何銳安

Ho Rui An

藝術家-行為,藝術家-錄像...

何銳安簡介

1990年生於新加坡,藝術家及作家,創作跨足當代藝術、電影、行為、理論等範疇,並以演講、論述、影片等多元形式,探討影像與權力的變動關係,聚焦於影像在全球主義和統治的語境下如何產生、傳播與消失。主要參展經歷包括光州雙年展(2018)、雅加達雙年展(2017)、第13屆沙迦雙年展(2017)、科欽-穆吉里斯雙年展(2014)、世界文化中心(柏林,2017)、瓦爾加斯博物館與菲律賓研究中心(馬尼拉,2017)、南洋理工大學當代藝術中心(新加坡,2017)、Para Site藝術空間(香港,2015)、巴德學院赫塞爾美術館及策展研究中心展覽廳(安娜黛爾鎮,2015)等。2018年獲選為德國學術交流總署的藝術家駐柏林創作計畫的駐村藝術家。現工作居住於新加坡及柏林。

Ho Rui An’s research focuses on the geopolitics of East and South East Asia, particularly as it relates to capitalist modernity. In several earlier works, he investigated the myth of a “miraculous” Asia spawned by the region’s intense economic and technological acceleration after World War II, which came to a sudden halt with the regional financial crisis of 1997. This leap led to the proliferation of several “Asian futurisms” in popular culture, as vividly depicted in the cyberpunk genre, which often used the tech-driven Asian metropolis as its de facto context. In Student Bodies, Ho considers the history of the region’s capitalist development through the figure of the student body, approaching it as both a literal embodiment and metaphor for ideological advancement, regression, and resistance. Mixing archival and filmed footage, the video tracks the student body from the earliest Japanese university students in the West onwards. Describing it as a work of “pedagogical horror”, the artist employs tropes from horror films to recount a monstrous and often fraught geopolitical history, particularly through its disconcerting sound design, where the narration is provided by unseen “ghosts” whose guttural utterances are comprehensible only through the subtitles.