活动介绍：
随着“复杂地理”——涵盖“林顿·约翰逊：最佳合成答案”、“讲———堂”和“环海旅社”的多元项目——在本周末落下帷幕，不同的艺术家和合作者将齐聚一堂，通过对谈、表演、剧场和主题演讲庆祝林顿·约翰逊的虚拟化身和黄汉明的太空飞船双双登陆。
“环海旅社：登———陆……”
在过去的七个月里，“环海旅社”伴随艺术家林顿·约翰逊的虚拟化身从他生长的旧金山穿越太平洋，游抵上海。对此，本次闭幕活动的联合策划人张耀南提出：“是否有可能在一个地方‘登陆’，而不重演帝国范式？是否能拒绝或挑战这些范式？又如何在‘登陆’时，真正理解并珍视当地的物质史？”
“登陆” 这一概念唤起了殖民灾难的幽灵——即当地人民被施加的野蛮压迫。在欧洲殖民主义的物质文化中，这一点清晰可见：那些谎称原住民不存在、将其非人化的全景图像与官方文书成为了侵占土地、屠戮生灵的正当借口。受丽莎·雷哈纳影像作品 《追逐维纳斯［感染］》（2015—2017）的启发，张耀南的策划试图捕捉并唤起殖民视觉体系中的幽灵。雷哈纳在其作品中重新演绎了让-加布里埃尔·沙尔维的殖民全景画 《太平洋的野蛮人》（1804—1805），并为其中的原住民形象赋予了人性与复杂性。4月5日，萨摩亚裔澳大利亚艺术家 布赖恩·富阿塔将呈现一场表演，该表演被设想为和展览“最佳合成答案”的“书信往来”。富阿塔的作品是一次结构化即兴创作，既呼应他在上海的经历，也回应约翰逊的三楼展览空间。表演计划通过对诡异、不安与荒诞的运用将观众带入展览当下的空间语境，思考展览从上海出发对太平洋物质历史的召唤。表演声音由JAMSAW与Mat Spisbah合作呈现。与此同时，“登陆” 的主题将进一步延展 “我们的群岛之洋”这一观念，由艺术家与研究员奚雷带来关于中国人工岛屿变迁的主题演讲，随后进行圆桌讨论。
4月6日，浙江驻地艺术项目 “临海不临海” 将呈现 《夜船记》——一场结合考古与剧场的推想式表演讲座。作品设想了一位考古学家在河海交汇的泥滩下发现了一具巨大而未知的“骨架”。该作品由肖竞导演，王安邦表演，并参考了《临海水土异物志》——这是一部记载吴国（公元前 12 世纪至公元前 473 年） 历史的地方志，内容涵盖当地的贝类、昆虫、飞鸟、竹木及果藤，并将泛灵论的概念还原为最基本的理解——“万物皆有生命，并且在生长”，以此反映高山族与越族原住民同周边环境平等、自然、科学相处的共生状态。
“讲———堂 ”的绝唱
在过去的十二个月中，艺术家黄汉明的复古科幻飞船和神话宇宙景观构成了“讲———堂”的骨架，成为不同项目发生的场域：佩恩恩、何锐安和陈玺安的艺术家研究；20世纪40年代的上海流行音乐场景；中国现代主义电影；晚清科幻小说、Eastern Margins的视听表演合作；美术馆“夏夜派对”；“晚夏课堂”以及“成为排演”。
我们在此共同注视着这个支离破碎的世界，以纪念 “讲———堂”所有项目积聚的变革性的艺术能量。4月6日上午，《岁月流转之处：观潮》将舞台的拆卸过程转化为身临其境的偶发现场。下午的演出《岁月流转之处：绝唱》中，袁志伟的现场电子声音与王婉娜的越剧演唱被编排在一艘被解构的歌剧飞船废墟中。在此之后，黄汉明、林顿·约翰逊及其他合作者将加入一场总结性的讨论。
艺术家简介：
奚雷
奚雷，艺术家和研究者。他任教于中国美术学院视觉传播学院。他在奥地利林茨艺术与设计大学获得了艺术研究博士学位，并曾在该校任助理教授。他曾任奥地利科学院DOC研究员以及香港科技大学（广州）访问学者。他探索艺术如何能够从地方知识中得到启发，从而为生态意识和技术思维提供新的启示。他的工作通常呈现为跨学科（如媒介研究、计算机科学、文化研究、遗产研究、人类学和环境人文学）和跨媒介（如影像、人工智能、动画、声音、文本、装置、绘画、绘图）的艺术研究项目。在这些项目中，理论与艺术实践总是动态地交织在一起。他也是艺术评论/理论的写作者。
布赖恩·富阿塔
布赖恩·富阿塔于 1999 至 2006 年间在澳大利亚实验性表演艺术领域崭露头角，以自传体虚构独白和 20 分钟即兴表演闻名。富阿塔的创作横跨视觉艺术和现场艺术，涵盖表演、电影、装置、电子邮件和短信文本、社交媒体及印刷出版物。富阿塔的结构化即兴实践是一种对“表演的调解”，通过解读特定场地和语境中的物理、社会及关系特征，呈现其现场及数字化事件。
代表作品包括《幽灵复生》（首尔市立美术馆，2024）、《无题（幕间）》（芬兰ANTI艺术节，2022）、《被围困之屋（提案调整版）》（新南威尔士美术馆，2021）、《幽灵骗子 ~ 短暂现身》（悉尼双年展NIRIN GIR，2020）。
张耀南
张耀南（Eugene Yiu Nam Cheung）是一名写作者、文化工作者，也是机构批判平台“Decolonial Hacker”的创始编辑。他主要的关注方向是无政府主义的独立媒体实践、语言乌托邦的阈限探索，以及革命意识的文学表达。
