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Sameen-Agha_A-Home-is-A-Terrible-Place-to-Love-scaled
Sameen-Agha_A-Home-is-A-Terrible-Place-to-Love-scaled

The 2024 Sovereign Asian Art Prize

Shortlist

Sameen Agha
A Home is A Terrible Place to Love image
Grand Prize Winner
A Home is A Terrible Place to Love
Veronica Peralejo
All You Holy Monks and Hermits image
All You Holy Monks and Hermits
Yelena and Viktor Vorobyev
Anthropocene image
Anthropocene
Sinta Tantra
Bird of Paradise (Night) image
Bird of Paradise (Night)
Ivy Ma King Chu
Bird of Shape: Scrap Pad No.001 - 070 image
Bird of Shape: Scrap Pad No.001 – 070
Aziza Shadenova
Cotton Star image
Cotton Star
Chiang Kai-Chun
Cypress Boulevard image
Cypress Boulevard
Kim Hyunsoo
Dangerous play-Buzzing image
Dangerous play-Buzzing
Noormah Jamal
Did the seed grow? image
Did the seed grow?
Bouie Choi
dimpled image
dimpled
Yip Kin Bon
Four legs good, two legs better image
Four legs good, two legs better
Billy H.C. Kwok
Geolocation 404 image
Geolocation 404
Lee Jo-Mei
Landscape Remains 06 image
Landscape Remains 06
Kanchana Gupta
Open and Close #03 image
Open and Close #03
Rocky Cajigan
Pendulum Redux image
Pendulum Redux
Chan Ka Kiu
Please image
Please
Demet
PPE, Paint Palette Emulation image
Public Vote Prize Winner
PPE, Paint Palette Emulation
Michelle Fung
Red Bean Stalk image
Vogue Hong Kong Women’s Art Prize Winner
Red Bean Stalk
Zhang Zhaoying
Relationships image
Relationships
Doris Chui Suet Wai
Silent Sparks image
Silent Sparks
Mark Chung
Stitches #02, Good Companion image
Stitches #02, Good Companion
Affan Baghpati
Surat Khana image
Surat Khana
SEOSY
The Labyrinth of Origin image
The Labyrinth of Origin
Sanaz Haeri
The looking glass - 2020 image
The looking glass – 2020
Dinar Sultana Putul
The recycle of materialistic perspective image
The recycle of materialistic perspective
Sim Chi Yin
The Suitcase Is A Little Bit Rotten, Crowd, 2023 image
The Suitcase Is A Little Bit Rotten, Crowd, 2023
Zelin Seah
U_U _A_ _A_ image
U_U _A_ _A_
Atit Sornsongkram
Waterfall image
Waterfall
Ho Sin Tung
What Can I Hold You With image
What Can I Hold You With
Ahyun Jeon
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34)
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01 / 30

Sameen Agha

A Home is A Terrible Place to Love image

Sameen Agha

A Home is A Terrible Place to Love
Dimension: 55 x 28 x 50 cm
Medium: Red Marble
Country: Pakistan
Nominated by: Adeel Uz Zafar

Sameen Agha (b.1992, Pakistan) holds a BA in painting from National College of Arts, Lahore (2016). Her practice, which she refers to as a ‘catalyst of emotions’, is deep-rooted in her journey as a human, including how she reacts, reflects, and resolves upon the fragility of her place in the world. Agha uses her works, which contain elements of both melancholy and hope, to build self-understanding, each piece an effort to resolve a certain emotion or thought. In A Home is A Terrible Place to Love, Agha combines a natural material with a symbolic allusion to a home. Drawing from a collective well of associations, she explores the emotions at the core of interpersonal and political tensions. The use of a specific red marble gives a sense of skin, flesh, clotted blood, and bruises. The marble is both hard yet brittle, playing with the idea of a home which in its own materiality is quite strong as a structure but very fragile in its essence as a domestic space. Merging the weight of the past with the pulse of the present, the work reflects on how traumatising events both disable and enable the ability to challenge political forces on personal and collective scales.

Agha’s work, which has received international attention, will be recognised with two solo exhibitions, at Indigo+Madder, London (June 2024) and Micki Meng, New York (2025). Previous exhibitions include Eclectic Mix 3.0, Sanat Initiative, (2023); Evocations, O Art Space, Lahore, (2022) and Flower of A Blue Flame, Canvas Gallery, Karachi, (2021). Agha is currently represented by Indigo+Madder.

02 / 30

Veronica Peralejo

All You Holy Monks and Hermits image

Veronica Peralejo

All You Holy Monks and Hermits
Dimension: 46 x 46 x 13 cm
Medium: Concrete Pour, Sand, Incense
Country: Philippines
Nominated by: Victoria Boots Herrera

Veronica Peralejo (b.1989, Philippines) holds a BFA Painting from the University of the Philippines College of Fine Arts, Diliman (2010). Through her multidisciplinary practice, she explores the ways in which the poetic nature of the universe shows up in everyday life. All You Holy Monks and Hermits is a line adapted from the Litany of the Dead, or Litany of the Saints, a type of catholic prayer which typically includes repetitious phrases or movements. With this artwork, Peralejo tackles the processing of collective anxieties during the Covid-19 pandemic lockdowns. The artist’s personal experience led her to explore spirituality as a coping mechanism. In turn, she now uses sculptures asway to invite viewers to explore their personal faith, by creating nonspecific imaginary places for meditation and contemplation. The piece is composed of concrete cubes with various cavities, originally intended as incense holders. This is Peralejo’s attempt at visualising the abstract nature of rituals, cleaning spaces, and clearing minds while using smoke as it moves through the concrete’s spatial crevices, an evanescent element gently carving out terrains through time and persistence.

Peralejo’s solo exhibitions Collecting Fragments, MO_Space, Manila (2023) and Pocket Universe, Art Informal (2015) were shortlisted for the Ateneo Art Awards. Her work was presented by Vinyl-on-Vinyl Gallery at Art Central Hong Kong (2018) and Art Informal Gallery and Finale Art File at Art Fair Philippines (2018). She is a founding member of the Visual Arts Helping Hands Foundation (2017).

03 / 30

Yelena and Viktor Vorobyev

Anthropocene image

Yelena and Viktor Vorobyev

Anthropocene
Dimension: 150 x 84 cm | Edition 1 of 3 + 1AP
Medium: Color photo on aluminium
Country: Kazakhstan
Nominated by: Olga Veselova

Yelena and Viktor Vorobyev (b.1959, Kazakhstan) are an artistic duo who have been working together since the1990s, having studied at the Kazakhstan State Institute of Theatre and Art’s Faculty of Monumental and Decorative Painting, and Faculty of Monumental Sculpture, respectively. Their use of different genres and techniques results in multi-layered and often ironic works, focusing on post-Soviet realities of constant change, disorientation, and their effects on everyday life. The artists compile a precise record of the ephemeral and quotidian details of daily life that are often overlooked and not exactly photogenic. They do so in series, sorting images according to their typology. While seemingly insignificant, these details are integral to the creation of the new symbols of power, serving as poignant social metaphors. The pair engages deeply with the environment they live in, examining its socio-cultural underlining, using a light and humorous approach. The text in this artwork, as a cultural sign, fits into the landscape of wild nature. The artists show here a metaphor for the fragility of human civilisation. The word Anthropocene melts in the sun along with the icefloe. Likewise, human civilisation can disappear under the influence of many factors, including its own mistakes.

The work of Yelena and Viktor Vorobyev has achieved international acclaim, having been included in VIVA ARTE VIVA, Giardini pavilion, 57thVeniceBiennale (2017) and Art from Central Asia: A Contemporary Archive, Central Asia pavilion, 51st Venice Biennale (2005); as well as The Artist Is Asleep, A. Kasteev Museum of Arts, Almaty, (2015). Theirs was recognised amongst the top five artworks shown at Art Dubai (2018). Yelena and Viktor Vorobyev are represented by Aspan Gallery.

04 / 30

Sinta Tantra

Bird of Paradise (Night) image

Sinta Tantra

Bird of Paradise (Night)
Dimension: 121 x 101 cm
Medium: Tempera and 24ct gold leaf on linen
Country: Indonesia
Nominated by: Sofia Coombe

Sinta Tantra (B.1979, New York) holds a BA in Fine Art from UCL (2003) and a Postgraduate Diploma from the Royal Academy of Arts, London (2006). Known for her fascination with colour and composition, Tantra’s work is an experiment in scale and dimension, a hybrid of pop and formalism, an exploration of identity and aesthetics. Her decade of work in the public realm has produced distinct colour abstractions which enliven and transform the built environment. Her work occupies the space between painting and architecture, striking a fine balance between two-dimensional and three-dimensional, decorative and functional, public and private. Themes within Tantra’s practice include the slippage between pictorial and physical space, of turning something ‘inside out’, and how we as bodies become submerged in surface and structure. Painted in tempera with delicate touches of gold leaf, Bird of Paradise (Night) is a bold painting with a rich tropical palette. A departure from Tantra’s compositions of minimalist rectilinear forms, the organic, amorphous white figure at the centre of the painting suggests the silhouette of a bird. While it is not indigenous to Bali, the artist sees this beautiful creature as a metaphor for her identity. Since it was sold and traded in the 16th century, the bird of paradise came to represent colonialism and its far reaching and devastating effects.

