Biography
Ho Rui An is an artist and writer working in the intersections of contemporary art, cinema, performance and theory. Through lectures, essays and films, his research examines the relations between labour, technology and capital across different systems of governance in a global age. He has presented projects at the Shanghai Biennale; Bangkok Art Biennale; Gwangju Biennale; Jakarta Biennale; Kochi-Muziris Biennale; Haus der Kulturen der Welt, Berlin; Kunsthalle Wien; Singapore Art Museum; Van Abbemuseum, Eindhoven; and Yamaguchi Center for Arts and Media, Japan.
Contact: horuian@gmail.com
Solo Exhibitions
| 2024 | Post-Production Fever, A+ Works of Art, Singapore | |
| 2022 | The Economy Enters the People, Bangkok CityCity Gallery, Thailand | |
| 2021 | The Ends of a Long Boom, Kunsthalle Wien, Austria | |
| 2020 | Look East Gone West, A+ Works of Art, Kuala Lumpur, Malaysia | |
| 2018 | Sun, Sweat, Skirt, Fan, Centre A, Vancouver, Canada |
Biennales & Groups Exhibitions
| 2024 | At the Edge of Land, Jameel Art Centre, Dubai, United Arab Emirates | |
| A Constellation of Cities: Contemporary Art and Experiment in Southern China and Beyond, Guangdong Museum of Art, China | ||
| Factory of Tomorrow, Centre for Heritage, Arts & Textile, Hong Kong | ||
| Reminder: Version Update Available, Magician Space, Beijing, China | ||
| 2023 | Drawing the Lines, Spinning Time: Textile Histories at a River’s End, Duke Kunshan University, China | |
| At the Edge of Land, Hayy Jameel, Jeddah, Saudi Arabia | ||
| Shanghai Biennale: Cosmos Cinema, Shanghai, China | ||
| Drawing the Lines: Spinning and Weaving Histories at River’s End, Ming Contemporary Art Museum, Shanghai, China | ||
| Living a Performance Artist’s Life, MadeIn Art Museum, Shanghai, China | ||
| Illiberal Lives, Ludwig Forum, Aachen, Germany | ||
| Evil Eye: The Parallel History of Optics and Ballistics, Tabakalera International Centre for Contemporary Culture, San Sebastián, Spain | ||
| 2022 | Ob/Scene Festival, Seoul, South Korea | |
| Ceremony (Burial of an Undead World), Haus der Kulturen der Welt, Berlin, Germany | ||
| Hangzhou Triennial of Fiber Art: Being Theoria, China | ||
| Liquid Ground, UCCA Center for Contemporary Art Dune, Baidaihe, China | ||
| Fotofest Biennial: If I Had a Hammer, Houston, USA | ||
| Where is my karaoke? Still, we sing, D21 Kunstraum Leipzig, Germany | ||
| Lonely Vectors, Singapore Art Museum | ||
| Spinning East Asia Series II: A Net (Dis)entangled, Centre for Heritage, Arts & Textile, Hong Kong | ||
| 2021 | The Pineal Eye, Goethe-Institut Peking, China | |
| PerForm: Ho Rui An & Shubigi Rao, T:>Works, Singapore | ||
| The Phenomenal Transition, Museum of Contemporary Art Busan, South Korea | ||
| System Down? State of Affairs, Klemms, Berlin, Germany | ||
| Future Generation Art Prize 2021, PinchukArtCentre, Kyiv, Ukraine | ||
| As We Were: Selections from the Michelangelo and Lourdes Samson Collection, ArtSpace@Helutrans, Singapore | ||
| Illiberal Arts, Haus der Kulturen der Welt, Berlin, Germany | ||
| Liquid Ground, Para Site, Hong Kong | ||
| Total Landscaping, Warehouse421, Abu Dhabi, United Arab Emirates | ||
| Guangzhou Image Triennial: Intermingling Flux, China | ||
| Stories Across Rising Lands, Museum MACAN, Jakarta, Indonesia | ||
| 2020 | Bangkok Art Biennale: Escape Routes, Thailand | |
| Ob/Scene Festival, Seoul, South Korea | ||
| Who is Gazing?, Musée du quai Branly – Jacques Chirac, Paris, France | ||
| Diagonal, Magician Space, Beijing, China | ||
| Back to Art, A+ Works of Art, Kuala Lumpur, Malaysia | ||
| Solidarity Spores, Asia Culture Center, Gwangju, South Korea | ||
| 2019 | As the West Slept, Silver Art Projects, New York, USA | |
| BOOCHOA, Kuandu Museum of Fine Arts, Taipei, Taiwan | ||
| Phantom Plane, Cyberpunk in the Year of the Future, Tai Kwun Contemporary, Hong Kong | ||