张曾在多个场所策划展览和公共项目，包括世界文化宫（Haus der Kulturen der Welt）的“2025跨媒体艺术节”，天线空间，伦敦白教堂画廊，第十五届卡塞尔文献展和朱莉娅·斯托舍克基金会等。他的文章曾发表于e-flux 批评、《第三文本》、《艺术评论》、《格里菲斯评论》、《艺术+澳大利亚》等刊物。2021年，他获得了国际艺术评论奖（IAAC）。张耀南目前在埃因霍芬设计学院教授批判理论和策展实践相关课程。
《夜船记》剧组
临海不临海
“临海不临海”是一个萌芽于浙江临海的艺术驻地计划，旨在联合各方行动者进入地方艺术实践，通过艺术家驻地、地方档案编集以及综合展演等形式，探索与呈现台州府城的多重面貌，催生地方与人之间新的互动关系。
导演：肖竞
戏剧编剧、导演，本科和硕士研究生毕业于北京师范大学，专注与当代剧场与装置的探索与实践。作品曾受邀海德堡剧本市场、乌镇戏剧节、阿那亚戏剧节、北京国际青年戏剧节等。主要作品有改编自中国当代作家鲁敏的同名原著《奔月》；讨论剧场观演关系与经典文本意义的《罗曼蒂克偶尔到来》；关注城市发展与个体成长矛盾的戏剧装置《涌入历史之前》；当代语境下的经典改编《桃花扇》；讨论城市犯罪的纪录剧场《第二种游戏》；讨论资本、科技与当代人关系的政治荒诞喜剧《动物之名》。获选2021年“临海不临海”驻地创作、2022年瑞士文化基金会、2023年A4国际驻留艺术中心驻留艺术家。
制作人：田丰源
田丰源是一名艺术策划，对于地方知识、社会参与艺术以及民族音乐学具有广泛的研究兴趣。他毕业于中国美术学院，并于2021年发起“临海不临海”艺术驻地计划。
演员：王安邦
湖北洪湖人。剧场导演、演员，南京传媒学院教师，南京大学文学院特聘讲师。作品有《雪夜长短句》《霹雳》《人间童话》等。
舞美设计：马晨栩
中央戏剧学院舞台美术方向研究生，重庆人，新锐舞台设计师，擅长舞台设计、空间装置、视觉传达等相关艺术领域，持续探索剧场艺术与当代视觉表达的融合边界。
主要设计作品：2024年中央戏剧学院专业学位硕士研究生创作实践剧目《礼物》舞美设计；2024年南京传媒学院导演系毕业剧目《杂拌、折罗或沙拉》舞美设计；2023年上海戏剧学院2023届表演（木偶）专业毕业剧目《小王子》舞美设计； 2023年中央戏剧学院音乐剧系2020级音乐剧表演班实验话剧《我！遇上钟馗和四川好人》舞美设计；2022年乌镇戏剧节《大师与玛格丽特》道具设计/制作等。
影像/声音设计：黄岱
黄岱于1993年出生于广东汕头，2014年考入中国美术学院，就读于跨媒体艺术学院实验艺术系。主要参展：《波塞东的一百次回眸》（杭州三尚当代艺术馆，2015）；《论空间的时间与温度》装置展（杭州，2015）；常青藤计划天津棉3创意街区（天津，2016）；LIVE ART 月台（三人团体）参展（2016）；《伟大的情人》（杭州两岸文化交流中心，2016年）；《毛问题》（McaM上海明当代美术馆，2016）；《染色》《宝贝儿》《帐篷版毛问题》（2017 ）；“身界·现场艺术节”（杭州大美创意园，2017 ）
黄汉明
黄汉明（1971年生于新加坡）现工作、生活于柏林。他的跨学科实践结合了表演、移动影像和装置，通过戏剧和表演性来阐明“真实性”和“他者”的概念。 近年来，他对科幻与中国传统文化（尤其是粤剧）的交汇产生了浓厚的兴趣。他常汇集语言和人格来创造他们自己的“世界电影”，并利用推想性联想讨论中国现代性和流行文化在民族认同构建过程中的角色。他的个展包括：“宇宙剧场”，大田秀则画廊，东京，日本（2023）、“黄色狂想曲”, 柏林艺术节 (2023)、“明年”，尤伦斯艺术中心，北京，中国（2015）、“黄汉明：再造唐人街”，REDCAT画廊，洛杉矶，美国（2012）等。近期群展包括：“信号：视频如何改变世界” 现代艺术博物馆，纽约（2023）、“皮尔·保罗·帕索里尼：一切皆为神圣”，政治的身体，国立二十一世纪艺术博物馆，罗马，意大利（2022）、“Global(e) Resistance”，蓬皮杜艺术中心，巴黎，法国（2020）和众多在上海、新加坡、首尔、釜山、光州、悉尼、布里斯班、爱知、台中、夏威夷、里昂、利物浦、达喀尔、雅加达举办的双年展和三年展。他代表新加坡于2009年参加第53届威尼斯双年展，并以个展《一世模仿》获得特别奖。黄汉明刚刚获选伦敦国家美术馆2025年度驻地艺术家。
袁志伟
袁志伟是一位来自新加坡的音乐家、艺术家、设计师和策展人。他的即兴音乐风格深受哲学与文学文本启发与电影视听语言的影响，作品常围绕记忆与失落、隐形与不确定性等主题进行内在性思考与表达。
2008 年，他与大友良英（东京）、柳汉吉（首尔）和颜峻（北京）共同组建即兴音乐四重奏 FEN（Far East Network），该乐团致力于推动亚洲国家间的多层次音乐网络与跨国合作。自 2014 年起，袁志伟加入 Ensembles Asia，担任 Asian Music Network 的项目总监，并与 DJ Sniff 在日本联合策划 Asian Meeting Festival（AMF）。