Tantra’s exhibitions include Kiwari, Tumurun Museum, Surakarta (2023); Tirta Tawar, Public Art Commission, Art Jakarta Gardens, ISA Gallery, Jakarta (2023); The Grand Tour, Public Art Commission, Dulwich Picture Gallery, London (2020); and Bright Dawn, Public Commission atKarachi, Biennale, Karachi (2019). Shewas awarded the Bridget Riley Drawing Fellowship at the British School, Rome, (2017). Tantra is represented by ISA Art Gallery (Asia) and Kristin Hjellegjerde (Europe, UK and USA)

05 / 30

Ivy Ma King Chu

Bird of Shape: Scrap Pad No.001 - 070 image

Ivy Ma King Chu

Bird of Shape: Scrap Pad No.001 – 070
Dimension: 130 x 126 cm
Medium: Collage (with photographic print, coloured paper and acrylic on paper), mounted on acid-free card
Country: Hong Kong
Nominated by: Chloe Chow

Ivy Ma King Chu (b.1973, Hong Kong) holds a MA in Feminist Theory and Visual art from University of Leeds (2002). Characterised by quietness and stillness, Ma’s work is a philosophical reflection on nature and history. Looking, collecting, drawing, and thinking, she works her way through history to find the human thread running through everything. The objects she collects, the images she selects, and the occasional photographs and videos she produces all strike a similar chord, one that is at once uncanny, disturbing, and beautiful. Bird of Shape: Scrap Pad No.001 – 070 charts Ma’s experimentation with abstraction and the marginality of everyday materials. Since July 2021, she has led the life of a traveller, visiting many cities, regions, and countries around the world. Finding herself with the constrained resources of someone constantly on the move, she instinctively became interested in and began to photograph birds in the sky. Created over a period of three years, from 2021 to 2023, the series ‘Bird of Shape’ begins with a semi-realistic scene of the rearranged birds and landscapes cut out from Ivy’s photographs. She showcases them as a perception of these ever-changing landscapes into a new abstract visual order. The work can be interpretated as the diary of a wanderer who encounters deeply personal experiences.

Ma’s work has been recognised with numerous solo exhibitions, including Think of Wind, Touch Gallery, Hong Kong (2021); Poems, days, death, Lumenvisum, Hong Kong (2020); As Time Folds, Art and Culture Outreach, Hong Kong (2018); Last Year, Gallery Exit, Hong Kong (2015) and Numbers Standing Still, Gallery Exit, Hong Kong (2012)

06 / 30

Aziza Shadenova

Cotton Star image

Aziza Shadenova

Cotton Star
Dimension: 80 x 101 cm
Medium: Cotton Collars, Cotton Canvas, Paper and Oil on Canvas
Country: Uzbekistan/ Kazakhstan
Nominated by: Sheida Ghomashchi

Aziza Shadenova’s (b. 1989, Uzbekistan) multidisciplinary work explores painting, moving image and installation. She reflects on her cultural upbringing during the turbulence of the post-Soviet period while examining global issues such as crises in identity and the crossroads between Central Asian traditions and westernisation. Influenced by twentieth century avant-garde and the ‘Theatre of the Absurd’, Shadenova defines her practice as a ‘visual absurdist poetry’, the majority of which is based around ‘humour and absurdism involved in dysfunctional mental states, immigration, and perception of life.’ In Cotton Star, sculptural cotton collars are arranged over a painting in the formation similar to the stars frequently seen in Islamic art and observed throughout the architecture of Uzbekistan. The collars merge with the silhouettes of hands and faces to form a bas-relief on the canvas. Shadenova associates’ collars with the state of being organised, skilled and ready to work. Women in Uzbekistan, as well as many other countries in Central Asia, became more independent skilled workers during the Soviet period. The Soviet era accelerated the emancipation of women, but hardly for the sake of women and rather for the sake of extra hands to be used for communal work. In this instance, Shadenova is focusing on cotton pickers.

Exhibitions include Thinking Historically in the Present, Sharjah Biennial 15, Sharjah, UAE, (2023); and Clouds & Power, MILL6CHAT, Hong Kong, (2023). Shadenova’s work is also featured in the publication Punk Orientalism: The Art of Rebellion by Sara Raza (2022) and was selected for inclusion in Poetics & Politics at the Central Asian Pavilion, 55th Venice Biennale, Italy (2013).

07 / 30

Chiang Kai-Chun

Cypress Boulevard image

Chiang Kai-Chun

Cypress Boulevard
Dimension: 62 x 83 cm
Medium: Marble, serpentinite, limestone mosaic arts
Country: Taiwan
Nominated by: Chia-Wei Hsu

Chiang Kai-Chun (b.1983, Taiwan) holds a BA in Fine Art from Taipei National University of the Arts and a MA in Fine Arts from École Nationale Supérieure d’Art Paris-Cergy, France (2013). His mastery of mosaic art spans training in both Paris and Jordan. In Cypress Boulevard, the day unfolds gracefully, enticing the viewer to embark on a walk along a leisurely promenade. The mosaic, which draws inspiration from the idyllic Taiwanese countryside, is crafted with technique reminiscent of French pointillism. Chiang embeds stones in natural gravel, employing them as paintbrushes to delicately depict a serene and nuanced landscape. The resulting tableau offers a glimpse into an unhurried life. The rear panel of the mosaic artwork, constructed from stainless steel, ensures durability while allowing for versatile display options, be it within indoor spaces or enhancing the aesthetic appeal of outdoor parks and gardens. Chaing will also present the buyer with a watercolour sketch, affording a unique opportunity to witness both mosaic and watercolour techniques concurrently, showcasing the artist’s creative process as it evolves from paper to the transformation of stone.

Chiang’s work can be found in numerous institutions, including the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Hong-gah Museum, Cité de l’architecture et du Patrimoine, Paris, Le Fresnoy Art Centre, and Today Art Museum, Beijing. Solo exhibitions include a forthcoming show at Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan (2024); Fragmentation of Historical Perspectives, Taipei Museum of Fine Arts, Taipei, (2022); and Third Person Traveler, Kuan-Du Fine Arts Museum, Taipei (2016). Chiang is currently represented by Liang Gallery.

08 / 30

Kim Hyunsoo

Dangerous play-Buzzing image

Kim Hyunsoo

Dangerous play-Buzzing
Dimension: 128 x 88 cm
Medium: Collage, Printed Image, screen print, painting on Korean traditional paper
Country: South Korea
Nominated by: Gun Soo Choi

Kim Hyunsoo (b. 1975, South Korea) holds a BFA in Painting from Ewha Womans University, Seoul (1999). Through her work, Kim makes various attempts to challenge dichotomous thinking and construct a sculptural language using the concept of play. Through paintings and multimedia object pieces using plant remnants collected from her surroundings, she aspires to capture the delightful aesthetics of Korea, engaging audiences and generating discourse by exhibiting in alternative spaces, as well as commercial galleries. Thanks to her father, a soldier, Kim spent her early years in the mountains near a military base. Through an intimate connection she felt with nature, she remembers it as a playful place. On a scorching summer day, the back hill would echo with the deafening chirping of insects, transforming it into a fantastic playground. She approaches natural scenes such as this with an open sensibility, treating everything she encounters as a subject of play. The figures she draws are creations born through this interaction with nature and imagination. The theme of play represents her romantic solution to the irrationalities of society. It is the most apolitical act, uniting opposing entities as one. In ‘Dangerous play Buzzing’, both the weapons, symbolising the violence of ideology, and the currency, representing capitalism, lose their original functions.

Kim has participated in eight solo exhibitions as well as numerous group exhibitions, including Dangerous Play-Homoludens, Placemak Seoul, (2023); Playing on the border, Kum-Ho Museum, Seoul, (2019); Dangerous Play, K.O.N.G Gallery, Seoul, (2017); Upcoming Scenery, The rock culture Gallery, Jeju (2021); and Chicago Art Fair; Chicago, (2007).

09 / 30

Noormah Jamal

Did the seed grow? image

Noormah Jamal

Did the seed grow?
Dimension: 135 x 151 cm
Medium: Acrylic on canvas
Country: Pakistan
Nominated by: Adeel Ul Zafar

Noormah Jamal (b.1992, Pakistan) holds a BA in Painting from The National College of Arts Lahore (2016) and MA in Painting from Pratt Institute, Brooklyn (2023). At the core of her artistic practice, which spans painting, drawing, and ceramics, lies a deep exploration of the personal baggage that we carry and the influence of personal experiences on individuals. Drawing inspiration from the oral history of her people and memories from her childhood, her artistic language delves into unspoken emotions and stories that often go untold or are silenced. Through deliberate use of symbolism and vibrant colours, she weaves narratives that are both whimsical and emotionally evocative, capturing the intricate and contradictory nature of human existence. Did the seed grow? speaks to themes of loss and displacement. The facial expressions of the figures are subtle, and a heavy use of symbolism drives the narrative. The viewer needs to decode the scene, as the figures are already very much aware of the situation they are in. The painting is an amalgamation of elements from Mughal miniature painting and the drawings Jamal would create as a child. The brushstrokes mimic a woodcut, the hand gestures very apparent, instilling a sense of urgency to work.

Jamal’s work has been exhibited internationally and she has been presented with the Pratt Circle Award for Outstanding Academic Achievement, Pratt Institute (2023); and the Imran Mir Art Prize (2019). She was accepted as a studio member at The Elizabeth Foundation for the Arts (2023) and is currently a resident at The Children’s Museum of the Arts, New York (2024).

