Ho Tzu Nyen
The Critical Dictionary of Southeast Asia Volume 8: R for Rhombicuboctahedron

Edouard Malingue Gallery, Hong Kong

March 27–May 17, 2019
March 22, 2019


Opening: March 26, 5–8pm

Edouard Malingue Gallery, Hong Kong
Sixth floor, 33 Des Voeux Road Central
Hong Kong

edouardmalingue.com
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Ho Tzu Nyen, CDOSEA: Flat Rhombicuboctahedron, 2019. UV prints on acrylic, light box, metal frame, 193 x 120 x 3 cm
. Courtesy of Edouard Malingue Gallery and the artist. 

Edouard Malingue Gallery, Hong Kong is thrilled to present R for Rhombicuboctahedron, Vol. 8, a new chapter of The Critical Dictionary of Southeast Asia (2012–present) by internationally acclaimed artist Ho Tzu Nyen (b. 1976, Singapore). Akin to an organism, it is part of an ongoing project that grows, generates and provides critical insight into the pluralistic definitions of the territories under this nomenclature. Born out of recognition for how sweeping the term "Southeast Asia" is, it considers what makes up an area not unified by language, religion or political power. The exhibition is a part of an “endless series of possible Southeast Asias” [1], which collectively form a torn yet interconnected terminological territorial tapestry.

Described as “a platform facilitating ongoing research, a matrix for generating future projects and an oracular montage machine” [2] The Critical Dictionary of Southeast Asia (CDOSEA) is part of a database of texts, music, online images, that according to an algorithm selects and weaves different sounds and images to form an Abécédaire first developed while in Residency at the Asia Art Archive. Presented as a video and a series of lightboxes throughout the gallery space, R for Rhombicuboctahedron, Vol. 8 takes as a launching pad the definition of a rhombicuboctahedron—an object with 26 sides—which numerically mimics the number of letters in the Latin alphabet and thereby the structural parameters of The Critical Dictionary of Southeast Asia.

R for Rhombicuboctahedron, Vol. 8 follows the pillars of Ho Tzu Nyen’s complex and considered practice. There is a pervasive sense of ambiguity, theatricality and unease, augmented by a collection of historical, literary and pop culture references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not. Indeed, this work, the larger overarching project, and the projects that have stemmed from it, may be described as a “dense constellation of particles—constantly shifting shape” [3], giving way to new layers, discoveries–elements of interpretation.

Ho Tzu Nyen has been widely exhibited with solo exhibitions at Kunstverein, Hamburg (2018); McaM, Shanghai (2018); Asia Art Archive, Hong Kong (2017); Guggenheim Museum, Bilbao (2015); Mori Art Museum, Tokyo (2012); Artspace, Sydney (2011); Contemporary Art Centre of South Australia. He also represented Singapore at the 54th Venice Biennale (2011). Recent group exhibitions include Sharjah Biennial, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Dhaka Art Summit, Dhaka (2018); 2 or 3 Tigers at Haus der Kulturen der Welt, Berlin (2017). His works have been presented at QAGOMA, Brisbane (2016); Guggenheim Museum, New York (2013); Times Museum, Guangzhou, China (2013); Witte de With, Rotterdam (2012). He has also participated in numerous international film festivals including the Sundance Film Festival in Park City, Utah (2012); 66th Venice International Film Festival (2009); 41st Directors’ Fortnight at the Cannes International Film Festival in France (2009). Ho was an Artist-in-Residency at Asia Art Archive, Hong Kong (2013), and also the DAAD, Berlin (2016–17).

[1] Ho Tzu Nyen in conversation with Heidi Ballet, 2017.
[2] https://cdosea.org.
[3] Ho Tzu Nyen, Clouds of Density by Daryll Wee, May/June 2011.

For press enquiries, please contact Sarah Aiman:
[email protected] or T +852 2810 0317                                                                    
For all other enquiries, please contact Lorraine Malingue:
[email protected] or T +852 2810 0318