他也是新加坡乐队 The Observatory 的成员，该乐队探索即兴演奏、跨媒介实验以及与噪音音乐接壤的领域，在其中他负责吉他、合成器及电子音乐部分。迄今为止，The Observatory 已发行 14 张专辑，最新作品 《Demon State》 于 2023 年发布。乐队亦策划了多个前沿艺术项目，如 BlackKaji、Source 以及年度音乐节 Playfreely，为艺术家提供全新的创作、演出与展示平台。通过 Playfreely，他还共同策划了 “Nusasonic”，一个多年项目，深入探索东南亚的实验声音与音乐文化，并促进该地区与欧洲及全球的对话。
袁志伟长期与FEN 和 The Observatory 巡演，足迹遍及欧洲、美洲和亚洲。他曾受邀在多个国际艺术与音乐节上演出，包括 MIMI Festival、洛桑地下音乐与电影节、All Ears Festival、Ftarri Festival、光州双年展以及CTM Festival 等。
王婉娜
王婉娜，上海越剧院青年演员，“徐（玉兰）派”传人，毕业于上海戏剧学院，工小生，师从著名演员汪秀月、当代越剧表演艺术家钱惠丽。
主要剧目：《红楼梦》、《北地王》、《追鱼》、《西厢记》、《玉簪记》、《春香传》、《西园记》、《仲夏夜之梦》、《十二角色》、《红楼•音越剧场》、《微神/Vision》等。
曾获奖项：2017年获上海市舞台艺术作品评选展演新人奖（大型作品）；2018年获第28届上海白玉兰戏剧表演艺术奖·新人主角奖；2019年入选上海第七届上海文学艺术奖“青年文艺家培养计划”；获越美中华——全国越剧青年演员大汇演新蕾组“金艺奖”；2021年获擂响中华——全国青年戏曲邀请赛银奖；2022年获上海市青年五四奖章个人；获2022中国好声音越剧特别季越声桂冠奖；2023年入选中国上海国际艺术节“扶持青年艺术家计划”。
活动日程：
4月5日
奚雷，《论两栖性：从人工岛到现代水产养殖》，主题演讲
布赖恩·富阿塔：《边缘，阴影》，表演
奚雷、布赖恩·富阿塔、朱筱蕤、张耀南，圆桌讨论
4月6日
黄汉明、袁志伟，《岁月流转之处：观潮》，发生中的偶发
临海不临海：《夜船记》，剧场性表演讲座
黄汉明、袁志伟、王婉娜：《岁月流转之处：绝唱》，表演
17:00 - 19:00
佩恩恩、田丰源、陈玺安、黄汉明、袁志伟、林顿·约翰逊、朱筱蕤、诸邦嘉、赵一冰、刘果，对谈
Intro Text:
For the closing of the Complex Geographies program, including Rindon Johnson: Best Synthethic Answer, AUUUUDITORIUM, and Wan Hai Hotel, a weekend program of conversations, performances, theater, and keynotes will bring artists and collaborators back for a final gathering for the landing of Rindon Johnson’s avatar and Ming Wong’s spaceship.
Wan Hai Hotel: Laaaannding...
Over the past seven months, the Wan Hai Hotel program accompanied Rindon Johnson’s avatar as it swam across the Pacific from San Francisco—where Johnson was raised—to Shanghai. Here, the closing program’s co-curator Eugene Yiu Nam Cheung asks, “Is it possible ‘to land’ somewhere without reinforcing imperial paradigms; to refuse or contest them? How ‘to land’ somewhere with a view and appreciation of its material history?”