10 / 30

Bouie Choi

dimpled image

Bouie Choi

dimpled
Dimension: 91 x 44 cm
Medium: Painting, Acrylic on teak floorboard
Country: Hong Kong
Nominated by: Gary Mok

Bouie Choi (b.1987, Hong Kong) holds a BA and MA in Fine Art from Chinese University of Hong Kong (2009) and Chelsea College of Art and Design (2012), respectively. Capturing the urban absurdity and threads of identity that connect humanity, Choi navigates between Eastern and Western approaches through wooden paintings with delicate brushwork and flowing pigments. If a painting manifests infinite borrowed space and time, Choi attempts to negotiate the liminal space between the tangible and intangible, describable, and indescribable realities, bringing a glimmer of hope with the evocative power of urban imagery. dimpled is crafted from reclaimed teak flooring sourced from a century-old villa in Southern Hong Kong. Wood is an organic medium, infused with the cadence of the woodland and the passage of time. Its imperfect holes or ‘dimples’, now preserved as a key feature of the painting, are traces of human livelihood and hold a significant emotion about the land and our city. Through a process of repetitive pouring, sanding, and washing, Choi gives form to a momentous scene of a pursuer seeking shelter against an imposing backdrop – a wounded wild boar strives to reach the mountain, lit by filtered light from small holes in a milky sky.

Choi’s work has been exhibited internationally, including solo presentations We stay up late to behold the beauty of the stars, PF25, Switzerland (2023); Crossing the nights Filling the lines, Grotto SKW, Hong Kong (2023); and borrowed space_borrowed time, Grotto Fine Art, Hong Kong (2020) and was shown at Art Basel Hong Kong in 2024 and 2023. Choi is currently represented by Grotto Fine Art.

11 / 30

Yip Kin Bon

Four legs good, two legs better image

Yip Kin Bon

Four legs good, two legs better
Dimension: 74 x 74 cm, Sticker dimension variable
Medium: Offset lithograph (newspaper), vinyl sticker
Country: Hong Kong
Nominated by: Chloe Chow

Yip Kin Bon (b. 1989, Hong Kong) holds a BA from the Academy of Visual Arts of the Hong Kong Baptist University (2013). As mixed media artist, he uses a variety of approaches that include collecting, reading, sorting, and integrating, often presented in forms of collage. He rearranges the context of incidents, objects, and time to reflect the absurdity of this world. The title of this work, Four legs good, two legs better, is a reference to George Orwell’s allegorical novella Animal Farm. Through an assemblage of images of local animals collected from Hong Kong newspapers throughout 2017-2022, the artist tells a story of the animals’ persecution by humans. Until one day, the animals began to hold a conference…

Yip’s artworks have been shown exhibitions around the world, including Overriding the Light of Day, WMA space, Hong Kong (2023); Sea Breeze, Jogja Biennale, Indonesia (2019); No Cause For Alarm, La MaMa Galleria, New York, (2016) and Almost black, the white terror; Almost white, the black humour, 1a space, Hong Kong (2014). His work is held in the collection of San Francisco Museum of Modern Art (SFMOMA)

12 / 30

Billy H.C. Kwok

Geolocation 404 image

Billy H.C. Kwok

Geolocation 404
Dimension: 154 x 102 cm
Medium: Archival inkjet print
Country: Hong Kong
Nominated by: Chloe Chow

Billy H.C. Kwok (b.1989, Hong Kong) holds a BA in Media and Communications from City University of Hong Kong (2013). Kwok tells stories through photography, the images he makes revealing rapid shifts in the geopolitical relationships and various forms of power structures present in China and its neighbouring regions. Geolocation 404 depicts a series of photographs and documents representing various aspects of Yu Lai Wai-ling’s daily struggle for answers in relation to her son, Yu Man-hon, a teenager who disappeared at the Lo Wu border in 2000. Polaroids of disabled children wandering the streets, taken by Yu Lai Tai-ling, are pinned to a map with their locations matched to leads connected to her search in Shenzhen. She has since viewed thousands of cases in other provinces as far away as Fujian, Jiangxi, Guangxi, and Hunan. Based on a relationship of trust established with Ms.Yu, Kwok captures an intimate scene of her household alongside an image of present-day Shenzhen. Throughout her search, hundreds of demands for ransom and rewards have arrived as fraudulent letters and anonymous phone calls.

Kwok is a multi-award-winning photographer and Magnum Foundation Fellowship recipient, whose work has been featured in The New York Times, TIME Magazine, The Washington Post, Libération, and The Wall Street Journal, amongst other publications. Exhibitions include Signals…瞬息: signals…here and there, Para Site, Hong Kong (2023); Landskrona Foto Festival, Sweden (2022); and Foam Talent 2021, Foam Fotografiemuseum, Amsterdam, (2021)

13 / 30

Lee Jo-Mei

Landscape Remains 06 image

Lee Jo-Mei

Landscape Remains 06
Dimension: 69 x 90 cm
Medium: Arches watercolor paper, pencil, charcoal, pastel, metal, wood, nails
Country: Taiwan
Nominated by: Chia-Wei Hsu

Lee Jo-Mei (b.1985 Taiwan) holds a MA and BA in Fine Art from National Taiwan University of the Arts (2011, 2007). Her practice is mainly based on sketches, painting, and the transformation from two-dimensional to three-dimensional sculptures. She looks to depict how we gaze on the texture of objects throughout the everyday experience to explore the sense of memory’s own landscape. Since 2015, Lee has focused on the exploration of nature and materials. She loves observing plants, observing any mysterious notches or small cuts to perceive a plant’s sense of time from her own micro view. In this way, her artworks are presented with a particular poetic lyric. The Landscape Remains series focuses on the Royal Palm Tree, an introduced species constituting the everyday landscape in Taiwan. The work speaks to the early twentieth century when the Japanese colonial government mass-planted this Hawaiian native species in Taiwan to elicit an exotic flair. Lee combines paper craft and sketching to create this hybrid structure that resides between a two-dimensional sketch and a three-dimensional specimen, evoking a bizarre, alienated context through delicate details, and echoing the shadows of the empire from the past that still linger on in Taiwan today.

Lee Jo-Mei’s artwork has been exhibited at Art Taipei, Taipei World Trade Center (2023); The Lithe Return-Lee, Double Square Gallery, Taipei (2023); Healing, A Methodology, Guandu International Nature Art Festival, Taipei (2022); Variation, Mind Set Art Center, Taipei (2022); and The Poetic Realm, Yuhsiu Museum, Nantou (2021).

14 / 30

Kanchana Gupta

Open and Close #03 image

Kanchana Gupta

Open and Close #03
Dimension: 150 x 89 cm
Medium: Oil paint skins burnt and stripped of French Lace
Country: Singapore
Nominated by: Seet Yun Teng

Kanchana Gupta (b.1974, Singapore) holds a MA in Fine Art from LASALLE College of Arts, Singapore and Goldsmiths University of London (2016). Gupta’s practice yokes materiality with process and this is both the impetus and structure behind most of her works. Using a combination of studio and industrial processes, she manipulates socially loaded materials like vermillion powder, henna, and sandalwood alongside oil paint, canvas, and construction materials such as jute and tarpaulin, irreversibly altering their properties and contexts. Her fascination with the materiality of paint has seen her investigate the physicality of the medium in two-dimensional works, mixed media, and sculptural installations. ‘Open and Close’ explores the intricate relationship between lace and gender identity as well as the gender politics surrounding its emergence as a fabric that eroticises the female form. Its construction, which involves twisted and knotted threads, has remained unchanged since the 16th century. The oil paint skins used in the work show traces of the lace without the presence of the fabric itself. Gupta’s artistic interests centre around the evocative and powerful interplay of lace patterns to captivate and confront the audience, evoking both decorative and uncomfortable sensations on a sensual and visceral level.

Gupta’s work has garnered international recognition, being exhibited at ARTSG, Sullivan+Strumpf, (2023); FOLDEDPIERCED STRETCHED, Sullivan+Strumpf, Singapore (2022); While She Quivers, Objectifs Centre for Photography and Film, Singapore, (2022) and The Sceneriesand Portraits of an Era – Featuring the AsiaCollection of Benesse Art Site Naoshima, Fukutake House Asian Gallery, Shodoshima (2019). Gupta is currently represented by Sullivan+Strumpf.

15 / 30

Rocky Cajigan

Pendulum Redux image

Rocky Cajigan

Pendulum Redux
Dimension: 134 x 161 cm
Medium: Mixed media: butcher hooks, human hair, Guatemalan ikat textile, embroidery, gauze, aluminum cable crimps
Country: Philippines
Nominated by: Rica Estrada-Uson

Rocky Cajigan (b.1988, Philippines) is a multimedia artist working in painting, installation, and assemblage to explore material culture, indigeneity, and museology. His work is focused on questions of identity, the future, and the transitioning and decolonisation of indigenous cultures. What does it mean to be indigenous now? How do centres of power grow from a de-centering project, realised for centres themselves? Cajigan constantly re imagines his personal history as part of an indigenous community. He examines the privileges, dangers, and insecurities it holds in the formation of an identity in a place and present where decolonisation is often co-opted by capital experienced as hegemony, finance, and center. Pendulum Redux is a concession to the power of the visceral – a response to material culture and its origin community, its people, as a single unit. Focus is placed on the treatment of people as objects or people as indistinguishable from their personal effects. A link is drawn between the objectification of people and their bodies and the treatment of objects as signifiers of people, as in the curatorial history of ethnographic museums that protect and launder this collective violence.

