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C&G (Clara Cheung & Gum Cheng Yee Man) are a duo who founded C&G Artpartment in Hong Kong in 2007. With a strong concern over the local art ecology, C&G have used their art to respond to social and cultural issues. The activities they organise are collective and participatory in nature. They have also actively participated in international art and cultural exchange programmes including the 2018 Shanghai Biennale and 2019 Singapore Biennale. Since relocating to the UK in 2021, C&G have focused their curatorial and research work on the critical reflection of the Hongkonger identity. In 2024, they reopened the physical space of C&G Artpartment in Sheffield and continue to curate and create art projects to facilitate dialogues amongst artists and audiences from Hong Kong, the UK, and East & Southeast Asia.
Heman Chong makes cultural work that is situated at the intersection between image, performance, situations, and writing. Through intimate interrogation and intervention, Chong investigates the function of everyday infrastructure as a political medium. This conceptual preoccupation is best exhibited in his series Foreign Affairs (2018), a series of photographs of embassy backdoors. His work is included in the public collections of Art Sonje Center, Kadist Art Foundation, M+ Museum, The National Museum of Art Osaka, NUS Museum, Rockbund Art Museum, Singapore Art Museum and Weserburg Museum.
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.
Ho Rui An, A Petropolis in a Garden with a Long View (Selection), 2024, Laser etched crystal, acrylic awards, books, globe-shaped bookends and assorted plants. Photograph by Quinn Lum. Courtesy of A+ Works of Art.
Ho Rui An, A Petropolis in a Garden with a Long View (Selection), 2024, Laser etched crystal, acrylic awards, books, globe-shaped bookends and assorted plants. Photograph by Quinn Lum. Courtesy of A+ Works of Art.
Ho Rui An, A Petropolis in a Garden with a Long View (Selection), 2024, Laser etched crystal, acrylic awards, books, globe-shaped bookends and assorted plants. Photograph by Quinn Lum. Courtesy of A+ Works of Art.
Ho Rui An, A Petropolis in a Garden with a Long View (Selection), 2024, Laser etched crystal, acrylic awards, books, globe-shaped bookends and assorted plants. Photograph by Quinn Lum. Courtesy of A+ Works of Art.
Serene Hui is an artist currently based in the Netherlands and Hong Kong. Her work has been included in group exhibitions at Ford Foundation Gallery, New York; TENT, Rotterdam, The Netherlands; Tai Kwun Contemporary, Hong Kong; MMCA, South Korea; Para Site, Hong Kong and elsewhere. Her print editions are collected by Frans Masereel Centrum, Belgium; Huis van het Boek (Museum Meermanno) and KB National Library in the Netherlands. She has been an artist-in-residence at Casino Luxembourg – Forum d’art contemporain, Luxembourg; Frans Masereel Centrum, Belgium; MMCA Changdong Seoul, South Korea; Nida Art Colony, Lithuania and more. She has given talks or lectures at various institutions such as Cultural Literacy Everywhere, London; Asian Art Museum, San Francisco and University of Hong Kong. Her artistic practice has been awarded with the Artist Grant (Kunstenaar Basis) and Artist Project Grant (Kunstenaar Project) by Mondriaan Fonds, The Netherlands in 2023 and 2024.
Serene Hui, What Kinds Of Times Are These, When To Talk About Trees Is Almost A Crime (2021)
Serene Hui, What Kinds Of Times Are These, When To Talk About Trees Is Almost A Crime (2021)
Joaen (Joanne Cecilia Chow) is a Singaporean relief printmaker and fabric artist whose practice combines both guerilla-style fashion and humour. Her work is predominantly figurative, inviting intimacy and vulnerability. Her creations suggest the body, and implicate the viewer. They are a contemplation of ‘abjection at work’, within a political Body. Each artwork conveys a call-to-action for whoever is willing to listen.
Kwan Sheung Chi was born in 1980, Hong Kong. He obtained a third honour B.A. degree in Fine Art from The Chinese University of Hong Kong in 2003. He failed in applying to the MFA programme from the CUHK in 2004 and 2007. He was also a founding member of local art groups, Hong Kong Arts Discovery Channel (HKADC), hkPARTg (Political Art Group) and Woofer Ten. In 2009, he was awarded the Starr Foundation Fellowship from the Asian Cultural Council, to take part in an international residency program in New York, USA. He won the inaugural HUGO BOSS ASIA ART in 2013. His artworks haven't been widely exhibited around the world, and he has never participated in any major exhibitions held internationally.
Kwan Sheung Chi, Video still, In Defence of Kwan Sheung Chi (2023), Image courtesy of artist.
Kwan Sheung Chi, Video still, In Defence of Kwan Sheung Chi (2023), Image courtesy of artist.