“To land” somewhere conjures the spectre of colonial calamity, of barbarism being enacted onto local populations. This is traceable through the material culture of European colonialism: Panoramic images and official documents that lied about native populations—that they did not exist, that they were not human—were used to justify the conquering of lands and slaughtering of people. Inspired by Lisa Reihana’s video work In Pursuit of Venus [Infected] (2015–2017) that restages and imbues the subjects of Jean-Gabriel Charvet’s colonial panorama Les Sauvages de la Mer Pacifique (1804–1805) with humanism and complexity, Cheung’s program seeks to apprehend and evoke the ghosts in colonial visuality.
On April 5, the Samoan-Australian artist Brian Fuata will present a performance that is imagined as a correspondence with Best Synthetic Answer. Fuata’s work is a structured improvisation that references the artist’s time in Shanghai and responds to the third floor gallery of Johnson’s exhibition space. At the museum, audiences are pulled into the immediate context of the exhibition through Fuata’s use of the uncanny, disturbing, and absurd. This performance attends to the exhibition’s spatial context and its invocation of the Pacific’s material histories as seen from Shanghai. The sound is designed in collaboration with JAMSAW and Mat Spisbah. Laaaannding... furthers the idea of “our sea of islands” with a keynote by artist and researcher Xi Lei on the changing landscape of China’s artificial islands, followed by a panel discussion.
On April 6, the Zhejiang-based residency program In/Out Linhai presents Sailing in a Foggy Night, a speculative performance lecture given by an archaeologist on the discovery of a giant unknown “skeleton” found under the mudflats where the rivers meet the sea. Directed by Jing Xiao, and acted by Anbang Wang, this performance takes its references from Strange Things on Land and in Water at Linhai, which is a local chronicle of Linhai County of the Wu Kingdom (12th century BC to 473 BC). The chronicle records data on shells, insects, birds, bamboo, and fruit vines, stripping the notion of animism to the bare understanding that “everything has a life and is living” to reflect the state of coexistence between the Indigenous Gaoshan and Yue people and their surroundings, which is equal, natural and scientific.
