, follows the story of a man named Lai Teck, one of the 50 known aliases of the Secretary-General of the Malayan Communist party from 1939 to 1949. His exact name has never been proven, nor his background or ultimate demise, but evidence suggests that he was born in Vietnam to a Chinese mother and served as a spy to both the French and British. Lai climbed the ranks of the Malayan Communist party by acting as an informant to sabotage his adversaries, later escaping execution by the Japanese by pledging allegiance to their intelligence forces. Ho recounts this tale through the use of existing Hong Kong film footage which he then manipulated, using the fictional to cast light on the untold, bringing to life the characters hidden under the carpet of canonised history.
A further recent project engaging histories, their investigation and presentation, is the recent multimedia project ‘The Critical Dictionary of Southeast Asia, Vol. 1: G for Ghost(writers)’ developed during the course of a residency at Asia Art Archive. Starting with the question of what unites the region called Southeast Asia, Ho created a ‘dictionary’ comprising narratives of shape-shifting and amorphous characters, ideas, and genres—one of which is Gene Hanrahan, who supposedly wrote and edited books of a wide ideological span, ranging from The Communist Struggle in Malaya to The Wild Years: Ernest Hemingway and 50 Great Oriental Stories. Presented as an installation including an internet dictionary, 16 books written and edited by Hanrahan, and Ho’s film about the figure of the writer called The Name, the work invites visitors and readers to think about questions of authorship, authenticity, and authority.
Extending into the realm of myth, Ho draws on nature and extraneous beings to build a reconsideration of the region’s pre-colonial past. Consider ‘2 or 3 Tigers’ (2015) in which the focus slowly pans out to reveal the previously ambiguous figure of a tiger alongside that of a human being. Or ‘Utama—Every Name in History is I’ (2003), composed of a video and twenty portrait paintings, which cumulatively deliver images of a quixotic pursuit of the distant past. Depicting the 14th-century figure of Sang Nila Utama, a discoverer of the island nation, the video weaves apocryphal relationships with other historical regional leaders to boost the legitimacy of the founding narrative and collapses time by employing the same person to play other explorers including Christopher Columbus, Vasco da Gama, Zheng He, and Singapore’s British coloniser Sir Thomas Stamford Raffles. Through Ho’s films, the viewer is presented with optional pasts, that vested in Singapore’s colonial and pre-colonial history, rest on the precipice of myth, fantasy and fact.
Beyond multi-century historical reflections, Ho casts light on the present whilst engaging the tools of art history and musical scripture to mount a momentous consideration of the world we live in. ‘The Cloud of Unknowing’ (2011), for example, an epic work presented by Ho for his representation of Singapore at the 54th Venice Biennale, explores the expansive subject of the representation of the elusive and amorphous cloud. Navigating between fantastical contemporary characters as well as their settings, Ho creates an eery and engaging work inspired by philosopher Hubert Damisch’s thesis on the form’s aesthetics and symbolism – A Theory of /Cloud/: Toward a History of Painting – first published in French in 1972. Incorporating a set of eight vignettes, each centred on a character’s representation of the cloud, Ho incarnates anthropomorphically how this ephemeral element is visualised and expressed by significant Western European masters including Caravaggio, A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s complex practice that primarily constitutes video and installation. Features in their own right, each film unravels unspoken layers of Southeast Asian history whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not.
Accompanying the visual complexity of Ho’s narrative is his work’s continuous relationship with music. The auditory scores, often engaging various composers, range from punk and metallic to classical. The level of sonorific association with the content ranges; for ‘EARTH’ (2009), for example, the music serves as an auditory stimulus for the filmic visual that constitutes human bodies, seemingly piled up in the wake of an unspecified catastrophe, along with a tangle of wires and cables, stacks of wooden pallets, cardboard boxes, dead fish and fluorescent light tubes. A direct reference to Caravaggio’s The Incredulity of Saint Thomas (1601–02) and his technical use of ‘chiaroscuro’, the work is brought to life by the score that coincides with the tentative ruminations of the emerging visual elements. Contrarily, ‘Gould’ (2009-2013) serves as a direct reference to the famed maestro pianist Glenn Gould, and depicts a man playing the piano to extreme velocity while his head bobs, a motion that is eventually revealed as being dictated by a guiding white-gloved hand. A reference to control, puppetry, on an individual and institutional level, the istoria of each film is accentuated by outworldly auditory addition.