| Factories, Machines, and the Poet’s Words: Echoes of the Realities in Art, 798 Art Zone, Beijing, China | ||
| Asian Art Biennial: The Strangers from beyond the Mountain and the Sea, Taichung, Taiwan | ||
| Fieldwork, PHOTOFAIRS | Insights, Shanghai, China | ||
| Deep Sounding – History As Multiple Narratives, daadgalerie, Berlin, Germany | ||
| Chinafrika. under construction, Kunstraum des Konfuzius-Instituts Nürnberg-Erlangen, Nuremberg, Germany | ||
| SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, Kaohsiung Museum of Fine Arts, Taiwan | ||
| Southern Constellations: The Poetics of the Non-Aligned, Museum of Contemporary Art Metelkova, Ljubljana, Slovenia | ||
| State of Motion 2019: A Fear of Monsters, Asian Film Archive, Singapore | ||
| 2018 | The Breathing of Maps, Yamaguchi Center for Arts and Media, Japan | |
| Shine on Me, Deutsches Hygiene-Museum Dresden, Germany | ||
| UnAuthorised Medium, Framer Framed, Amsterdam, The Netherlands | ||
| Gwangju Biennale: Imagined Borders, South Korea | ||
| Building Code Violations III – Special Economic Zone, Long March Space, Beijing, China | ||
| Two houses: Politics and histories in the contemporary art collections of John Chia and Yeap Lam Yang, Institute of Contemporary Arts Singapore | ||
| Yinchuan Biennale: Starting from the Desert: Ecologies on the Edge, China | ||
| This Site is Under Revolution, Moscow Museum of Modern Art, Russia | ||
| Outside the Palace of Heavenly Purity, bitforms gallery, New York, USA | ||
| Take Me (I’m Yours), Villa Médicis –Académie de France à Rome, Italy | ||
| Omnipresence, The Kitchen, New York, USA | ||
| Trade Markings, Van Abbemuseum, Eindhoven, The Netherlands | ||
| 2017 | Box with the Sound of Its Own Making, Salonul de proiecte, Bucharest, Romania | |
| Jakarta Biennale: JIWA, Indonesia | ||
| Take Me (I’m Yours), Pirelli HangarBicocca, Milan, Italy | ||
| Sharjah Biennial: Tamawuj, Act II, Beirut, Lebanon | ||
| Invisible Cities, Crow Collection of Asian Art, Dallas Contemporary and the Moving Image Archive for Contemporary Art (Hong Kong), Dallas, USA | ||
| SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center, Tokyo, and Mori Art Museum, Japan | ||
| The Conundrum of Imagination: On the Paradigm of Exploration and Discovery, Leopold Museum, Vienna, Austria | ||
| Modes of Liaisons, Bangkok Art and Culture Centre, Thailand | ||
| A map of the world that does not include Utopia is not worth glancing at, Beijing Commune, China | ||
| Almost There, Jorge B. Vargas Museum and Filipiniana Research Center, Manila, The Philippines | ||
| The Making of an Institution, NTU Centre for Contemporary Art Singapore | ||
| 2016 | From Bandung to Berlin: If all the moons aligned, SAVVY Contemporary, Berlin, Germany | |
| Public Spirits, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland | ||
| Qidian, Zendai Zhujiajiao Art Museum, Shanghai, China | ||
| Trans-Pacific Transmissions: Video Art Across the Pacific, Art Gallery of Greater Victoria, Canada | ||
| Frontier Imaginaries: The Life of Lines, QUT Art Museum, Brisbane, Australia | ||
| 2015 | Filter Bubble, LUMA/Westbau, Zürich, Switzerland | |
| What It Is About When It Is About Nothing, Mizuma Gallery, Singapore | ||
| A Luxury We Cannot Afford, Para Site, Hong Kong | ||
| Take Me (I’m Yours), Monnaie de Paris, France | ||
| On Sweat, Paper, and Porcelain, Hessel Museum of Art and CCS Bard Galleries, Annandale-on-Hudson, USA | ||
| 2014 | Kochi-Muziris Biennale: Whorled Explorations, Kochi, India | |
| Countershadows: tactics in evasion, Institute of Contemporary Arts Singapore | ||
| Fieldworks: Animal Habitats in Contemporary Art, Lewis Glucksman Gallery, University College Cork, Ireland | ||
| The Part In The Story Where A Part Becomes A Part of Something Else, Witte de With, Rotterdam, The Netherlands | ||
| Poetry will be made by all!, LUMA/Westbau, Zürich, Switzerland | ||