The Perfect Song of AUUUUDITORIUM
Over the course of the past twelve months, artist Ming Wong’s shape-shifting scenography of retro science fiction spaceships and mythological cosmic landscapes that make up the skeleton of the AUUUUDITORIUM has hosted programs on Payne Zhu, Ho Rui An, and Zian Chen’s artistic research projects; Shanghai's popular music scene in the 1940s; Chinese modernist cinema; science fiction in the late Qing dynasty; audiovisual performance collaboration with Eastern Margins; Summer Night party; Late Summer School; and Becoming Rehearsal.
To commemorate the transformative, artistic energies that have accumulated from all the programs in the AUUUUDITORIUM with a collective contemplation of our fractured world, Ming Wong stages The Turning Point of the World: Tide Watch by bringing together the artwork handler back for a happening of de-installation of the scenography in the morning of 6 April. The afternoon's performance, The Turning Point of the World: The Perfect Song is set in the ruins of a deconstructed operatic spaceship as an immersive experience with live electronic sounds by Yuen Chee-Wai, and Shanghai Yue opera sung by Wanna Wang. This is followed by a concluding discussion with Ming Wong, Rindon Johnson, among other collaborators.
Program Schedule:
April 5th
Xi Lei, "On Amphibiousness: From Artificial Islands to Modern Aquaculture", Keynote Presentation.
Brian Fuata, Margins, Shadows, Performance.
Xi Lei, Brian Fuata, X Zhu-Nowell, Eugene Yiu Nam Cheung, Panel Discussion.
April 6th
Ming Wong, Yuen Chee-Wai, The Turning Point of the World: Tide Watch, Happening in Progress
In/Out Linhai presents: Palimpsest of Night Navigation, Theatre
Ming Wong, Yuen Chee-Wai, Wanna Wang, The Turning Point of the World: The Perfect Song, Performance
Payne Zhu, Fengyuan Tian, Zian Chen, Ming Wong, Yuen Chee-Wai, Rindon Johnson, X Zhu-Nowell, Joni Zhu, Tintin Zhao, Goa Liu, Panel Discussion.
Artist bios:
Xi Lei
Xi Lei, an artist and researcher, teaches at the School of Communication & Design at the China Academy of Art. He holds a PhD in Artistic Research from the University of Arts and Design Linz, Austria, and previously served as an assistant professor (German: Universitätsassistent) at the same institution. He was a DOC fellow at the Austrian Academy of Sciences and a visiting research associate at the Hong Kong University of Science and Technology (Guangzhou). He explores how art can draw inspiration from local knowledge, providing new insights for ecological awareness and technological thinking. His work is often presented as interdisciplinary artistic research projects that span various fields, including cultural studies, media studies, computer science, heritage studies, anthropology, and environmental humanities, as well as across multiple media, such as video, animation, sound, text, installation, painting, and drawing. In these projects, theory and artistic practice are always dynamically intertwined. He is also a writer of art review and theory.
Brian Fuata
Established in Australia’s experimental performance scene (1999-2006) with his autofiction monologues and 20-minute improvisations, Brian Fuata works across visual and live arts via performance, film, installation, email and sms text, social media and print. His practice in structured improvisation is the ‘mediation of performance’ drawn from reading select physical, social and relational features of a given site and context to manifest his live and digital events. Credit incl: Apparitional resurrect, SeMA Seoul Museum of Art, Seoul (2024); Untitled (Intermission), 2022 ANTI Festival Finland; of a house besieged (proposition tweaked), Art Gallery of New South Wales (2021); Apparitional Charlatan ~ Minor Appearances, NIRIN GIR: Biennale of Sydney (2020)
Eugene Yiu Nam Cheung
Eugene Yiu Nam Cheung is a writer, cultural worker, and founding editor of Decolonial Hacker. He is particularly interested in anarchist and dissident publication practices, utopian thresholds in language, and literary expressions of the revolutionary consciousness. Eugene has curated exhibitions and public programs at places such as Haus der Kulturen der Welt for transmediale 2025, Antenna Space, Whitechapel Gallery, documenta fifteen, Julia Stoschek Foundation, and more. His writing appears in places such as e-flux Criticism, Third Text, ArtReview, Griffith Review, Art+Australia, and elsewhere. In 2021, he won the International Award for Art Criticism (IAAC). Eugene currently teaches critical theory and curatorial practice at Design Academy Eindhoven.
