Ho Tzu Nyen
b. 1976, Singapore; lives and works in Singapore.
Ho Tzu Nyen has a multidisciplinary practice that spans film, installation, painting, and performance. His work often engages with themes of history, mythology, and politics, and he frequently uses these subjects to explore the complexities of identity and power. Video works become meditations on the nature of knowledge and the limitations of language, combining elements of experimental cinema with traditional storytelling. Ho's work bridges a gap between the traditional and the contemporary, combining elements of Southeast Asian folklore and history with innovative storytelling techniques. Through film, video, performance, and immersive multimedia installations, his work mobilizes different understandings of Southeast Asia's history, politics, and religion. This is achieved through a complex set of references from art history, to theatre, cinema, and philosophy. In this way, Ho Tzu Nyen is able to engage with complex and challenging ideas, while also creating dialogue between different cultures and communities.
Ho Tzu Nyen's recent solo exhibitions include Hammer Projects: Ho Tzu Nyen, Hammer Museum, LA (2022); Voice of Void, Kyoto Art Center, Japan (2021); Night March of Hundred Monsters, Toyota Municipal Museum of Art, Japan (2021); Voice of Void, Yamaguchi Centre for Arts and Media, Japan (2021); R for Resonance, ar/ge kunst, Italy (2020); G for Gong, Edith-Russ-Haus for Media Art, Oldenburg (2019); The Critical Dictionary of Southeast Asia Volume 3: N for Names, Kunstverein, Hamburg (2018); One or Several Works, Ming Contemporary Art Museum, Shanghai (2018); One or Several Tigers, TPAM, Yokohama (2018); The Critical Dictionary of Southeast Asia Vol. 1, G is for Ghost(writer), Asia Art Archive (2017); The Cloud of Unknowing, Guggenheim Museum, Bilbao (2015); MAM Project #16, Mori Art Museum, Tokyo (2012); and EARTH, Artspace, Sydney (2011). He also represented Singapore at the 54th Venice Biennale (2011). Recent group exhibitions include 13th Gwangju Biennale, Gwangju (2021); Chroniclers, Outside of Time, Museum of Contemporary Art Busan, Busan (2019), Taming Y/Our Passion, Aichi Triennial 2019, Toyota City and Nagoya City (2019); Home Work 8, Beirut (2019), Sharjah Biennial 14, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Light to Night Festival 2018: Colour Sensations, National Gallery Singapore, Singapore (2018); Dhaka Art Summit 2018, Dhaka (2018); 2 or 3 Tigers, Haus der Kulturen der Welt, Berlin (2017), Field Meeting: Thinking Practice, Guggenheim Museum, New York (2016); Time Of Others, Queensland Art Gallery / Gallery of Modern Art, Brisbane (2016); Autonomous Zone, Times Museum, Guangzhou (2013), and Surplus Authors, Witte de With, Rotterdam (2012).
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