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
| 2026 | Ultimate Coin Test China High-Speed Rail, Institute of Modern Art, Brisbane, Australia | |
| 2025 | Chronologies, Institute of Contemporary Arts at New York University Shanghai, China | |
| Scenographies, Vanguard Gallery, Shanghai, China | ||
| 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 | |
| 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
| 2026 | Art Remembers, National Gallery Singapore | |
| Economies of Deferral, Govett-Brewster Art Gallery, Ngāmotu New Plymouth, Aotearoa New Zealand | ||
| Islands In the Net, Padimai Art & Tech Studio, Singapore | ||
| Cosmos and Hearth: Living Together in the Age of Technology, Central Art Museum, Hangzhou, China | ||
| WE Are Becoming, Taiwan Contemporary Culture Lab (C-LAB), Taipei | ||
| Stay Connected: Supplying the Globe, Tai Kwun Contemporary, Hong Kong | ||
| Diriyah Contemporary Art Biennale: In Interludes and Transitions, Riyadh, Saudi Arabia | ||
| 2025 | Interrogative AI, Incheon Art Platform, South Korea | |
| Surplus Values, Surplus Space, Wuhan, China | ||
| Comrade Sun, Hartware MedienKunstVerein, Dortmund, Germany | ||
| Manifesto of Spring, National Asian Culture Center, Gwangju, South Korea | ||
| Sigg Prize 2025, M+, Hong Kong | ||
| Where the Stone Lands, Moganshan Art Museum, Huzhou, China | ||
| On-Air, Off-Air, The Jim Thompson Art Center, Bangkok, Thailand | ||
| PROMPTOSCAPE, Shanghai Minsheng Art Museum, China | ||
| Reimagining Radical Cities, New Taipei City Art Museum, Taiwan | ||
| Trans-Southeast Asian Triennial: Our Gaze: Art, Anthropology, and Asian Imagery, Art Museum of Guangzhou Academy of Fine Arts, China | ||
| Synthetic Fever, Coreana Museum of Art, Seoul, South Korea | ||
| The Utopia of Rules, 72-13, Singapore | ||
| 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 | ||
| At the Edge of Land, Hayy Jameel, Jeddah, Saudi Arabia | ||
| Shanghai Biennale: Cosmos Cinema, 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
| 2026 | Figures of History and the Grounds of Intelligence, Salihara International Performing-arts Festival, Jakarta, Indonesia | |
| The Price of Gold, The Obayashi Foundation at Hibiya Convention Hall, Tokyo, Japan | ||
| 2025 | Figures of History and the Grounds of Intelligence, Shanghai Minsheng Art Museum, China | |
| 2024 | Figures of History and the Grounds of Intelligence, Singapore International Film Festival | |
| Figures of History and the Grounds of Intelligence, Centre Pompidou, Paris, France | ||
| 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
| 2026 | Asian Avant-Garde Film Festival, M+, Hong Kong | |
| 2025 | Dorico International Film Festival, Ancona, Italy | |
| Concorto Film Festival, Pontenure and Piacenza, Italy | ||
| Leiden Essay Film Festival, The Netherlands | ||
| Talking—Cine 2025, Chiang Mai, Thailand | ||
| UnArchive Found Footage Fest, Rome, Italy | ||
| Bangkok Experimental Film Festival, Thailand | ||
| 2024 | Machines & Me: A Filmless Festival, University of Maryland, College Park, USA | |
| Wuhan Bailin Film Festival, China | ||
| Kunstraum, Leuphana University Lüneburg, Germany | ||
| Archivio Aperto, Bologna, Italy | ||
| a gift horse’s mouth, Curtis R. Priem Experimental Media and Performing Arts Center, Troy, USA | ||
| 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
| 2026 | “Between Two Trees: Botany, Petroleum and the Politics of Scenography in Singapore.” In Post-Production Fever. Kuala Lumpur: A+ Works of Art, 2026. | |
| 2025 | “Networked States, Stately Networks, and Representation’s Political Orders.” In MMCA Studies × Stedelijk Studies: Generating Production, edited by Sooyoung Leam, 16–45. Seoul and Amsterdam: National Museum of Modern and Contemporary Art, Korea, and Stedelijk Museum Amsterdam, 2025. | |
| “Scientific Management in Home/Factory–Global Factory/Electronic Cottage.” In Informatics of Domination, edited by Zach Blas, Melody Jue and Jennifer Rhee, 203–10. Durham and London: Duke University Press, 2025. | ||
| 2024 | “Biennales and the Exhibitionary in the Global South: Notes from Diriyah.” LEAP S/S (June 2024): 168-83. | |
| 2023 | “Icon and Network: Solidarity’s Mediums and a Materialist Internationalism.” Curatography 9 (June 2023). | |
| 2022 | Capitalist Death Drives and Coin Test China High-Speed Rail Videos, Leipzig: Spector Books, 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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Curation
| 2023 | Drawing the Lines, Spinning Time: Textile Histories at a River’s End (Exhibition & Screenings), Duke Kunshan University, China | |
| Drawing the Lines: Spinning and Weaving Histories at River’s End (Exhibition), Ming Contemporary Art Museum, Shanghai, China | ||
| 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
| 2025 | Finalist, Sigg Prize, Hong Kong | |
| Design Trust Feature Grant, Hong Kong | ||
| Visions of the City – Obayashi Foundation Research Program, Tokyo, Japan | ||
| 2024 | Special Mention, Archivio Aperto, Bologna, Italy | |
| 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 |