Palimpsest of Night Navigation Crew
In/Out Linhai
"In/Out Linhai" is an artist residency program started in Linhai, Zhejiang. It aims to bring together diverse practitioners to engage in local art practices. Through artist residencies, local archive compilations, and interdisciplinary exhibitions and performances, the program explores and presents the multifaceted dimensions of Taizhou's historical urban landscape, fostering new interactions between the local area and people.
Director: Xiao Jing
Xiao Jing works as a director and playwright in theater. She was born in 1988 and majored in literature and education at Beijing Normal University. Her works have been invited to perform at Heidelberg Theatre Festival, Wuzhen Theatre Festival, Anaya Theatre Festival, etc.
Her major works include Run away to the moon,adapted from the novel of the same name by contemporary Chinese writer Lu Min. Play Love Plays, which explores instant theatre and a new kind of audience relationship; the theatre installation Before We Flood Into History, which focuses on the contradiction between urban development and individual growth; the Revisiting the Tale of The Peach Blossom Fan which adapted a classic Legendary drama in a contemporary context; the documentary theatre The Brutal Game , which discusses urban juvenile crime. Her personal works have been selected for the audio theater AKT1 in Denmark, Wuzhen Theater Festival, Beijing Fringe Festival, Hangzhou International Theater Festival, etc. She was selected for 2022 The Swiss Arts Council Artist-in-Residence and 2023 A4 International Creator Residency Program.
Producer: Tian Fengyuan
Tian Fengyuan is a curator with special focus on vernacular knowledge, socially engaged art, and ethnomusicology. He graduated from China Academy of Art and initiated an AIR project, With in-out Linhai in 2021.
Actor: Wang Anbang
Wang Anbang (b.Honghu, Hubei) is a theater director, actor, and a faculty member at Nanjing Communication University. Wang is also a distinguished lecturer at the School of Liberal Arts, Nanjing University. Wang's works include Snowy Night Verses, Thunderbolt, and A Fairy Tale of the Human World, among others.
Stage Design: Ma Chenxu
Ma Chenxu is a stage designer from Chongqing, holds a master's degree in stage design from the Central Academy of Drama. Ma specializes in stage design, spatial installations, and visual communication, continuously exploring the intersection of theater arts and contemporary visual expression. Ma's notable works include stage design for The Gift(2024), a master's degree creative practice production at the Central Academy of Drama, and Miscellany, Zhe Luo, or Salad (2024), the graduation production of the Directing Department at Nanjing Communication University. Ma also designed the stage for The Little Prince (2023), the graduation production of the Puppetry Performance Program at the Shanghai Theatre Academy, and Me! Meeting Zhong Kui and The Good Person of Sichuan (2023), an experimental play by the Musical Theatre Department at the Central Academy of Drama. Additionally, Ma worked on prop design and production for The Master and Margarita (2022) at the Wuzhen Theatre Festival.
Image/Sound Design: Huang Dai
Huang Dai (b.1993, Shantou, Guangdong) studied in the Department of Experimental Art at the School of Intermedia Art, China Academy of Art in 2014. Huang's major exhibitions include: A Hundred Glances of Poseidon (Three-Sun Contemporary Art Museum, Hangzhou, 2015); On the Time and Temperature of Space (Installation Exhibition, Hangzhou, 2015); Ivy Program (Cotton 3 Creative District, Tianjin, 2016); LIVE ART Platform (Group Exhibition, 2016); The Great Lover (Cross-Strait Cultural Exchange Center, Hangzhou, 2016); The Mao Question (McaM Shanghai Min Contemporary Art Museum, 2016); Dyeing, Baby, and Tent Version of Mao Question (2017); and Body Boundary · Live Art Festival (Damei Creative Park, Hangzhou, 2017).