| 2013 | Tara’s 10 Years – Views of 20 Artists, agnès b. Headquarters, Paris, France | |
| 2012 | Someone Singing Like Calling Your Name, Saamlung Gallery, Hong Kong |
Performances
| 2024 | Figures of History and the Grounds of Intelligence, Five Arts Centre, Kuala Lumpur, Malaysia | |
| 2023 | Factory Film, Tabakalera International Centre for Contemporary Culture, San Sebastián, Spain | |
| Asia the Unmiraculous, Tropenmuseum, Amsterdam, The Netherlands | ||
| Factory Film, Literaturforum im Brecht-Haus, Berlin, Germany | ||
| The Oil in the Tankers, the Wind in the Trees, Alserkal Arts Foundation, Dubai, United Arab Emirates | ||
| 2022 | The Economy Enters the People, Ob/Scene Festival, Seoul, South Korea | |
| DASH, Fotofest Biennial: If I Had a Hammer, Houston, USA | ||
| The Economy Enters the People, Singapore Art Museum | ||
| 2021 | The Economy Enters the People, Bangkok CityCity Gallery, Thailand | |
| The Economy Enters the People, Kunsthalle Wien, Austria | ||
| The Economy Enters the People, Haus der Kulturen der Welt, Berlin, Germany | ||
| 2020 | Asia the Unmiraculous, Bangkok Art Biennale: Escape Routes, Thailand | |
| Asia the Unmiraculous, MAIIAM Contemporary Art Museum, Chiang Mai, Thailand | ||
| 2019 | Asia the Unmiraculous, Silver Art Projects, New York, USA | |
| Asia the Unmiraculous, Asia in Resonance, Japan Foundation Asia Center, Tokyo, Japan | ||
| Solar: A Meltdown, Translocal: Festival Postkolonialer Perspektiven, Schauspiel Köln, Germany | ||
| 2018 | Asia the Unmiraculous, Yamaguchi Center for Arts and Media, Japan | |
| Tropicopolitan Objects, The Arts House, Singapore | ||
| Asia the Unmiraculous, Gwangju Biennale: Imagined Borders, South Korea | ||
| Solar: A Meltdown, Theatertreffen, Berlin, Germany | ||
| Solar: A Meltdown, Onassis Fast Forward Festival 5, Athens, Greece | ||
| DASH, Van Abbemuseum, Eindhoven, The Netherlands | ||
| 2017 | Tropicopolitan Objects, Jakarta Biennale: JIWA, Jakarta, Indonesia | |
| DASH, Project Space Art Jameel, Dubai, United Arab Emirates | ||
| DASH, Salonul de Proiecte, Bucharest, Romania | ||
| Solar: A Meltdown, SPIELART Festival, Munich, Germany | ||
| Tropicopolitan Objects, Veem House for Performance, Amsterdam, The Netherlands | ||
| DASH, Sharjah Biennial 13: Tamawuj, Act II, Beirut, Lebanon | ||
| DASH, Crow Collection of Asian Art, Dallas, USA | ||
| DASH, Five Arts Centre, Kuala Lumpur, Malaysia | ||
| Opening Draft, The O.P.E.N., Singapore International Festival of the Arts | ||
| DASH, The Showroom, London, UK | ||
| Solar: A Meltdown, SPRING Festival, Utrecht, The Netherlands | ||
| Solar: A Meltdown, Wiener Festwochen, Vienna, Austria | ||
| DASH, Haus der Kulturen der Welt, Berlin, Germany | ||
| Solar: A Meltdown, Jorge B. Vargas Museum and Filipiniana Research Center, Manila, The Philippines | ||
| DASH, NTU Centre for Contemporary Art Singapore | ||
| 2016 | Solar: A Meltdown, SAVVY Contemporary, Berlin, Germany | |
| Screen Green, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland | ||
| Screen Green, Antenna Space, Shanghai, China | ||
| DASH, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia | ||
| Solar: A Meltdown, NUS Museum, Singapore | ||
| Solar: A Meltdown, TPAM Performing Arts Meeting in Yokohama, Japan | ||
| 2015 | Screen Green, Para Site, Hong Kong | |
| 2014 | Sun, Sweat, Solar Queens: An Expedition, Kochi-Muziris Biennale: Whorled Explorations, Kochi, India |
Screenings
| 2023 | Asian Avant-Garde Film Festival, M+, Hong Kong | |
| Senses of (Dis)Connection: Japan and Contemporary Asian Art and Cinema, ASAKUSA, Tokyo, Japan |
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| Taiwan International Documentary Festival | ||
| 2023 | 34th Singapore International Film Festival | |
| The Fantastical and the Real, Graduate Student Union of East Asian Studies, University of Toronto, Canada | ||