Kwan Sheung Chi, Video still, In Defence of Kwan Sheung Chi (2023), Image courtesy of artist.
Josh Kline works in installation, video, sculpture, and photography. His art questions how emergent technologies are being used to change human life in the 21st Century. Kline often utilizes the technologies, practices, and forms he scrutinizes—digitization, data collection, image manipulation, 3D-printing, commercial and political advertising, productivity-enhancing substances—aiming them back at themselves. Some of his most well-known videos use early deep fake software to speculate on the meaning of truth in a time of post-truth propaganda. At its core, Kline’s prescient practice is focused on work and class, exploring how today’s most urgent social and political issues—climate change, automation, disease, and the weakening of democracy—impact the people who make up the labor force. In 2024 he opened a solo exhibition at the Museum of Contemporary Art, Los Angeles and was included in the 24th Biennale of Sydney and the 8th Yokohama Triennial. In 2023 his work was the subject of a major survey exhibition at the Whitney Museum in New York. Kline lives and works in New York City.
Dr. Margaret Tan is an academic and artist from Singapore. Her artworks investigate the intersections of the body with space, technology, and culture from a feminist perspective. Working with a wide range of media, she has been credited as making one of the first virtual reality artworks in Singapore. Her artworks have been presented at significant exhibitions such as Cyberarts: Intersections of Art and Technology (2001) as part of the Nokia Arts Festival at Singapore Art Museum. She was an artist in residence for the 2001 Cyberarts and Cyberculture Initiative, University Scholars Programme, National University of Singapore, and the 2004 Artist-in-Labs Project, University of Applied Sciences and Arts Zurich and Swiss Centre for Electronics and Microtechnology, Alpnach, Switzerland. More recently, her research has been resurfaced in Mindy Seu's Cyberfeminism Index (Los Angeles: Inventory Press, 2022). She is a Senior Lecturer and Director of Programmes at Tembusu College National University of Singapore.
Arlette Quynh-Anh Tran is an art labourer based in Saigon, creates art both individually and collectively, blending politics and sci-fi aesthetics through animation, 3D design, and historical archives. She envisions a futuristic Third World utopia, where political ideals are reimagined, and humans and non-humans coexist. Her non-linear narratives challenge post-Cold War views of the Third World. She received her Master of Arts, Aesthetics & Politics, California Institute of the Arts, USA in 2022 on a Fulbright Scholarship. In 2024 her work was presented at Lagos Biennial, Leeum Museum in Seoul and Prospect New Orleans 6.
Arlette Quynh-Anh Tran, Albers’ Assembly, 2024, Courtesy of the artist and gallery medium
Arlette Quynh-Anh Tran, Albers’ Assembly, 2024, Courtesy of the artist and gallery medium
Arlette Quynh-Anh Tran, Albers’ Assembly, 2024, Courtesy of the artist and gallery medium
Michael Lee is an artist and independent curator. Researching urban memory with an interest in loss, its contexts, and implications, Lee merges personal and social narratives variously into objects, diagrams, situations, curations, and texts. He has presented his work in solo exhibitions at Comma Space and Yavuz Gallery in Singapore, and internationally at Künstlerhaus Bethanien (Berlin, Germany) and Hanart TZ Gallery (Hong Kong). He has also shown extensively in international group exhibitions, such as the Shanghai Biennale 2010 and the Singapore Pavilion at the 2005 World Exposition (Aichi, Japan). His independent curatorial projects include Got room, do things (2018) at Goodman Arts Centre, and what it is about when it is about nothing (2015) at Mizuma Gallery. He was Associate Curator of the Singapore Biennale in 2016. Currently, he is the Global Engagement Lead at the Nanyang Academy of Fine Arts, University of the Arts Singapore.
In his practice, Li Yong Xiang draws on a diversity of media. His main interest, however, lies in the border-crossing intersections between painting, sculpture, music and video. Influenced by a reciprocal understanding of cultural history, the artist challenges ideas of sovereignty and existing power-structures by engaging in contaminations that aim at media, formal and cultural specificities. Li’s figurative painterly practice brings to life protagonists that linger in alternate states of object and subject-hood. Here, meticulously constructed painted surfaces are commonly set in dialogue with their surroundings and their often sculptural support. The resulting spatial-temporal peculiarities point to the hybrid flows of cultural histories that constitute the works’ existence and defy easy categorizations. Moreover, the artist engages heterogeneous painterly styles to attempt a “queer inhabitation” of acknowledged art history: an exploration of subjectivity mediated through a series of assimilations, dis-identifications and transmutations.
Li Yong Xiang, Parallel Support & Possess it in a Sleeve (2023). Courtesy the artist and Antenna Space.
Li Yong Xiang, Maritime Sunset & a Fashion Idea (2023). Courtesy the artist and Antenna Space.