Cajigan’s work has been exhibited internationally, most notably at Place of Origin, Drawing Room Contemporary Art, Makati (2023) and the 10th Asia Pacific Triennial, Brisbane, (2022). He was awarded an Asian Cultural Council Fellowship, New York, (2023); the Cultural Center of the Philippines (CCP) Thirteen Artist Award (2021) and the Fernando Zobel Prize for Visual Art by the Ateneo Art Awards (2016)

16 / 30

Chan Ka Kiu

Please image

Chan Ka Kiu

Please
Dimension: 88 x 50 x 11 cm
Medium: Blinds and digital print on light box
Country: Hong Kong
Nominated by: Kurt Chan

Chan Ka Kiu (b.1995, Canada) holds a MFA from the City University of Hong Kong (2021) and a BA in Fine Art, Chinese University of Hong Kong (2017). Through her practice, Chans explores intangible and bizarre aspects of everyday life, portraying scenarios both familiar and displaced as playful puns and honest confessions. Her work, which spans installation, photography and performance, balances humour and pathos, leaving a lingering aftertaste that is both bitter and sweet. In still imagery, a sunrise and sunset can only be differentiated by the flash of green light that appears at the final moment of dusk. Please is composed of venetian blinds overlaid atop a lightbox depicting a sunset with the words ‘Linger a little longer’. Crafted in the dimensions of a domestic TV screen, the artwork evokes both the experience of looking out a window and watching television. Yet it is neither; it is an ending in suspense, forever fleeting in a single frame. The image is the last of a series of three in which the preceding frames do not exist. There is no start or middle, as only endings are certain. As spectators, how do we prolong the inevitable? We can plead, “Please, linger a little longer.” Or perhaps we bask in the moment of bittersweetness that arises just before sunset.

Chan’s exhibitions include Late to the Party, DE SARTHE, Hong Kong (2023); Darling, Don’t Come So Fast, Para Site, Art Basel Hong Kong (2019); Hong Kong Gaze, Videoex, Switzerland (2023); Very Natural Actions, JC Contemporary Tai Kwun, Hong Kong (2019); and A Tree Fell in the Forest, and No One’s There, Power Station of Art, Shanghai (2018). Chan is currently represented by DE SARTHE.

17 / 30

Demet

PPE, Paint Palette Emulation image

Demet

PPE, Paint Palette Emulation
Dimension: 122 x 154 cm
Medium: Oil on canvas
Country: Philippines
Nominated by: Cid Reyes

Demet (b.1971, Philippines) is a multi-disciplinary artist working across painting, sculpture, digital art, and photography. In PPE, Paint Palette Emulation, Demet employs the techniques of hyper realism and trompe l’oeil, the optical illusion of three-dimensional space and objects on a two-dimensional surface. With a composition depicting a collage of cut and torn images from his personal life as a designer and contemporary artist, combined with details of his oil painting palette, Demet invites the viewer to draw closer, inspect each layer of the work, and examine parallels with their own life experiences.

Recent solo exhibitions include An Extra Over the Familiar, Boston Gallery, Quezon City (2023); Rhyme and Reason! 8rooms Creative Space, Makati City (2023); and Serigraphos Pinto Art Museum, Antipolo (2022). Demet’s work was featured in Philippine Social Realists, published by Erehwon ArtWorld (2019); Asian Art News Magazine (2011); and shown at ArtMoments Jakarta (2023); and the Busan Biennale, Busan (2004).

18 / 30

Michelle Fung

Red Bean Stalk image

Michelle Fung

Red Bean Stalk
Dimension: 122 x 60 cm
Medium: Original Wood Carving (Chinese ink, colour pencils and wood carving)
Country: Hong Kong
Nominated by: Kurt Chan

Michelle Fung (b.1982, Hong Kong) holds a BA in Fine Arts from University of British Columbia (2005) and MA in visual arts from Hong Kong Baptist University (2015). In 2015, she embarked on a lifelong project to spin a fantastical futuristic world out of pigments, words, and images. This ecotopian, dystopian world, ‘The World of 2084’, comprises five imaginary nations whose narratives weave together into one grand story that teases out the nuances in our understanding of the Anthropocene. Working across different media, Fung creates highly detailed figurative works that are surreal, allegoric, and anthropomorphic. Red Bean Stalk depicts ‘Polluta’, an ecotopian artist colony that resides in The World of 2084. Conceptually, this work depicts the only portal to Polluta. Two important animals inhabit this world – a fire-breathing dragon that transforms corpses into fertiliser and a flying elephant that transports everything. Red beans are typically found on a beanstalk but here they grow on trees, throwing the existence of this portal into question. The techniques used in this piece, Fung’s first original wood carving of this scale, are the accumulation of her work in drawing and printmaking over the past two decades. The work pays tributes to these two ‘lesser’ media in contemporary art, while presented as an original painting.

Fung’s recent exhibitions include Hong Kong Polluta, Hong Kong Visual Arts Centre, Hong Kong, (2023); Light Play. 3D and New Media Art, Ink Asia, Hong Kong, (2023); and Women at the End of the World, Art Basel Hong Kong(2023). She has just been recognised as a Semi-Finalist at The 98th Annual International Competition of The Print Center, Philadelphia (2024).

19 / 30

Zhang Zhaoying

Relationships image

Zhang Zhaoying

Relationships
Dimension: 30 x 20cm; 40 x 30cm
Medium: Oil on canvas
Country: China
Nominated by: Lv Peng
20 / 30

Doris Chui Suet Wai

Silent Sparks image

Doris Chui Suet Wai

Silent Sparks
Dimension: 100 x 80 cm
Medium: Acrylic on canvas
Country: Hong Kong
Nominated by: Kurt Chan

Doris Chui Suet Wai (b.1997, Hong Kong) holds a BA in Fine Art from the Chinese University of Hong Kong (2022). Her work examines the alienation of urban dwellers and their delicate emotions through cartoon characters and surreal spatial scenes. Vibrant colours are used to
explore themes of solitude and self reflection, delving into the artist’s personal emotions and experiences. The intentionally weakened features and subtly twisted postures of her characters represent the loneliness and repression experienced by individuals in contemporary society.
Silent Sparks portrays a figure lying peacefully against a backdrop of sparks. Sparks can originate from the tails of fireworks, representing their volatile essence, or from battle fires, as remnants of warfare. The scene therefore hovers between one of celebration or of imminent danger,
much like the unpredictable nature of life’s experiences. In this work, Chui considers the impotence of humans and their inability to fully exert control or manipulate outcomes, whether under conditions of pure elation or of peril. She seeks to emphasise the universal human condition of
helplessness, irrespective of the situations encountered.

Chui was awarded the Diana Li Award in Fine Arts, (2022); Chinese Painting and Calligraphy Creation Award, (2022) and the Mr. Kevin Chan Fine
Arts Scholarship, (2022). Recent exhibitions include Women’s Freestyle, SC Gallery, Hong Kong (2023) and Where Great Minds Shine (CUHK 60th
Anniversary Alumni Art Exhibition), Arts Pavilion West Kowloon Cultural District, Hong Kong (2023). Chui is currently represented by SC Gallery

21 / 30

Mark Chung

Stitches #02, Good Companion image

Mark Chung

Stitches #02, Good Companion
Dimension: 136 x 120 cm | Edition 1 of 1 +1AP
Medium: Photogrammetry
Country: Hong Kong
Nominated by: Chloe Chow

Mark Chung (b.1990, Auckland) holds a BA in Visual Arts from Hong Kong Baptist University (2014). Living and working between Hong Kong and Amsterdam, he is currently studying MA Fine Arts at Sanberg Insitute, Netherlands. He describes his works as ‘experiences, composed with indefinite mediums, scrutinising different power structures, manoeuvring disparate stratums of system and belief clumsily and tactlessly, reflecting the havoc of everyday experience’. Chung’s artist statement reads, “a kaleidoscope of colours, stinging and aggravating the eyes; prosperity begets itself ceaselessly and rapidly like an epileptic episode. We course through systems and beliefs constituted through aggregates of different emotions and artificial objects, in a life flooded with sensation – inane to the point of suffocation”. Chung created Stitches #02, Good Companion by weaving together multiple drone images of a 50-meter-tall mural on the façade of an old Hong Kong factory found on the margins of the city. Trapped in a crack between buildings, this façade of fragmented colours has slowly disintegrated over time. Eroded by tropical rainstorms and burned by the sun, an advertisement from an obsolescent brand and era fades into abstraction, the signify image bleached into an anachronism.

Chung’s work has been exhibited internationally, most notably at Splinter, Rossi & Rossi Gallery, Hong Kong, (2023); Dead End, ACO, Hong 2023) an Æthereal, National Taiwan Museum of Fine Arts, Taichung, (2021). He received special recognition for media arts at IFVA Festival, Hong Kong (2023); and has been shortlisted for the Huayu Youth Award (2021).

22 / 30

Affan Baghpati

Surat Khana image

Affan Baghpati

Surat Khana
Dimension: 41 x 41 x11cm
Medium: Silver soldering, stone setting, found copper plate (estimated 1947), glass stones, blue glazed mother of pearl, yellow Agate (Aqeeq), yellow acrylic lens
Country: Pakistan
Nominated by: Amra Ali

Affan Baghpati (b.1991, Pakistan) holds a BFA from IVSAA, Karachi (2015) and an MA in Art and Design Studies, Lahore (2018). Affan works with items from different cultures to understand the gaps and disconnections of the present time. Object-making techniques and borrowed imagery are part of the artist’s studio practice. Surat Khana comprises hand-sawn motifs on a copper plate – essential references to violence in media, religion, and history – repositioned to change their context. Precious and semi-precious gemstones are nestled within the metal, adding hues of significant colours. Amongst the motifs are silhouettes from illustrations in the Akbar-Nama, a historical chronicle written during the reign of Mughal emperor Akbar in the 16th century. In the text, Akbar commands his brother Adham Khan be thrown from a height – his falling figure is visible in the centre of the piece. The thrower then becomes the catcher, who aims to catch whatever he can get hold of, like a street scavenger. Also depicted is the common swift, or ‘ababeel’, a bird with extraordinary attributes and religious connotations to many Ibrahimic religions, and a variety of gestures which explore and document the present-day turmoil against humanity.