Ultimately, Ho’s work may be described as a ‘dense constellation of particles—constantly shifting shape’, giving way to new layers, discoveries – elements of interpretation. A rich fabric of references, historical, art historical, technically and musically, Ho’s work is one of multiple engagements, readings and experiences. Careful and deliberate, his practice sits on the cusp of investigative research, the work of a true scholar, and that of a proficient as well as articulate narrator. As described by Ho himself, however, “spotting references is never a crucial thing in my work. I always try to produce work for an imaginary spectator who might have zero understanding of these references” – a comment that reminds us that Ho’s practice is not about projection of what we know, it is about opening the door onto something we did not.
Ho Tzu Nyen has been widely exhibited with one person exhibitions at Kunstverein, Hamburg (2018); McaM, Shanghai (2018); TPAM, Yokohama (2018); Asia Art Archive, Hong Kong (2017); The Guggenheim, Bilbao (2015); Mori Art Museum, Tokyo (2012); Artspace, Sydney (2011) amongst others. He also represented Singapore at the 54th Venice Biennale (2011). Select group exhibitions include Sharjah Biennial 14, Sharjah (2019); Gwangju Biennale, Gwangju (2018); National Gallery, Singapore (2018); Dhaka Art Summit, Dhaka (2018); Haus der Kulturen der Welt, Berlin (2017); Guggenheim, New York (2016); QAGOMA, Brisbane (2016); Times Museum, Guangzhou, China (2013); Witte de With, Rotterdam (2012) amongst others. He has participated in numerous international film festivals including the Sundance Film Festival in Park City, Utah (2012) and the 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). He was an Artist-in-Residency at the DAAD (Berlin) from 2015 to 2016, and the Asia Art Archive, Hong Kong (2012 to 2015).
｜Education｜
2003 - 2007
Master of Art (by Research), Southeast Asian Studies Programme, National University of Singapore
1998 - 2001
Bachelor of Creative Arts (Dean’s List), School of Creative Arts, Victorian Victorian College of the Arts, University of Melbourne, Australia
｜Public Commissions｜
2009
The Road Not Taken, LTA commission, Pasir Panjang MRT Station, Singapore
2006
Sejarah Singapura, National Museum of Singapore, Permanent Display
｜Selected Residencies｜
2019 NTU Centre for Contemporary Art Singapore
2014 – 2015 DAAD, Berlin, Germany
2013 Asia Art Archive, Hong Kong
2012 Sudpole, Lucerne, Switzerland
2009 TheatreWorks, Singapore
｜Awards｜
2015
Grand Prize. the APB Foundation Signature Art Prize, Singapore
2014
Artist in Residency, DAAD, Berlin, Germany
2013
‘The Cloud of Unknowing’, Prix de Nuit. Signes de Nuit, Paris, France
Artist in Residency, Asia Art Archive, Hong Kong
2012
Artist in Residency, Sudpole, Lucerne, Switzerland
2010
National Youth Award. National Youth Council, Singapore
Young Artist Award. National Arts Council, Singapore
2008
JCCI Singapore Foundation Arts Award, Singapore
‘The Bohemian Rhapsody Project’, The Grand Jury Prize at the 4th Pris de Courts,
International Short Film Festival in Paris, France
‘The Bohemian Rhapsody Project’, Special Mention at the 5th Vienna Independent
Short Film Festival, Vienna, Austria
‘Sejarah Singapura’, Silver medal, MUSE Awards, New York, USA
2006
Front Award for Visual Arts Arts Central, Singapore
San Francisco Bay Guardian - Film Critic’s Pick for ‘4 x 4 - Episodes of Singapore Art’
2003
Research Scholarship, National University of Singapore, Singapore
2002
Dean’s Award for Outstanding Academic Achievements, University of Melbourne, Australia
2001
National Winner, Nokia Arts Awards, Eye on the World Painting Competition, Singapore
First Prize, Abstract Category, 20th UOB Painting of the Year, Singapore
1999
First Prize, The Jacques Derrida Exhibition and Prize, Melbourne, Australia