| Hong Kong & Shenzhen: Reflecting on the Field, Nanyang Technological University, Singapore | ||
| Speaking Nearby, esea contemporary, Manchester, UK | ||
| Videoex Experimental Film & Video Festival, Zurich, Switzerland | ||
| Costumes and Collapse, Pickle Bar, Berlin, Germany | ||
| 2022 | Asia Art Archive in America, New York, USA | |
| Entering and Leaving the Movie Theater: Films by Ho Rui An, Bangkok CityCity Gallery, Thailand | ||
| 2021 | To Feel, To Feel More, To Feel More Than, Flaherty NYC, USA (online) | |
| Jalan-jalan di Asia, Japan Foundation Asia Center, Tokyo, Japan (online) | ||
| Terremoto Projector, Mexico City, Mexico (online) | ||
| aashra, Ashkal Alwan, Beirut, Lebanon (online) | ||
| 2020 | Multi-here and Now, The Kathouse, Seoul, South Korea | |
| A+ Online Festival of Video Art, Kuala Lumpur, Malaysia (online) | ||
| 2019 | Architectures of Education, Nottingham Contemporary, UK | |
| San Diego Asian Film Festival, USA | ||
| Dharamshala International Film Festival, India | ||
| Lange Nacht des politischen Kurzfilms, CinéMayence, Mainz, Germany | ||
| Long Night Screening, Plugin Future, Guangzhou, China | ||
| International Short Film Festival Oberhausen, Germany | ||
| Following the oil, Jameel Arts Centre, Dubai, United Arab Emirates | ||
| 2014 | Singapore Short Cuts, National Museum of Singapore | |
| 2012 | Sapporo International Short Film Festival, Japan | |
| Sintok Singapore Film Festival, Tokyo, Japan | ||
| 2010 | Cairo Video Festival, Medrar for Contemporary Art, Egypt | |
| 2009 | Singapore Short Cuts, National Museum of Singapore |
Published Work
| 2022 | Tables | Factories. Bangkok: Bangkok CityCity Gallery, 2022. | |
| 2021 | “Tables.” In Illiberal Arts, edited by Anselm Franke and Kerstin Stakemeier, 5–18, 35. Berlin: Haus der Kulturen der Welt, 2021. | |
| 2020 | “Contemporaneity’s Bubble.” Perspectives Magazine, July 17, 2020. | |
| “Technocratic Magic in the Contagion Economy.” e-flux journal 110 (June 2020). | ||
| 2019 | “Afterdeath.” In An Exhibition Always Hides Another Exhibition: Texts on Hans Ulrich Obrist, 77–81. Berlin: Sternberg Press, 2019. | |
| “Migration Figures: Moving, Translating, Counting.” In COUNTING. Bangkok: Bangkok CityCity Gallery, 2019. | ||
| “A Cinema of Ambience and the Remains of History: Notes from Thailand.” In State of Motion: A Fear of Monsters, edited by Kathleen Ditzig, 111–18. Singapore: Asian Film Archive, 2019. | ||
| 2018 | “Crisis and Contingency at the Dashboard.” e-flux journal 90 (April 2018). | |
| 2017 | “An Expanded Cinema and the Spills of Capital.” In Place.Labour.Capital., edited by Ute Meta Bauer and Anca Rujoiu, 168–71. Singapore: NTU Centre for Contemporary Art Singapore, 2017. | |
| Spectacular Liberal Exception. Singapore: The Substation, 2017. | ||
| “The Speculative Menagerie.” LEAP 44 (April 2017): 52–7. | ||
| 2016 | “Solar: A Meltdown.” In MARG: The Kochi-Muziris Biennale (Dec 2016–Mar 2017): 100-3. | |
| “Dash, Crash, Dash: Horizon Scanners, Black Swans and Capital’s Futurecraft.” In Frontier Imaginaries Edition No1 FRONTIER, edited by Vivian Ziherl, 111–27. Amsterdam: Frontier Imaginaries, 2016. | ||
| “Photographies of Trees.” Antennae 36 (Summer 2016): 64–80. | ||
| “Speaking Still.” In Left to Right, edited by Geraldine Kang and Kenneth Tay, 61–2. Singapore: Left to Right. | ||
| “An Accident: Two Views from the Dashboard.” In Concrete Island, edited by Kenneth Tay and Luca Lum, 60–9. Singapore: NUS Museum, 2016. | ||
| “Nature’s Draw.” LEAP Singapore Supplement (2016): 8–11. | ||
| 2015 | “Outside the World Interior or the Light on the Writing Desk.” Stationary 1 (2015): 126–39. | |
| 2014 | “Regions of Distance: An Interview with June Yap.” Issue 03: Port of Call (2014): 79–85. | |
| 2013 | “The Region Unviewed.” Article: The Singapore Biennale Review (Dec 2013): 18–9. | |