Baghpati’s work has been exhibited internationally, most notably in Anatomy of a Horny Heart, Aicon Contemporary, New York (2021); Alternative Imaginary, ‘I try to call you but I can’t find the telephone’, Koel gallery Karachi, Pakistan (2019); India Art Fair2020, 2022 and 2023, (with Aicon Contemporary, New York), Delhi; Dubai Expo, Pakistan Pavilion, Dubai, (2021-2022); and City, sarota, and Surmadani, O-Art Space, Lahore (2022).

23 / 30

SEOSY

The Labyrinth of Origin image

SEOSY

The Labyrinth of Origin
Dimension: 94 x 74 cm
Medium: modern painting/ oriental painting
Country: South Korea
Nominated by: Yoon Sub Kim

SEOSY (b.1972, South Korea) holds a Ph.D. in Formative Arts and an MAand BA in Fine Arts from Dongduck Woman’s University. Through her work, she seeks to visually embody the root of human thoughts such as “who am I?” and “where do we come from and where are we going?” The formative language of her work begins with the idea of 空 or emptiness, an idea fundamental to Eastern philosophy. In particular, the artist follows the idiom 色卽是空 空卽是色.When translated through the words of Thich Nhat Hanh, a Vietnamese Thiền Buddhist monk, it reads “form is not other than emptiness, emptiness is not other than form.” She believes all things in the world are interconnected by one vein. The canvas of The Labyrinth of Origin is filled to the brim with tiny cracks reminiscent of the ice cracks found in porcelain glaze, or neurons that connect the senses throughout the body. A visual representation of the ‘labyrinth of origins’, they invite the viewer into a chaos of the artist’s own making. SEOSY makes use of gold leaf as her primary expressive technique, a material considered as a visualisation of the ‘ideal’. Drawing on the expertise learned during her doctoral studies, the artist presents a level of technical perfection as complete as the composition itself.

SEOSY is an esteemed and well-established artist, whose exhibitions have included My Treasure_Timelessness,Scott & Jae Gallery, Beverly Hills (2023); Garden of Treasure, HanKuK Art Museum, Gyeonggi (2023); The Dignity of the Imperial Household, Art Gate Gallery, New York, (2007); and Seo SooYoung, Galerie Visconti, Paris (2000).

24 / 30

Sanaz Haeri

The looking glass - 2020 image

Sanaz Haeri

The looking glass – 2020
Dimension: 92.5 x 135 cm
Medium: Mixed media on cardboard (old iranian colors, plastic, ink)
Country: Iran
Nominated by: Leila Maleki

Sanaz Haeri (b.1980, Iran) is a multimedia artist who draws inspiration from old Iranian paintings and modern-day social and civic concerns. Her Demons series of works are characterised by her ‘creatures’, which began as drawings of dogs as examples of repressed animals, and whose bodies metamorphosised over time to include parts of other beings. Removed from their context, she traps them inside empty cages, bound by limiting lines. She likens their situation to that of individuals today’s society, in which ‘norms’ are established to provide a sense of security but inevitably end up transforming us. By accepting odd and sometimes grotesque behaviours not our own, we realise that we have become an odd being beyond our own recognition. When researching the use of the demon motif throughout art history and across cultures, Haeri found herself drawn to its diversity across different time periods. In Iranian art, the image of a ‘Ghoul/D’iv’ has changed significantly in accordance with the changing political and social life of Iranians. To create the demon pictured in The looking glass – 2020, Haeri drew influence from figures in the manuscripts of the Shahnameh of Shah Tahmasp and the Mantiq altair and presented them through a contemporary lens. The work makes use of traditional materials, the resulting textures representing the emotional experiences of the subject.

 

Haeri’s work has been shown internationally at Women, Life, Freedom, Foundation Mirador del Jucar, Albacete (2023), the Iranian Artist’s Forum, Iran,(2022); and CityScape Community ArtSpace, Vancouver (2021). She was a nominated artist of the International Human Rights Art Festival (IRHAF),New York (2023). Haeri is currently represented by E1 gallery Tehran and Iranian Artists Forum

25 / 30

Dinar Sultana Putul

The recycle of materialistic perspective image

Dinar Sultana Putul

The recycle of materialistic perspective
Dimension: 148 x 90 cm
Medium: Indigo, clay, minerals, charcoal, graphite, watercolor on newspaper pulp made self made paper
Country: Bangladesh
Nominated by: Ruxmini Choudhury

Dinar Sultana Putul (b.1989, Bangladesh) holds a BA and MA in painting from Sayajiras University, Gujarata, India (2011, 2017). Fascinated by the ephemerality of nature, Dinar aims to translate its materiality into her work, transforming materials including pulped newspaper, raw clay, bamboo and terracotta using hand-worked processes and extracting colours, or the ‘blood of nature’ as she terms it, from flowers, bark, seed, and leaves. Dinar has a strong interest in cosmology and imaginative cartography, believing it to be inherently connected with pressing concerns around income and resource inequality. With The recycle of materialistic perspective, she suggests that humanity’s trajectory is adrift, as we forge ahead without providing adequate care for our planet. The work advocates for a collective ‘rebalancing’, a global cooperation harnessing human intelligence and the earth’s resources in a way that allows for an ‘integrated regenerative
system’. Dinar draws inspiration from the utopian vision of American architect and systems theorist Richard
Buckminster Fuller, who developed a system of thought based on the essential unity of the natural world and the use of experiment and intuition as a means of understanding it.

Dinar’s work has been exhibited internationally, most recently being featured at the India Art Fair, Delhi (2024); Asia Now, Paris (2023); and the Asian Art Biennale, Bangladesh, (2023). She was shortlisted by Samdani Art Foundation for the Samdani Art Award at Dhaka Art Summit, Bangladesh (2023); and recognised in the National Sculpture Exhibition, Bangladesh Shilpakala Academy (2022). Dinar is currently represented by Iram Art Gallery.

26 / 30

Sim Chi Yin

The Suitcase Is A Little Bit Rotten, Crowd, 2023 image

Sim Chi Yin

The Suitcase Is A Little Bit Rotten, Crowd, 2023
Dimension: 37 x 29 x 60cm | Edition 2 of 5 + 2AP
Medium: UV print on museum glass, light box, mahogany replica vintage stand
Country: Singapore
Nominated by: Seet Yun Teng

Sim Chi Yin (b.1978, Singapore) is currently completing a PhD at King’s College London (2024). Her research-based practice, which spans photography, film, installation, performance, and book-making, uses artistic and archival interventions to contest and complicate historiographies and colonial narratives. Suitcase is a series of photographic interventions using Magic Lantern Slides from the late 1800s and early 1900s, once colonial pedagogical tools. Sim exhibits these altered slides on replicas of antique stands used toretouch glass negatives. She uses the slides, which depict Southeast Asian landscapes through a colonial gaze, as sites of time travel to explore trans generational inheritance and memory. She alters their meaning by grafting her paternal grandfather – a political activist arrested by the British and executed for being a Socialist in the anti-colonial war in Malaya – and her toddler son into the sites, constructing a re-imagined archive. The lineage between Sim’s child and grandfather is enacted in this highly constructed – if not already fabulist – visual space of colonial projection.

Sim is exhibiting in the main show at the 60th Venice Biennale (2024) and was commissioned the Nobel Peace Prize photographer for 2017. Her work has been exhibited extensively, including Shifting Sands in Re/Sisters, Barbican, London, (2023); Shifting Sands, in Indigo Waves, Gropius Bau, Berlin, (2023); One Day We’ll Understand, Istanbul Biennale, (2022) and One Day We’ll Understand, Zilberman Gallery Berlin, (2021). Her work is in the collections of Harvard Art Museums, The J. Paul Getty Museum, M+ Hong Kong, Singapore Art Museum, and the National Museum Singapore. Sim is currently represented by Zilberman Gallery and Hanart TZ Gallery.

27 / 30

Zelin Seah

U_U _A_ _A_ image

Zelin Seah

U_U _A_ _A_
Dimension: 97 x 152cm
Medium: Washed, burnt, and waxed topographic maps mounting on aluminium
Country: Malaysia
Nominated by: Tanya Michele Amador

Zelin Seah (b.1980, Malaysia) holds a BA in Fine Art from Birmingham City University. His work centres on the concept of maps, exploring the intricate relationship between people and the spaces they inhabit and focusing on how humanity defines and interacts with nature. He deconstructs maps through scouring, tearing, and burning, disintegrating the map’s original purpose while retaining symbolic elements and mirroring nature’s perpetual transformation, always alive and never the same. This work is from the series 地皮 or ‘Skin of Land’. Traditionally referencing commercially valuable sites in Chinese, it now symbolises depleted natural resources, akin to an animal hunted for its skin. To craft this piece, Seah has cut, reorganised, burned, and washed maps, much like a predator dissecting prey. The result is a ‘skin’ riddled with holes resembling city lights or trapping nets ensnared by the web of development. This work is a tribute to fourteen monitor lizards found dead in the artist’s community’s drainage channels, due to unnoticed cable falling into the ditch, revealing human negligence. His home in the ULU LANGAT region borders pristine forests, sharing space with diverse natural species. The title of the work, U_U _A_ _A_, represents the mourning sounds of the ULU LANGAT beasts amid the new development – an East Coast Rail Link project running through the forest.

In 2022, Seah was presented the Grand Prize for the 41st UOB Painting of the Year, Malaysia. His works has been shown at ART SG, Marina Bay Sands, Singapore, (2023); Two-Dimensional Man, S.E.A. Focus and Richard Koh Fine Art, Singapore, (2022); Prudential Eye Zone, Saatchi Gallery, London, (2014) and AIR Frankfurt Residency, Basis E.V, Frankfurt, (2017). Seah is currently represented by Richard Koh Fine Art.