Ming Wong
Ming Wong (b. 1971, Singapore) currently lives and works in Berlin. His interdisciplinary practice encompasses performance, moving images and installation that unravels ideas of ‘authenticity’ and the ‘other’ through theatrical and performativity. In recent years, he has had strong interests in the intersection of science fiction and traditional Chinese culture, particularly Cantonese opera. Wong uses speculative association to address questions concerning Chinese modernity and the role of popular culture in building national identities and often assembles languages and personalities to create their own “World Cinema”. His solo exhibitions include Cosmic Theatre, Ota Fine Arts, Shanghai, (2024); Rhapsody in Yellow, Berliner Festspiele (2023); Next Year / L’Année Prochaine, Ullens Center of Contemporary Art, Beijing, China (2015); Ming Wong: Making Chinatown, REDCAT, Los Angeles, USA (2012), among others. Recent group exhibitions include Signals: How Video Transformed The World, Museum of Modern Art, New York (2023); Pier Paolo Pasolini: Tutto è santo. The political body, MAXXI, Rome, Italy (2022); Global(e) Resistance, Centre Pompidou, Paris, France (2020) and numerous art biennials in Shanghai, Singapore, Seoul, Busan, Gwangju, Sydney, Brisbane, Aichi, Taichung, Hawai'i, Lyon, Liverpool, Dakar, Jakarta. Wong represented Singapore at the 53rd Venice Biennale in 2009 with the solo presentation Life of Imitation, which was awarded a special mention. Ming Wong is the National Gallery’s 2025 Artist in Residence.
Yuen Chee Wai
Yuen Chee Wai is a musician, artist, designer and curator based in Singapore. Often inspired by ideas drawn from philosophical and literary texts, and perspectives glimpsed through the filmic eye and photographic lens, his stylistic oeuvre in improvised music is marked by internalised reflections on memory and loss, invisibility and indeterminacy.
In 2008, he teamed with Otomo Yoshihide (Tokyo), Ryu Hankil (Seoul), and Yan Jun (Beijing) to form the improvised music quartet, FEN (Far East Network).
FEN focuses on the continuing multifaceted networks and collaborations between Asian countries. Since its inception in 2014, Yuen is part of Ensembles Asia as Project Director for Asian Music Network, to which he co-curates the Asian Meeting Festival (AMF) with DJ sniff in Japan.
He is also a member of The Observatory (Singapore), a band that treads on improvisation, inter-media experimentation and noise-adjacent territories, with whom he plays guitar, synth and electronics. With fourteen albums to date, the most recent was a release titled Demon State (2023). The Observatory has conceived a vanguard of initiatives such as BlackKaji, Source, and the annual festival Playfreely, which give artists new creative avenues for performing, working and exhibiting together. Through Playfreely, he was also co-curator of Nusasonic, a multi-year project that plunges into a broad spectrum of experimental sound and music cultures in Southeast Asia, enabling dialogue within the region, with Europe, and beyond.
He tours extensively with FEN and The Observatory, performing in Europe, America and Asia regularly, and has presented at MIMI Festival, Lausanne Underground Music and Film Festival, All Ears Festival, Ftarri Festival, Gwangju Biennale and CTM Festival.
Wang Wanna
Wang Wanna, a Yue opera actor at the Shanghai Yue Opera House and a successor of the "Xu (Yulan) School," graduated from the Shanghai Theatre Academy. She specializes in the "Xiaosheng" (young male) role and has studied under renowned actress Wang Xiuyue and contemporary Yue Opera performing artist Qian Huili.
Major Repertoire: Dream of the Red Chamber, The King of the North, The Tale of the Fish and the Scholar, Romance of the Western Chamber, The Jade Hairpin, The Tale of Chunxiang, The Tale of the Western Garden, A Midsummer Night’s Dream, Twelve Roles, Red Chamber·Music Yue Theatre, Vision, ect.
Awards & Honors: 2017 Newcomer Award (Large-Scale Productions) at the Shanghai Stage Art Works Selection and Exhibition；2018 Best New Leading Role at the 28th Shanghai Magnolia Stage Performance Awards；2019 Selected for the 7th Shanghai Literary and Art Award’s "Young Artists Training Program”；Winner of the "Golden Art Award" in the National Yue Opera Youth Actors Competition (Yue Mei Zhong Hua)；2021 Silver Award at the Lei Xiang Zhong Hua National Youth Opera Invitational；2022 Shanghai May Fourth Youth Medal (Individual)；2022 Champion of the China’s Got Talent - Yue Opera Special Season；2023 Selected for the "Young Artists Support Program" of the China Shanghai International Arts Festival.