| “Outing Cinema: Four Short Films by Ho Tzu Nyen.” In Pythagoras, 21–4. Singapore: Michael Janssen Singapore, 2013. | ||
| “The Orient that May or May not Arrive: Yang Fudong’s The Fifth Night.” In Yang Fudong, edited by Philippe Pirotte and Beatrix Ruf, 135–38. Zürich: JRP-Ringier, 2013. | ||
| “Dwelling in the Off-Modern.” In There Can Be No Better World, edited by Joselina Cruz, 13–27. Manila: Museum of Contemporary Art and Design, 2013. | ||
| “From Gong Li to Ming Wong, or from the Face that Does Nothing to the Face that Does Too Much.” In Corridors, No. 1: Solitude, edited by Michael Lee, 44–9. Berlin: Künstlerhaus Bethanien, 2013. | ||
| “Structures, Narratives and Mediations: A Conversation Between Genevieve Chua and Ho Rui An.” In Disappearing Moon, 62–4. Singapore: Singapore International Foundation & British Council, 2013. | ||
| “Making Live Again: Between Josef Ng’s Brother Cane (1994) and Loo Zihan’s Cane (2012).” In Archiving Cane, edited by Louis Ho and Loo Zihan, 73–85. Singapore: The Substation, 2013. | ||
| 2012 | “Documenting Affect: Yangtze Scribbler, Jalan Jati and All the Lines Flow Out.” Cinémathèque Quarterly 5 (Oct-Dec 2012): 24–39. | |
| 2011 |
Several Islands. Singapore: The Substation, 2011.
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Presentations, Dialogues, Panels & Other Events
| 2024 | “Spinning Time” (Presentation), with Zian Chen, Rockbund Art Museum, Shanghai, China | |
| “Factory Film” (Presentation), UCCA Center for Contemporary Art, Beijing, China | ||
| “Between the Supertankers and the Supertrees; Or, What Oils the Singapore Economy” (Presentation), Asia’s Carbon Territories: Infrastructure, Environment, and Society from the Age of Imperialism to the Climate Crisis, Singapore Art Museum | ||
| 2023 | “Not Housed: History of Experimental Cinema in Singapore” (Panel), with Sam I-Shan and Fran Borgia, moderated by Teow Yue Han and Federico Ruberto, 34th Singapore International Film Festival | |
| “Spinning Time” (Presentation), with Zian Chen, Duke Kunshan University, China | ||
| “Spinning Time” (Presentation), with Zian Chen, Guangdong Times Museum, Guangzhou, China | ||
| “Spinning Time” (Presentation), with Zian Chen, Ming Contemporary Art Museum, Shanghai, China | ||
| “Key Frames: The Art of Historiography, Part 2” (Panel), with Zian Chen, Kathleen Ditzig and Wan-Yin Chen, moderated by Hongjohn Lin, Curatography, Taipei (Online) | ||
| “Key Frames: The Art of Historiography, Part 1” (Panel), with Zian Chen, Chi-Yu Wu, Wan-Yin Chen and Yuchieh Li, moderated by Hongjohn Lin, Curatography, Taipei (Online) | ||
| “Speaking Nearby” (Panel), with (susan) pui san lok and Dinu Li, moderated by Wenny Teo, esea contemporary, Manchester, UK | ||
| “(Re)productive Subjects: Collectivity and Economy” (Panel), with Di Liu, moderated by Eugene Yiu Nam Cheung, Asymmetry, London, UK | ||
| “Figures of History and the Grounds of Intelligence: From the Colonial Archive to Stable Diffusion“ (Presentation), The Future Isn’t What It Used to Be, Centre Pompidou and Kadist, Paris, France | ||
| “Drawing the Lines: Politics and Technology in China’s Industrial History” (Presentation), with Zian Chen, Duke Kunshan University, China |
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| “Ways of (Not) Seeing ‘the Economy’” (Presentation & Dialogue), with Zian Chen, China Academy of Art, Hangzhou, China | ||
| “Ways of (Not) Seeing ‘the Economy’” (Presentation), Stepping Forward: Performance Research and Practice, Here, 421, Abu Dhabi, United Arab Emirates, Alserkal Arts Foundation, Dubai, United Arab Emirates, and New York University Abu Dhabi, United Arab Emirates | ||
| 2022 | “The Oil in the Tankers, the Wind in the Trees” (Presentation), Warehouse421, Abu Dhabi, United Arab Emirates, and Bombay Institute for Critical Analysis and Research, India (Online) | |
| “From Revolutionary Trade to the ‘Socialist Market Economy’” (Presentation), with Zian Chen, Speedy Grandma, Bangkok, Thailand | ||