28 / 30

Atit Sornsongkram

Waterfall image

Atit Sornsongkram

Waterfall
Dimension: 106 x 140 cm | Edition 1 of 5 + 2AP
Medium: Photography, Inkjet-Print
Country: Thailand
Nominated by: Brian Curtin

Atit Sornsongkram (b.1981, Thailand) holds an MA from Kunstakdemie Dusseldorf (2014). Sornsongkram works mainly with photography, manually constructing and then digitally editing his images. He questions and hypothesises the media of photography, playing with the audience’s perception through lighting, duplicating, and rearranging images. He defines his works as a poetry in a visual form. Waterfall is inspired by the artist’s attempt to capture a photograph of a waterfall on his phone. As he stood nearby, the water sprayed onto his phone. Intrigued by this incident, he recreated the scene in his studio. Fascinated by the different ways in which audiences perceive photography, Sornsongkram manipulates the medium, blurring the boundaries between reality and ‘rearranged’ reality.

Sornsongkram’s work has been exhibited internationally, including Black & White, from Dürer to Eliasson, Museum Kunstpalace, Düsseldorf
(2018); MULTIPLE PLANES, Bangkok Art and Culture Center, Bangkok (2018); OBJECTS, HOP Photo Gallery, Bangkok (2021); and Passing a window, I glanced into it, Ver Gallery, Bangkok (2019).

29 / 30

Ho Sin Tung

What Can I Hold You With image

Ho Sin Tung

What Can I Hold You With
Dimension: 42 x 29 cm
Medium: Pencil on paper
Country: Hong Kong
Nominated by: May Fung

Ho Sin Tung (b. 1986, Hong Kong) holds a BA in Fine Art from Chinese University of Hong Kong (2008). Her multi-disciplinary practice includes
drawing, installation, video, and writing. Navigating through different texts and materials, sometimes fictional and sometimes historical, Ho
encounters failures and sorrows in the human condition that generate a sense of stinging within. Things that haunt her and that escape definition
are transformed in her works through a process of retelling, rewriting, adding, deleting, and inserting footnotes. Parks, sports, night. During several epidemic lockdowns, many people tried to bring sport into their homes, while another group of people chose to bring various indoor sports outdoors. The shadows of people practicing different sports and martial arts in the park are sometimes blended into the scenery and sometimes out of place, reaffirming the park’s charming character of mixed dualities such as private and public, artificial and natural, organic and geometric. Ho, who often suffers from insomnia, has a habit of wandering and observing alone in the park late at night, and thus has witnessed these night activities closely.

Ho is an acclaimed artist whose work is held in several institutions including the collection of M+, Hong Kong. Exhibitions include Post-human Narratives: In the Name of Scientific Witchery, Hong Kong Museum of Medical Sciences, Hong Kong (2022); Swampland, Hanart TZ Gallery, Hong Kong (2020); and Dusty Landscape, Chambers Fine Arts, Hong Kong (2016). She is the founder of ‘Good Night’, a space which adopts sports as a framework for alternative cross-medium cultural practices and is committed to building stronger individuals and communities in Hong Kong.

30 / 30

Ahyun Jeon

雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image

Ahyun Jeon

雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34)
Dimension: 35 x 34 x 35 cm
Medium: Resin on concrete
Country: South Korea
Nominated by: Yoon Sub Kim

Ahyun Jeon (b.1995, South Korea) holds a BA in Western painting and furniture design from Sangmyung University and majored in woodworking and furniture at Hongik University’s Graduate School. 雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) was created through a process of 3D modelling based on a topographic map of Mount Seorak, the highest mountain in the Taebaek mountain range in Gangwon Province, South Korea. The artist produced a mould to generate a concrete replica of the mountain’s form, applying concrete powder to express the rough terrain and the snowy landscape. Pigment was added to the resin to create mist around the mountain peaks. The piece was finished with multiple stages of sanding and polishing.

Ahyun Jeon is an award-winning artist, having been selected for the Cheongju International Craft Competition, Bronze Prize (2023) and Forbes Korea 30 Under 30 (2023). Exhibitions include Moments of Consolation, Print Bakery Hannam Flagship store, Seoul, Korea (2023); Paulownia tree root and peach petals, Mugyewon, Seoul, Korea (2023); and KIAF PLUS, SETEC, Seoul, Korea (2022).

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雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
雪深山,Mt.seorak 35-35-34 (snowy deep mountain, Mt.seorak 35-35-34) image
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Thanks for voting!

Testimonials

Sameen Agha | 2024 Grand Prize Winner image
Michelle Fung | 2024 Vogue Hong Kong Women’s Art Prize Winner image
Demet | 2024 Public Vote Prize Winner image
01

Sameen Agha | 2024 Grand Prize Winner

“It is an incredible honour to be awarded The 2024 Sovereign Asian Art Grand Prize. I am thrilled and deeply grateful for this recognition. This award is a significant milestone for my career, and I am profoundly appreciative and thankful for the acknowledgment and support. I extend my heartfelt thanks to Adeel Uz Zafar for nominating me and believing in my practice. It is a huge privilege to showcase my work on the prestigious platform provided by The Sovereign Art Foundation“

02

Michelle Fung | 2024 Vogue Hong Kong Women’s Art Prize Winner

“I am absolutely thrilled to have been awarded the Vogue Hong Kong Women’s Art Prize Winner. I would like to extend the gratitude to Kurt Chan my nominator, the Sovereign Art Foundation team and esteemed judges for understanding me. Finally, of course to Vogue who supports this prize. It’s not easy to be an artist, and it’s even more difficult to do it in a woman’s body. Thank you for recognising that”

03

Demet | 2024 Public Vote Prize Winner

“I am incredibly grateful, heartfully thankful for selecting me as a finalist and to be the recipient of the Public Vote Prize. I am forever thankful for this not only for the recognition, but also the opportunity to share my work and take part in the Sovereign Foundation’s noble cause.  To the SAF team, please continue to carry on the foundation’s objectives and goals. To the dedicated team, I really appreciate all your hard work”

Judges

David Elliott image
David Elliott
Writer, Curator and Museum Director
David Elliott image

David Elliott

Writer, Curator and Museum Director

David Elliott is a cultural and art historian, writer, curator and museum director primarily concerned with modern and contemporary art. Elliott was Director of the Museum of Modern Art in Oxford, England from 1976-96, Director of Moderna Museet in Stockholm, Sweden from 1996-2001, the founding Director of the Mori Art Museum in Tokyo, Japan from 2001-06, the first Director of Istanbul Modern, Turkey in 2007 and from 2016-2019, Vice-Director and Senior Curator of the Redtory Museum of Contemporary Art in Guangzhou. From 1998-2004, he was President of CIMAM (the International Committee of ICOM for Museums and Collections of Modern Art) and in 2008, the Rudolf Arnheim Guest Professor of Art History at Humboldt University, Berlin; from 2012 to 2017 he was a guest professor in curatorship at the Chinese University, Hong Kong. Since 2010. He has been the Artistic Director of biennales of contemporary art in Sydney, Kiev, Moscow and Belgrade and is currently working freelance as a writer and curator.

Yuko Hasegawa image
Yuko Hasegawa
Curator, Educator, Writer
Yuko Hasegawa image

Yuko Hasegawa

Curator, Educator, Writer

Yuko Hasegawa is a curator, educator and writer based out of Tokyo. She currently holds positions as Director of the 21st Century Museum of Contemporary Art, Kanazawa, Artistic Director of the Inujima Art House Project and Professor of Graduate School of Global Arts, Tokyo University of the Arts. She was Artistic Director of the Museum of Contemporary Art, Tokyo until 2021 and during her post she curated solo exhibitions of Dumb Type, Olafur Eliasson and rhizomatiks amoung others.

She has curated Japanese contemporary art and media and technology extensively both domestically and internationally. Her curatorial language is interdisciplinary, encompassing not simply art but also architecture, design, science and anthropology, and combined with global curating experience, allows her to view art as part of a single, holistic ecology.

Hasegawa has also curated, either solo or in a joint capacity, international art biennials including the 7th International Istanbul Biennial (2001), the Shanghai Biennale (2002), the 29th São Paulo Biennial (2010), the Sharjah Biennial 11 (2013), and the 7th Moscow Biennale (2017), Thailand Biennale, Korat (2021) and also served as art advisor to the 12th Venice Architecture Biennale (2010).

In parallel with her curating roles, as a professor of Curatorial Studies at the Tokyo University of the Arts Graduate School of Global Arts since 2015, Yuko Hasegawa has taught students of multiple nationalities, while continuing to construct curatorial theories and contribute to the development of contemporary art discourse from non-western-centric points of view. She has also written, co-authored and contributed to numerous books, papers and catalogues. Among her most recent publications is New Ecology and Art: Anthropocene as dithering time.

Hasegawa has been honored with the Chevalier de l’Ordre des Arts et des Lettres, France (2015), the Ordem de Rio Branco, Brazil (2017), and Japan Commissioner for Cultural Affairs Award, the Agency for Cultural Affairs, Japan (2020).

Christopher K. Ho image
Christopher K. Ho
Artist, Educator, Organiser
Christopher K. Ho image

Christopher K. Ho

Artist, Educator, Organiser

Christopher K. Ho is an artist, educator, and organiser. His multi-component projects address privilege, community, and capital, and draw equally from learned material about, and lived encounters with, power and otherness in a multi-polar, networked world.

Ho currently serves as the Executive Director of Asia Art Archive. Prior to joining AAA, he was on the faculty of the Rhode Island School of Design (2000 to 2018), and additionally taught at Cranbrook Academy of Art, the Maryland Institute College of Art, and the Pratt Institute. He received his BFA in architecture and BS in history of architecture and urbanism from Cornell University, and his MPhil in art history from Columbia University. He recently co-edited an anthology of seventy-three letters titled Best! Letters from Asian Americans in the Arts (n+1/Paper Monument).