1995
Humanities Scholarship, Public Service Commission, Singapore
｜Selected Solo Exhibitions｜
2019
G for Gong, Edith-Russ-Haus for Media Art, Oldenburg, Germany
The Critical Dictionary of Southeast Asia Volume 8: R for Rhombicuboctahedron, Edouard
Malingue Gallery, Hong Kong
2018
The Critical Dictionary of Southeast Asia Volume 3: N for Names, Kunstverein in Hamburg,
Hamburg, Germany
The Mysterious Lai Teck, International Summer Festival, Kampnagel, Germany
One or Several Works, Ming Contemporary Art Museum (McaM), Shanghai, China
One or Several Tigers, TPAM, Yokohama
2017
No Man II, Galerie Michael Janssen, Berlin, Germany
The Critical Dictionary of Southeast Asia Vol. 1, G is for Ghost(writer), Asia Art Archive,
Hong Kong
The Critical Dictionary of Southeast Asia Vol. 3, Lofoten International Arts Festival, Norway
EARTH; Cloud of Unknowing, Dallas Contemporary and Crow Collection
2015
The Cloud of Unknowing, Guggenheim Museum, Bilbao, Spain
EARTH, Edith-Russ-Haus for Media Art, Oldenberg, Germany
The Name, daadgalerie, Berlin, Germany
The Name, Trinity Square Video, Toronto, Canada
2014
EARTH, Project Fulfil Art Space, Taipei, Taiwan
2013
PYTHAGORAS, Michael Janssen, Gilman Barracks, Singapore
2012
MAM Project #16, Mori Art Musuem, Tokyo, Japan
2011
The Cloud of Unknowing, Singapore Pavilion, 54th Venice Biennale, Venice, Italy
EARTH, Artspace, Sydney, Australia
2010
Solo exhibition at the Contemporary Art Centre South Australia, Australia
2007
The Bohemian Rhapsody Project, Artspace, Sydney, Australia
The Bohemian Rhapsody Project, Contemporary Art Center of South Australia
The Bohemian Rhapsody Project, Gallery 3,14, Bergen, Oslo, Norway
2006
The Bohemian Rhapsody Project, Shanghai Duolun Museum of Modern Art, China
2005
Utama – Every Name in History is I, Sparwasser HQ, Berlin, Germany
4 x 4 – Episodes of Singapore Art, National Broadcast on Arts Central, Singapore
2003
Utama – Every Name in History is I, The Substation, Singapore
｜Selected Group Exhibitions｜
2020
「Daisuke Miyatsu: 25 years of video art - A point of transit signals from East and South East Asia」，ALIEN Art Centre，Kaosiung/Taiwan
2019
Chroniclers, Outside of Time, Museum of Contemporary Art Busan, Busan, South Korea
RAM Highlight 2019, Rockbund Art Museum, Shanghai, China
Taming Y/Our Passion, Aichi Triennial 2019, Toyota City and Nagoya City, Japan
Xenos, Contemporary Art Museum of Estonia, Tallinn, Estonia
The Ouroboros, TheCube Project Space, Taipei, Taiwan; The Casino Luxembourg – Forum
d’art Contemporain, Luxembourg
Home Works 8, Ashkal Alwan, The Lebanese Association for Plastic Arts, Beirut, Lebanon
Thousand-Armed Guanyin, Red Brick Museum, Beijing, China
SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, Kaohsiung Museum
of Fine Arts, Kaohsiung City, Taiwan
Animalesque - Art Across Species and Beings, Bildmuseet, Umeå, Sweden
An Opera for Animals, Para Site, Hong Kong
Leaving the Echo Chamber, Sharjah Biennial 14, Sharjah, UAE
Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition, Wuzhen, China
2018
The 4th Shenzhen Independent Animation Biennale, Shenzhen, China
D-Tale, Video Art from the Pearl River Delta, Times Art Centre Berlin, Germany
Heteroglossia, HOW Art Museum, Shanghai, China
Rituals of Signs and Metamorphosis, Red Brick Museum, Beijing, China
Seven Questions for Asia, Kuandu Biennale, Kuandu Museum of Fine Arts, Taipei, Taiwan
Offline Browser, Hong-Gah Museum, Taipei, Taiwan
Civilization: The Way Live Now, National Museum of Modern and Contemporary Art
(MMCA), Seoul, Korea
Imagined Borders, Gwangju Biennale, Gwangju, Korea
Light to Night Festival 2018: Colour Sensations, National Gallery Singapore, Singapore
Bearing Points, Dhaka Art Summit 2018, Dhaka, Bangladesh
Holland Festival, International Performing Arts, Amsterdam, Netherlands