| “Tables | Factories” (Dialogue), with Sooyoung Leam, The Book Society, Seoul, South Korea | ||
| “Image Drive: Observations Near the End of the Road” (Presentation), Evil Eye: The Parallel History of Optics and Ballistics, Tabakalera International Centre for Contemporary Culture, San Sebastián, Spain | ||
| “Tables | Factories” (Dialogue), with Nut Srisuwan, Motto Berlin, Germany | ||
| “Factories, Tables, Revolution, Economy” (Presentation & Workshop), with Zian Chen, A World of Lines: From Third World Solidarities to Postsocialist Globalism, T:>Works, Singapore | ||
| “CHAT with Artist: Ho Rui An” (Presentation), with Zian Chen, Centre for Heritage, Arts & Textile, Hong Kong | ||
| “Hong Kong Cultural Heritage and Artistic Creation” (Presentation & Panel), with Hao Lap Yan Benjamin and Lau Chi Chung, moderated by Wang Weiwei, Art Central, Hong Kong Convention and Exhibition Centre | ||
| “Between Here and There: Essaying the Global” (Presentation), From the Scenic Essay to the Essay-Exhibition: Expanding the Essay Form in the Arts, Ghent University, Belgium | ||
| “Factories, Tables, Postrevolution” (Presentation), Asia Forum for the Contemporary Art of Global Asias, Fondazione Querini Stampalia, Venice, Italy | ||
| “Tables | Factories” (Dialogue), with Nut Srisuwan, Bangkok CityCity Gallery, Thailand | ||
| “Asia Center Crosstalk: Cultural Journeys toward Post-COVID-19 / Contemporary Art” (Panel), with Eisa Jocson and Kato Tsubasa, moderated by Hashimoto Azusa, Japan Foundation Asia Center (Online) | ||
| 2021 | “Digital Lecture: From Crisis to Value*” (Presentation), T:>Works, Singapore | |
| “Asia Forum – Fall Digital Gathering 2021” (Presentation & Panel), with Irwan Ahmett and Tita Salina and Lawrence Lek, moderated by Annie Jael Kwan, Hammad Nasar, John Tain, and Ming Tiampo, Asia Forum for the Contemporary Art of Global Asias | ||
| “Stories Across Rising Lands: Artist and Curator Discussion – Part 2” (Presentation & Panel), with Kawita Vatanajyankur and Saleh Husein, moderated by Asep Topan , Museum MACAN, Jakarta, Indonesia | ||
| 2020 | “Artist Talk: Ho Rui An” (Presentation & Dialogue), with Kathleen Ditzig, A+ Works of Art, Kuala Lumpur, Malaysia | |
| “The People in the Time of Economy” (Presentation), Ideas Fest 2020, NTU Centre for Contemporary Art Singapore | ||
| “Salvage Stories in Art & Ecology” (Presentation & Panel), with Shabbir Hussain Mustafa, Jennifer Teo and Woon Tien Wei and Ryan Yeo, moderated by Lucy Davis, Jendala, Esplanade – Theatres on the Bay, Singapore | ||
| 2019 | “Scenography of ‘the People’: Notes on the Exhibitionary” (Presentation), From a History of Exhibitions Towards a Future of Exhibition-Making, The Third Assembly: Exhibition-Making Practices in China and Southeast Asia in the 21st Century, Guangdong Times Museum, Guangzhou, China | |
| “Death Drives and Coin Test China High-Speed Rail Videos” (Presentation), IZK Institute for Contemporary Art, Graz, Austria | ||
| “As the West Slept” (Presentation & Panel), with Fyerool Darma and Erika Tan, moderated by Kathleen Ditzig, e-flux, New York, USA | ||
| Dialogue with Sofia Lemos, Architectures of Education, Nottingham Contemporary, UK | ||
| “Japanese Colonialism / Japanese Occupation” (Presentation & Panel), The Convergence of Mountains, Sea and Outsiders─2019 Asian Art Biennial Artists Forum, with Antariksa and Ting Chaong-Wen, moderated by Guo Jau-Lan, Asian Art Biennial, Taichung, Taiwan | ||
| “Scenography of ‘the People’: Being Seen Speaking at the Ends of Liberalism” (Workshop), with Zian Chen and Judha Su, Kuandu Museum of Fine Arts, Taipei, Taiwan | ||
| “Migration Figures: Translating” (Reading), with Pojai Akratanakul, Bangkok CityCity Gallery, Thailand | ||
| “A Fear of Monsters Revisited” (Presentation & Panel), with Ekky Imanjaya and Bliss Cua Lim, moderated by Kathleen Ditzig, Asian Film Archive, Singapore | ||