Siuli Tan image
Siuli Tan
Independent Curator
Siuli Tan image

Siuli Tan

Independent Curator

Siuli Tan is an independent curator with over a decade of experience encompassing the research, presentation and commissioning of contemporary art from Southeast Asia. Major exhibition projects include two editions of the Singapore Biennale (2013 and 2016), inter-institutional traveling exhibitions, as well as mentoring and commissioning platforms such as the President’s Young Talents exhibition series.

She has also lectured on Museum-based learning and Southeast Asian art history at institutes of higher learning in Singapore. Her recent speaking engagements include presentations on Southeast Asian contemporary art at Frieze Academy London and Bloomberg’s Brilliant Ideas series.

Azin Zolfaghari image
Azin Zolfaghari
Artist, 2022 Grand Prize Winner
Azin Zolfaghari image

Azin Zolfaghari

Artist, 2022 Grand Prize Winner

Azin Zolfaghari (b. 1982, Iran) holds an MA in Painting from Tehran University of Art, Iran (2021). Her work is characterised by unusual cityscapes depicting muted slabs of desolate façades with minimal signs of life. The only hint of a human presence comes in the form of windows, leaving the viewer wondering what the inside of the structure may hold.

Zolfaghari’s works have been shown in several festivals, including the 7th International Art Festival for Peace, Baroque Gallery, Tehran (2020); the 9th Annual Selected New Generation, Shirin Gallery, Tehran (2017); the Jokal Painting Festival, Tehran (2019-2020); the Sateen Kish Art Festival, Tehran (2021); and the Alborz Modern Painting Festival, Tehran (2020). Other notable exhibitions include In Situ, Vista Plus Gallery, Tehran (2021) and Episode 07, Mohsen Gallery, Tehran (2021).

She was also the Grand Prize Winner of The 2022 Sovereign Asian Art Prize.

Nominators

Afghanistan /
Baqer Ahmadi

Baqer Ahmadi

Australia/
Ross Rudesch Harley

Ross Rudesch Harley

Bangladesh/
Rajeeb Samdani

Rajeeb Samdani

Nadia Samdani

Nadia Samdani

Brunei/
Osveanne Osman

Osveanne Osman

Bhutan /
Pema Tshering
Pema Tshering image

Pema Tshering

Artist

Pema (Tintin) Tshering is an artist from Thimphu, Bhutan whose work is presented through illustration, film, graphic novels, sculpture, installation, design, and painting. Tintin is one of the founding members of Voluntary Artist Studio Thimphu (VAST) set up in 1998 in Thimphu, Bhutan, where he continues to contribute as an educator, mentor and is on the Executive board. VAST was established as the first and only contemporary art organisation which philanthropically offers informal educational programmes for young people and adults. www.pematshering.com

Cambodia /
Erin Gleeson

Erin Gleeson

China /
Zikang Zhang

Zikang Zhang

Zhenhua Li

Zhenhua Li

Gary Wai Hong Mok
Gary Wai Hong Mok image

Gary Wai Hong Mok

Curator

Mok Wai Hong, Gary was born in Hong Kong, 1977. He graduated from the Central Academy of Fine Arts in Beijing with BA degree in 2007 MA degree in 2010, his works have been nominated as a finalist for the Sovereign Asian Art Prize in 2005, 2006, 2009 and 2014. In 2009, he curates opening art exhibition “Endless” for Chow Sang Sang Beijing flagship store at Sanlitun. Curating different exhibition “Today & Tomorrow”, thematic show for Art Macao 2013, Art Nova 100 HK station at K11 art mall in 2014. In 2019, 0-1 breakthrough of a collection, CP Treasure, Beijing. 2022,The outsider, Hao Museum, Shanghai. 1/X Andy Lau X Art Exhibition in 2023.

Hong Kong /
Yifawn Lee

Yifawn Lee

Kurt Chan
Kurt Chan image

Kurt Chan

Adjunct Professor

Prof. Kurt, Chan Yuk Keung was graduated from the Department of Fine Arts, The Chinese University of Hong Kong. He then obtained his M.F.A. from the Cranbrook Academy of Art (鶴溪藝術學院), Michigan, U.S.A. Professor Chan joined The Chinese University of Hong Kong in 1989, teaching studio courses and supervising M.F.A. students. He has retired from CUHK since 2016, and has taken the position of deputy director of Hong Kong Art School from 2019-2021.

Kurt is an artist as well as an educator, his research interests cover a wide range of topics such as Hong Kong Art, Art in public realm and mixed media, whereas the outputs mostly presented as exhibition, curatorship, and publication.

May Fung
May Fung image

May Fung

Chair, Art and Culture Outreach

May Fung’s key achievements include:

1994 Fellowship on video art in USA granted by the Asian Cultural Centre.
1999 Fellowship for Artistic Development granted by the Hong Kong Arts Development Council (mainly for development in video installation art).
3 Video works acquired by M+.
Starting curatorial work since 1990’s.
Expert Advisor to the Art Capacity Development Funding Scheme of the Culture, Sports & Tourism Bureau.
Co-opted Member to the Dance & Multi-Arts Sub-committee of the Leisure & Cultural Services Department.
Examiner for the Hong Kong Arts Development Council.
Chair, Art & Culture Outreach.
Engaged in art administration, education and criticism activities.

Leona Yu
Leona Yu image

Leona Yu

Curator, Modern and Hong Kong Art, Hong Kong Museum of Art

Leona Yu, graduated from The Chinese University of Hong Kong and obtained Bachelor of Arts and a Professional Diploma in Museum Studies from Sydney University. She had joined the Leisure and Cultural Services Department since 1996 and participated in organizing numerous international and Hong Kong art exhibitions of the Hong Kong Museum of Art and the Art Promotion Office. She is devoted to modern and contemporary art research, exhibition and education programme planning, as well as acquisition and collection management and is currently Curator (Modern and Hong Kong Art), Hong Kong Museum of Art.

India /
Premjish Achari

Premjish Achari

Kurchi Dasgupta

Kurchi Dasgupta

Kriti Sood

Kriti Sood

Jeebesh Bagchi

Jeebesh Bagchi

Indonesia /
Arif Bagus Prasetyo

Arif Bagus Prasetyo

Iran/
Maryam Kuhestani
Maryam Kuhestani image

Maryam Kuhestani

Multi Media Artist and Curator

Maryam was born and raised in a remote city called Zahedan in Iran. She came to Tehran to continue her education and got a bachelor’s degree in handicrafts and a master’s degree in art research, Since 2005, she has been working professionally and continuously in the field of sculpture, specializing in ceramics. Also, since 2009, she has worked in art universities in Iran and for a while in Mazar-e-Sharif Art University in Afghanistan. She has curated several exhibitions in Iran such as Nimrouz which was about Art of Afghanistan and was the most important one among all. Her main issue in art is the human identity and nature in the contemporary world beyond gender and nation. www.maryamkouhestani.com

Japan/
Naoko Sumi

Naoko Sumi

Amano Taro

Amano Taro

Kazakhstan/
Olga Veselova
Olga Veselova image

Olga Veselova

Curator

Olga is a practicing independent curator. Her interests include socially engaged art, important socio-political issues and the development of the creative potential of the local commutions. Over the past 10 years, she has organized and conducted more than 60 exhibition projects in Kazakhstan, Ukraine, Switzerland, Italy, France, the UAE and the USA. Her projects include such festivals as ArtBat Fest, Urban Art Astana, Ashyk Aspan and others. An important project in the curator’s career is the educational initiative for young artists, the School of Artistic Gesture. She is currently running Art&creative Foundation. www.artandcreative.kz/en

Kyrgyzstan/
Natalia Muravjeva

Natalia Muravjeva

Laos/
Alice Kok

Alice Kok

Malaysia /
Lim Wei Ling
Lim Wei Ling image

Lim Wei Ling

Curator

A jewellery designer and art history major by training, Wei Ling has been duly recognised for her contribution and efforts towards the development of the Malaysian art scene, through numerous awards and nominations. In 2018, she was appointed by Malaysia’s Ministry of Tourism, Arts and Culture (MOTAC) to curate and spearhead the country’s first pavilion at ‘The 58th La Biennale di Venezia (Venice Biennale)’.

Maldives/
Khaled Ramadan

Khaled Ramadan

Mongolia/
Tsendpurev Tsegmid

Tsendpurev Tsegmid

Gantuya Badamgarav

Gantuya Badamgarav

Myanmar/
Sid Ksl

Sid Ksl

Aung Myat Htay
Aung Myat Htay image

Aung Myat Htay

Artist, Curator

Aung Myat Htay is a Yangon based Artist, writer, Independent curator and former lecturer at National University of Art and Culture. He is an ACC grantee artist for 2014 research grant in New York and have been residency in Japan, India, Germany, Indonesia and Vietnam since 2010 to the present. He expresses social messages in contemporary sense and his works presented in several regions of Asia, Europe and US. He founded SoCA contemporary art project and published art books, art documentation series and research papers. He curated local and international art program, exhibitions and workshops actively since 2013. www.aungmyathtay.com

Nepal/
Sangeeta Thapa
Sangeeta Thapa image

Sangeeta Thapa

Founder/Director

Sangeeta Thapa founded Siddhartha Art Gallery in 1987 with eminent artist Shashikala Tiwari. She has curated over 600 shows of Nepali and international artists. She regularly gives consultations to collectors of Nepali art and initiates community art projects. She served on the Board of Patan Museum for six years and is a Fellow of the De Vos Institute of Arts Management. In 2009, she launched Nepal’s premier art event The Kathmandu International Arts Festival (KIAF) as a tri-annual event. In 2011, she established the Siddhartha Arts Foundation as a non-profit and organized the second edition of the Kathmandu International Arts Festival in 2012, through the Foundation.