One or Several Tigers, Kunsthalfestivaldesarts 2018, Brussels, Belgium
Onassis Fast Forward Festival 5, Onassis Cultural Centre, Athens, Greece
Beyond Bliss, 1st Bangkok Biennale, Thailand
Diaspora: Exit, Exile, Exodus of Southeast Asia, MAIIAM, Chiang Mai, Thailand
2017
Unrealised, National Gallery of Singapore, Singapore
Nameless, El Usman Faroqhi Here and a Yonder: On Finding Poise in Disorientation – A
Project in the Framework of the Harun Farocki Retrospective, SAVVY Contemporary, Berlin
Ghosts and Spectres - Shadows of History, NTU Centre for Contemporary Art, Singapore
One or Several Tigers, Light to Night Festival, National Gallery of Singapore
I Taste the Future, Lofoten International Arts Festival, Norway
Film Screening Series, Edouard Malingue Gallery, Hong Kong
2 or 3 Tigers, Haus der Kulturen der Welt, Berlin, Germany
Sunshower: Contemporary Art from Southeast Asia 1980s to Now, Mori Art Museum &
National Arts Center Tokyo, Japan
When the other meets the other Other? What matters? What not? Cultural Center, Serbia
2 or 3 Tigers, Haus der Kulturen der Welt, HKW, Berlin
The Fevered Specters of Art, Edith-Russ-Haus für
The Principle of Uncertainty, National Museum of Modern & Contemporary Art, Seoul,
Korea
Undead Cinema, Nam June Paik Center, Seoul
Contours Biennale, Mechelen, Belgium
Medienkunst, Oldenburg, Germany
Kino der Kunst, HFF AudimaxX, Munich, Germany
Mekong - New Mythologies - Hong Kong Arts Centre (HKAC), Hong Kong
2016
Field Meeting: Thinking Practice, Guggenheim New York, USA
Art Basel Unlimited, Basel, Switzerland
The Time is Out of Joint, Sharjah Art Foundation Art Spaces, Sharjah
TRAME, Reality Art Cinema Invention. Spazio Murat, Bari
Screening Room, Temporary Gallery, Cologne, Germany
Lofoten International Arts Festival, Norway
From Bandung to Berlin - If all of the moons aligned, SAVVY Contemporary, Berlin
Habits and customs of __ , Kadist Art Foundation Paris, Paris
Time Of Others, Queensland Art Gallery / Gallery of Modern Art, Brisbane, QLD
Frozen World of the Familiar Stranger, Kadist Art Foundation, San Francisco, USA
Frozen World of the Familiar Stranger, Kadist Art Foundation, San Francisco & Khoj
International Artists’ Association, New Delhi, India
2015
6th Moscow Biennale, Russia
5 Stars. Singapore Art Museum, Singapore
3rd Ural Industrial Biennial of Art, Yekaterinburg, Russia.
A Luxury We Cannot Afford, Para/Site Art Space, Hong Kong
The Time of Others, NMAO National Museum of Art Osaka, Osaka
Crossovers, OCAT Shanghai, Shanghai, China
FACTS & FICTION, Images of Catastrophe and Projections into the Future, Lenbachhaus,
Munich, Germany
The Measure of Your Dwelling: Singapore as Unhomed, IFA Gallery, Berlin, Germany
The Time of Others, Museum of Contemporary Art Tokyo, Japan
Lest the Two Seas Meet, Museum of Modern Art, Warsaw, Poland
To The Sound of the Closing Door, Akademie der Künste, Berlin
2014
2nd Kochi-Muziris Biennale, Kochi, India
10th Shanghai Biennale, Power of Station of Art, Shanghai, China
ABP Foundation Signature Art Prize 2014 Finalists Exhibition, Singapore Art Museum,
Singapore
Busan Museum of Art, South Korea
Mapping Asia, Asia Art Archive, Hong Kong, China
Anthropos, Sundaram Tagore Gallery, New York, USA
Medium-at-Large, Singapore Art Museum, Singapore
Ewa International Media Art Presentation, Seoul, Korea
Unearthed, Singapore Art Museum, Singapore
Reality Distortion Field, Media/Art Kitchen, Tokyo Metropolitan Museum of Photography,
Japan
Sights and Sounds: Singapore, The Jewish Museum of New York, New York City
2013
5th Auckland Triennial, New Zealand
Artificial Natures, EXIT Festival, Maison des Arts de Créteil, France
Autonomous Zone, Times Museum, Guangzhou, China
No Country: Contemporary Art for South and Southeast Asia, Guggenheim Museum, New
York, USA
Move on Asia, ZKM, Karlsruhe, Germany
transmediale.13, Haus der Kulturen der Welt, Berlin, Germany