| “Student Bodies” (Presentation), daadgalerie, Berlin, Germany | ||
| “Conspiracy of Files” (Presentation), Pathways of Performativity in Southeast Asian Art, Haus der Kunst, Munich, Germany | ||
| “Death Drives and Coin Test China High-Speed Rail Videos” (Presentation), Embodied Histories – Entangled Communities. Southeast Asian and Western Approaches to Narratives and Performance Art, Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany | ||
| “Translocal?! Zu Politik und Theater” (Panel), with Nuran David Calis and Stephanie Thiersch, moderated by Aurora Rodonò, Translocal: Festival Postkolonialer Perspektiven, Schauspiel Köln, Germany | ||
| “Death Drives and Coin Test China High-Speed Rail Videos” (Presentation), Double Bound Possession, Master Symposium, HEAD Genève, Switzerland | ||
| “CAD Conspiracy: Pattern Recognition in Contemporary Art” (Dialogue), with Mahan Moleimi, Alserkal Residency Project Space, Dubai, United Arab Emirates | ||
| “The Animus of the Screen” (Presentation), Forde, Geneva, Switzerland | ||
| “Death Drives and Coin Test China High-Speed Rail Videos” (Presentation), The School of Speculative Documentary, Kaaitheater, Brussels, Belgium | ||
| “A Fear of Monsters: Artists in Conversation” (Panel), with Shubigi Rao and Yason Banal, moderated by Kathleen Ditzig, Asian Film Archive, Singapore | ||
| “Money Media Magic: ‘Ruins’” (Reading Group), with Tan Biyun, Tentacles Art Space, Bangkok, Thailand | ||
| 2018 | “Tripping, Troping” (Presentation), Framer Framed, Amsterdam, The Netherlands | |
| “The Image Drive” (Presentation), Städelschule, Frankfurt, Germany | ||
| “Death Drives and Coin Test China High-Speed Rail Videos” (Presentation), Technology is History, Solomon R. Guggenheim Museum, New York, USA | ||
| “Artist Talk: Ho Rui An” (Presentation), Long March Space, Beijing, China | ||
| “In Search of Asia the Unmiraculous” (Presentation), Taipei Arts Festival, Taiwan | ||
| “In Search of Asia the Unmiraculous” (Presentation & Dialogue), with Yuk Hui, Kadist, Paris, France | ||
| “Countering History─the Appropriation of Hegemonic Narrations as Aesthetic Practice” (Panel), with Nofar Sela and Grace Passô, moderated by Julian Warner, Theatertreffen, Berlin, Germany | ||
| “Money Media Magic: ‘Crisis’” (Reading Group), Tentacles Art Space, Bangkok, Thailand | ||
| 2017 | “Money Media Magic: ‘Value’” (Reading Group), with Kathleen Ditzig, Tentacles Art Space, Bangkok, Thailand | |
| “Money Media Magic: ‘Mediumship’” (Reading Group), Tentacles Art Space, Bangkok, Thailand | ||
| “Between Identity Politics and the Discussion of a ‘Defining Culture’” (Panel), with Suli Kurban, Mamela Nyamza, June Tan and Mallika Taneja, moderated by Sandra Chatterjee, SPIELART, Munich, Germany | ||
| “Artist Talk with Ho Rui An, Lantian Xie and Zou Zhao” (Panel), The O.P.E.N., Singapore International Festival of the Arts | ||
| “Artist Talk: Ho Rui An” (Presentation), Tentacles Art Space, Bangkok, Thailand | ||
| “(Un)Doing Democracies in Asia: Performance, Narratives and Silence” Interview Marathon (Dialogue), Scene/Asia 2nd Annual Event, with Luca Lum, Hong Kong Arts Centre | ||
| “Who Speaks the Smart Nation?” (Moderation), with Aaron Maniam and Stephanie Chok, NTU Centre for Contemporary Art Singapore | ||
| “Horizon Scanners” (Presentation), 11th Shanghai Biennale, China | ||
| 2016 | “Reading a Wave” (Presentation), TBA21-Academy: The Current Convening #2, Kochi, India | |
| “Unpredictable Oceans and the Monstrosity of the Sea” (Panel), with Tanya Abraham, Natasha Ginwala, Joan Jonas, Vivek Vilasini and Daniela Zyman, moderated by Filipa Ramos, TBA21-Academy: The Current Convening #2, Kochi, India | ||
| “Horizon Scanners” (Presentation), Columbia University School of the Arts, New York, USA | ||