In 2016, Ms. Thapa co-curated the first exhibition of contemporary Nepali art at the Moesgaard Museum in Arhus, Denmark.

In 2015, the Great Earthquakes struck Nepal causing a huge loss of lives and damage to homes and heritage sites. Taking this into account the third iteration of the Festival was postponed to 2017. In 2016, the Foundation decided to morph the Festival into a Triennale format and was recognized by the Biennale Foundation in Italy. The 2017 edition was curated by Philippe Van Cauteren from the S.M.A.K. Museum in Ghent, Belgium. The 2020 edition was also postponed due to the coronavirus pandemic and took place in March 2022. The edition was led by the artistic director Cosmin Constinas from Para Site Hong Kong and Nepali curators Sheelasha Rajbhandari and Hitman Gurung.

In 2021 , as a precursor to to the Triennale a selection of the works were showcased at Para Site Hong Kong. Post the Triennale a selection of the works were showcased at SAAVY contemporary in Berlin. In the same year the Siddhartha Arts Foundation served as the co commissioner of the Nepal Pavilion at the Venice Biennale which featured the works of Ang Tsherin Sherpa. In December 2022 the Siddhartha Art Foundation showcased works by Nepali artists at the Kochi Biennale.

Ms. Thapa is the publisher of four volumes of poetry: Khulla Dhoka, Nirantar Khulla Dhoka, A Thousand Earths Thousand Skies, and Even the Moonlight can Burn. She has written a book on the drawings of Nepali artist Manuj Babu Mishra entitled ‘In the Eye of the Storm’ and has written essays on contemporary Nepali art in the Gallerie Magazine (India) and for the Nepal Art Now exhibition catalog printed by the Welt Museum, Vienna. She has also contributed her essays to Telling a Tale, a publication of women’s’ narratives, Nukta Art Magazine (Pakistan), and the VOW Magazine in Nepal. Ms. Thapa has been invited in the capacity of a speaker to Art Basel Hong Kong, New North-South Dialogue organized by the British Council and Manchester University in Sri Lanka, the Asian Curatorial Forum Dhaka, and to a panel on South Asian art organized by the Habiart Foundation, New Delhi.

In 2023, she received the President’s medal ‘Kala Sumbardhak Award’ for her contribution to uplifting and supporting the arts scene in the country and in the same year received the ‘Kala Prabhandak Award’ from the Nepal Academy of Fine Arts in recognition for promoting the arts of the country over 35 years.

Mahima Singh

Mahima Singh

Hit Man Gurung
Hit Man Gurung image

Hit Man Gurung

Artist and Curator

Hit Man Gurung is an artist and curator based in Kathmandu by way of Lamjung. His diverse practice delves into human mobility, historical frictions, and post-revolutionary complexities. Rooted in Nepal’s recent past, Gurung’s artistic practice intricately reveals interwoven kinships and the exploitative tapestry of capitalism across geographies. His narratives powerfully depict migrant plight within a dehumanizing labor system, exacerbated by an indifferent nation-state. Intertwining Indigenous methodologies, Gurung Ingeniously reshapes contemporary artistic practice. Notably, he co-curated Kathmandu Triennale 2077 and curated the Nepal Pavilion, Venice Biennale, and ‘Garden of Ten Season’. hitmangurung.blogspot.com

New Zealand & Pacific/
Tim Etchells

Tim Etchells

Israel Randell

Israel Randell

Pakistan/
Zara Sajid

Zara Sajid

Natasha Malik

Natasha Malik

Waseem Ahmed

Waseem Ahmed

Amra Ali
Amra Ali image

Amra Ali

Freelance Art Critic and Curator

Amra Ali is a Karachi based art critic and curator. She has been writing reviews and essays in local and international publications on art in Pakistan since 1900. She is a co-founder of Nukta Art, a first bi annual publication on art in Pakistan. She has been the secretary of AICA Pakistan, a subsidiary of the International art critics association, Paris. Amra has many curatorial projects to her credit, among them is the mini retrospective of Rasheed Araeen, titled, ‘Homecoming Rasheed Araeen’ in 2014-15, at the VM Gallery. She has edited the publication, Rasheed Araeen, Homecoming. The emphasis of her curatorial work is to locate links between her critique viz a viz gallery spaces.

Philippines/
Rica Estrada-Uson
Rica Estrada-Uson image

Rica Estrada-Uson

Director, Visual Arts and Museum Division, Cultural Center of the Philippines
Victoria Boots Herrera

Victoria Boots Herrera

Cid Reyes

Cid Reyes

Regional/
Sheida Ghomashchi
Sheida Ghomashchi image

Sheida Ghomashchi

Curator

Born and raised in 1980,Tehran, Iran, Sheida Ghomashchi works as an independent curator in Milan, Italy. She has been part of various projects including: Co-curator of “Dixit Algorizmi, The Garden of Knowledge”, the fisrt natioonal pavilion of Uzbekistan in Venice Biennale of Art, 2022.

Co- Curator of “ Dixit Algorizmi”, International exhibition, CCA, Tashkent, Uzbekistan, 2021. Fellow at Floating University, Forensic Architecture Group, Berlin, Germany. Curator of “Archive Alive!”, Exhibition of Ramak Fazel, Kandovan, Pejman Foundation, Tehran, Iran. Fellow of “Ideas City – Detroit”, New Museum of New York, USA. Researcher in Urban Research program, BAUHAUS, Dessau, Germany.

Tanya Michele Amador
Tanya Michele Amador image

Tanya Michele Amador

Curator and Writer

Tanya is the co-founder of the website ArtWorldDatabase.com, a website dedicated to promoting and supporting Southeast Asian contemporary art. Before moving to London in 2020, she lived and worked in Singapore for 11 years where worked as an independent curator and published art writer. She holds a Masters degree from Goldsmiths University of London in Asian Art Histories and is dedicated to working with artists living in the diaspora and presenting curatorial projects as part of the Peruke Projects team. www.artworlddatabase.com

Brian Curtin
Brian Curtin image

Brian Curtin

Art Critic and Educator

Brian Curtin is an Irish-born art critic and lecturer. From 2007-18 he worked as an independent curator of contemporary art and now works on commission. He holds a Ph.D. in studio art from the University of Bristol and has been based in Bangkok since 2000. He has lectured in art history, visual culture, and studio courses at the Faculty of Architecture of Chulalongkorn University, Bangkok, since 2006. Brian is one of the curatorial team for the Bangkok Art Biennale 2024. www.brianacurtin.com

Lisa Botos
Lisa Botos image

Lisa Botos

Curator and Art Advisor

Lisa Botos has built a global career delivering art and culture for diverse entities, from foundations to artists to nations, including Swire, WYNG Foundation, and the Kingdom of Bhutan. In Hong Kong, she co-founded OOI BOTOS gallery and Art Unchained. In 2013, she served as guest curator for the Vladivostok Biennale of Visual Arts. As a senior editor at TIME, Lisa led an award-winning photo department. A founding partner of the advisory Private Partners & Co., Lisa counsels families on cultural legacy. She holds an MA with honors in international communication, focusing on visual culture, from American University, and is a fellow of Hong Kong University’s ACLP and BeFantastic ArtTech. Read more here.

Singapore/
Daryl Goh
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Daryl Goh

Entrepreneur

Daryl Goh is a startup-advisor, angel investor and art critic/collector who holds 2 Masters Degrees and authored Design Innovation for Everyone (2023). Daryl is also the designer behind Asia’s first-ever phy-gital retail experience – Zhuang: Home of Singapore Designers that kickstarted an industry trend towards digital retail spaces. The technopreneurship & fashion scholar previously started Singapore’s first free art residency, NPE Art Residency and has judged for multiple prominent art awards. www.darylgoh.com

South Korea/
Yoonsub Kim

Yoonsub Kim

JeongMee Yoon
JeongMee Yoon image

JeongMee Yoon

Professor

Born in Seoul, South Korea in 1969, she majored in painting at Seoul National University, Seoul, photography design at Hongik University, Seoul, and studied at the School of Visual Arts, New York, USA.

As a winner of the Daum Prize in 2006, she held a successful solo exhibition at Kumho Museum of Art in South Korea, and ‘The Pink and Blue Project‘ book was published by the Parkgeonhi Foundation (Seoul, South Korea) in 2007, and ‘Animal Companions’ book was published by IANN publisher (Seoul, South Korea) in 2015.

Also, In 2011, She won the first Prize at The Sovereign Asian Art Prize, Hong Kong with ‘The Pink & Blue Project II’, and the Ilwoo Photography Award in Seoul, South Korea. www.jeongmeeyoon.com

Gun Soo Choi
Gun Soo Choi image

Gun Soo Choi

Photographer, Image Critic and Professor

For 40 years, Gun Soo Choi has been an image critic, photographer, and university professor. he has published 12 photographic books and held 10 individual exhibitions.

Sri Lanka/
Godwin Constantine
Godwin Constantine image

Godwin Constantine

Professor

Godwin Constantine is a professor and Chairman of the Theertha International Artists Collective.

Annoushka Hempel

Annoushka Hempel

Alnoor Mitha

Alnoor Mitha

Taiwan/
Nobuo Takamori
Nobuo Takamori image

Nobuo Takamori

Independent Curator
Thailand/
Tom Van Blarcom

Tom Van Blarcom

Uzbekistan/
Vietnam/
Thuy Quynh Nguyen

Thuy Quynh Nguyen

Le Ngoc Thanh and Le Duc Hai

Le Ngoc Thanh and Le Duc Hai