2012
Of Human Scale and Beyond: Experience and Transcendence, Hong Kong Art Centre,
Hong Kong
To Bring the World into the World, Art Metropole, Toronto, Canada
Surplus Authors, Witte de With, Rotterdam, Netherlands
TRACES, Jim Thompson Art Center, Bangkok, Thailand
Armory Film, The Armory Show, New York, USA
Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan
New Frontiers, Sundance Film Festival, Utah, USA
2011
transmediale.11, Haus der Kulturen der Welt, Berlin, Germany
The Grip, Kadist Foundation, Paris, France
2010
Media Landscape -Zone East, The Korean Cultural Centre, London, United Kingdom
Liverpool Biennial, Media Landscape -Zone East, Liverpool, United Kingdom
Video Art Biennial, Tel Aviv, Israel
No Soul for Sale, Tate Modern, London, United Kingdom
Video Art Biennial, Tel Aviv, Israel
intercool 3.0, Hartware Medienkunstverein im Dortmunder U, Dortmund, Germany
2009
The Zarathustra Project, 6th Asia-Art Pacific Triennial, Australia
H the Happy Robot, 6th Asia-Art Pacific Triennial, Australia
Yokomama Festival of Art and Media, Japan
The Dojima River Biennale, Osaka, Japan
The Making of the New Silk Roads, Bangkok University Gallery, Thailand
The Singapore Art Show, Singapore Art Museum, Singapore
Some Rooms, Osage Kwun Tong, Hong Kong, China
2008
Coffee, Cigarettes and Phad Thai- Contemporary Art from Southeast Asia, Eslite Gallery.
Taiwan
Art Multiple, Ke Center for the Contemporary Arts, Shanghai, China
Loop in Motion, Video Festival, Seoul, South Korea
MU Popshop, Stichting MU, Eindhoven, The Netherlands
Art & Entrepreneurship, Credit-Suisse Exhibition, Dubai, New York, Berlin, Moscow,
Geneva, Milan, Madrid, London
Always Here but not Always Present- Art in a Senseless World, SMU Arts Festival,
Singapore
2007
Sof Power, Zendai Museum of Modern Art, Shanghai, China
Asia–Europe Mediations, National Gallery of Poznan, Poland
Thermocline of Art: New Asian Waves, ZKM Center for Art and Media, Karlsruhe, Germany
Video Killed the Painting Star, Contemporary Center of Art, Glasgow, Scotland
The Theatre of Life, Trent, Italy
2006
The Glowing Whistle Festival, HQ Sparswasser, Berlin.
Underplayed: A Mix-Tape of Music-Based Videos, The Yerba Buena Center for the Arts,
San Francisco, USA
ARGOS, Brussels, Belgium
Belief, Singapore Biennale 2006, Singapore
Move on Asia, Alternative Space Loop, Seoul, and Tokyo Wonder Site, Japan
Islanded: Contemporary Art from New Zealand, Singapore and Taiwan, Institute of
Contemporary Arts Singapore, and Adam Art Gallery, New Zealand
The Guernica Project, ARCO - Cityscapes, Madrid, Spain
2005
3rd Fukuoka Asian Art Triennale, Japan
No Time for Space, Para/Site Art Space, Hong Kong
2004
Image Smugglers, 26th Sao Paolo Biennale, Brazil
The Venice Architectural Biennale, Singapore Pavilion, Venice, Italy
Painting as Process: Re-evaluating Painting, Earl Lu Gallery, Singapore
Loop in Motion, Video Festival, Seoul, South Korea
Pathiharn Electron [Supernatural], Switch Media Art Festival, Chiang Mai University Art
Museum, Chiang Mai, Thailand
｜Selected Screenings｜
2013
Retrospective Profile of Ho Tzu Nyen, 59th Oberhausen Short Film Festival
The Cloud of Unknowing, 42nd Rotterdam International Film Festival
2012
The Cloud of Unknowing, Sundance Film FestivaL, Utah, USA
2011
The Cloud of Unknowing, 64th Locarno International Film Festival
2010
EARTH, Official Selection, 34th Hong Kong International Film Festival
EARTH, Official Selection, 39th Rotterdam International Film Festival
HERE, Official Selection, 3rd !fstanbul International Film Festival
HERE, Official Selection, 33rd Goteborg International Film Festival
HERE, Official Selection, 15th Ankara Festival on Wheels Film Festival
2009
EARTH, Official Selection, 66th Venice International Film Festival
HERE, Official Selection, 24th Mar del Plata International Film Festival