| “Horizon Scanners” (Presentation & Panel), with Joana Hadjithomas & Khalil Joreige and Rashid Rana, moderated by Omar Berrada, FIELD Meeting Take 4: Thinking Practice, Asia Contemporary Art Week, Asia Society, New York, USA | ||
| “Visiting Artist Lecture Series: Ho Tzu Nyen & Ho Rui An” (Dialogue), Columbia University School of the Arts, New York, USA | ||
| “Looking ahead: The role of ML in the wider cultural eco-system” (Panel), with Chris Michaels, Sheldon Brown, Hannes Koch and Diann Bauer, moderated by Kathryn Hume, Arts & Machine Learning Summit, Google Cultural Institute, Paris, France | ||
| “Artist Talk: SLIDESHOW” (Presentation), School of the Arts Singapore | ||
| “Conspiracy of Files” (Presentation), Asiatopia Performance Conference, Bangkok, Thailand | ||
| “Lecture as Locale” (Presentation & Dialogue), with Zian Chen and Karen Huang, Dinghai Qiao Mutual-Aid Society, Shanghai, China | ||
| “Economy of Need: Artist-Writers of Singapore” (Panel), with Megan Miao, Susie Wong and Jason Wee, moderated by Michael Lee, SCOUT, Singapore | ||
| 2015 | “Prognostics Lecture: SLIDESHOW” (Presentation), University of the Arts Helsinki, Finland | |
| “Nuance in the Age of Global Citizenship” (Panel), with Michael Lee, Adeline Kueh, Jennis Li Cheng Tien and Homa Shojaie, moderated by Amelia Abdullahsani-Gerick, Mizuma Gallery, Singapore | ||
| “The Solar Queen” (Presentation), Poetry will be made by all!, Moderna Museet, Stockholm, Sweden | ||
| “Workshop with Tan Pin Pin” (Dialogue), Media Working Group, Columbia University, New York, USA | ||
| “Sun, Sweat, Solar Queens: An Expedition” (Presentation), Factory/studio/tumblr, Institute of Modern Art, Brisbane, Australia | ||
| “Exhibition (De)tour for Yang Fudong’s Incidental Scripts” (Presentation), NTU Centre for Contemporary Art Singapore | ||
| 2014 | “Hans Ulrich Obrist: Ways of Curating” (Reading), Swiss Institute, New York, USA | |
| “We Need to Talk About the Slide” (Presentation & Panel), with Liz Magic Laser and Brandon Labelle, moderated by Roxana Fabius, Elizabeth Larison, Robin Lynch and Wang Jing, Out of Writing: Evocation, Action, Territorialization, Judd Foundation, New York, USA | ||
| “Being 89plus” (Presentation), The O.P.E.N., Singapore International Festival of the Arts | ||
| “The Waves” (Presentation), Singapore Art Museum | ||
| 2013 | “The Waves” (Presentation), 89plus Marathon, Serpentine Galleries, London, UK |
Curation
| 2022 | A World of Lines: From Third World Solidarities to Postsocialist Globalism (Presentations & Workshops), T:>Works, Singapore | |
| 2017 | For Lack Of A Better Word (Exhibition & Performance), The O.P.E.N., Singapore International Festival of the Arts | |
| 2014 | 89plus in Singapore and Southeast Asia: Commentary (Conference), The O.P.E.N., Singapore International Festival of the Arts | |
| 89plus in Singapore and Southeast Asia: Local / Knowledge (Conference), The O.P.E.N., Singapore International Festival of the Arts | ||
| 2013 | The Artist, the Book and the Crowd (Exhibition), The Substation Gallery, Singapore |
Awards & Scholarships
| 2022 | Young Artist Award, National Arts Council, Singapore | |
| 2019 | International Film Critics’ Prize (FIPRESCI Prize), International Competition, International Short Film Festival Oberhausen, Germany | |
| 2014 | NAC Arts Scholarship (Postgraduate), National Arts Council, Singapore | |
| 2011 | Loke Cheng-Kim Foundation Scholarship, Singapore |
Residencies & Fellowships
| 2021 | PerForm Fellowship, T:>Works, Singapore | |
| Residency, Centre for Heritage, Arts & Textile, Hong Kong | ||
| 2018 | DAAD Artists-in-Berlin Program, Germany | |
| 2017 | Residency, Tentacles Art Space, Bangkok, Thailand | |
| 2016 | Residency, NTU Centre for Contemporary Art Singapore | |
| Theaterformen Fellowship, Braunschweig, Germany | ||
| 2014 | Residency, LUMA/Westbau, Zürich, Switzerland | |
| 2013 | Residency, Tara Oceans Polar Circle Expedition |