HERE, Official Selection, 6th Kong Asian Film Festival
HERE, Official Selection, 11th Cinemanila International Film Festival
HERE, Official Selection, 33rd Sao Paulo International Film Festival
HERE, Official Selection, 16th Oldenburg International Film Festival
HERE, Official Selection, 26th Warsaw International Film Festival HERE, Official Selection,
14th Pusan International Film Festival
HERE, Official Selection, 44th Karlovy Vary International Film Festival
HERE, Directors Fortnight, 62nd Cannes International Film Festival, France
Utama – Every Name in History is I, Official Selection, 55th Oberhausen Short Film Festival,
Germany
Reflections, 2nd Asian Hot Shots Berlin, Germany
2008
Reflections, International Competition, 2nd Kratkofil International Short Film Festival, Bosnia-Herzegovina
Reflections, International Competition 11th Expression en Corto International Film Festival, Mexico
Reflections, Évora International Short Film Festival, Portugal
Reflections, 19th Ljubljana International Film Festival, Slovenia
Reflections, Cinemascape, 9th Jeonju International Film Festival, Korea
Reflections, International Competition, 54th Oberhausen International Short Film Festival, Germany
Lucky 7, 27th Vancouver International Film Festival, Canada
Lucky 7, 37th Rotterdam International Film Festival, Holland
Lucky 7, Asian Competition, 21st Singapore International Film Festival, Singapore
The Bohemian Rhapsody Project, 38th Seattle International Film Festival, USA
The Bohemian Rhapsody Project, Arcadi Film Festival, Paris, France
The Bohemian Rhapsody Project, Lab Competition, 30th Clermont-Ferrand International
Film Festival, France
2007
The Bohemian Rhapsody Project, Recontres Internationales 2007 – 2008, Center Pompidou, Paris, France
The Bohemian Rhapsody Project, International Competition, 26th Uppsala International Short Film Festival, Sweden
The Bohemian Rhapsody Project, International Competition, 15th Curtas de Ville Film
Festival, PortugThe Bohemian Rhapsody Project, Official Selection, 5th Asiana International Film Festival, South Korea
The Bohemian Rhapsody Project, International Competition, 53rd Oberhausen Short Film, Festival, Germany
2005
Utama – Every Name in History is I, .MOV Digital Film Festival, Manila, Philippines
2004
Utama – Every Name in History is I, 11th Hong Kong International Film Festival, Hong Kong
Utama – Every Name in History is I, International Competition, 3rd Bangkok International Film Festival, Thailand
｜Selected Performances｜
2018
The Mysterious Lai Teck, Asia Focus, MMCA Seoul
The Mysterious Lai Teck, Summer Festival, The Kampnagel, Hamburg
One or Several Tigers, Holland Festival, Amsterdam
One or Several Tigers, KunstenFestivaldesArts, Brussels, Belgium
One or Several Tigers, Fast Forward Festival, Onassis Cultural Center, Athens
One or Several Tigers, TPAM, Yokohama, Japan
2017
Utama – Every Name in History is I, Spielarts Festival, Munich, Germany
2016
Ten Thousand Tigers, Festival Theaterformen, Braunschweig
2015
Ten Thousand Tigers, Asian Art Theatre, Asian Culture Complex, Gwangju, S. Korea
2014
Ten Thousand Tigers, Wiener Festwochen, Vienna, Austria
Ten Thousand Tigers, Esplanade Theatre Studio, Singapore
2012
The Song of the Brokenhearted Tiger, Esplanade Theatre Studio, Singapore
2010
Invisible Room (with The Observatory), Theater der Welt, Germany
2008
The King Lear Project, KunstenFestivaldesArts, Brussels, Belgium
The King Lear Project, Singapore Arts Festival, Singapore
2006
Utama – Every Name in History is I, KunstenFestivaldesArts, Brussels, Belgium
｜Collection｜
Museum of Contemporary Art Busan, Busan, South Korea
Hood Museum of Art, Hanover, New Hampshire, USA
Red Brick Museum, Beijing, China
Singapore Art Museum, Singapore
Mori Art Museum, Tokyo, Japan
MMCA Seoul, Korea
Guggenheim, New York, USA
2020.05.22-2021.01.03