Changi, Singapore, possibly 1970s is from the series “As We Walked on Water” (2010-2012), which looks into Singapore’s history around the phenomenon of land reclamation. After exhausting the country’s own soil from its tiny hills and ridges, the government had to buy sand from Malaysia and Indonesia to continue its reclamation efforts. At the early stages of a land reclamation project, the imported sand would sit idle for some time, forming an artificial desert-like landscape. By fictionally representing these landscapes, Zhao’s image fluctuates between history and story making, echoing the equally undermined condition of the man-made nature of our landscapes as they gradually become part of the real environment.
Robert Zhao Renhui’s multimedia practice questions fact-based presentations of ecological conservation and reveals the manner in which documentary, journalistic, and scientific reports sensationalize nature in order to elicit viewer sympathy. Zhao portrays humans as figures curious about their natural environment, which is at times mysterious and unpredictable. Through observing human behavior in front of animals, Zhao’s critical lens examines various modes and preconceived notions of what he calls a “zoological gaze”—the manner through which humans view animals and nature. This perspective challenges the dualistic separation between the human and the non-human worlds. Under the name of a fictional institution, The Institute of Critical Zoologists (ICZ), Zhao’s work creates visual ambiguities that destabilize assumptions about the ways in which images present facts, represent reality, and disseminate truths. Zhao was in residency at KADIST San Francisco in 2014.
Expedition #46 is a work from the series “The Glacier Study Group,” which consists of artists, scientists, activists, and enthusiasts of glacial and polar activity in the Artic Circle to conduct scientific investigation, data collection, and glacier sampling...
Book Review: "Writing the Modern: Selected Texts on Art & Art History in Singapore, Malaysia & Southeast Asia" | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles September 12, 2018 By Carmen Nge (1300 words, five-minute read) In the vast firmament of Singaporean-Malaysian art history, no star illuminates as radiantly as T...
Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...
Expedition #46 is a work from the series “The Glacier Study Group,” which consists of artists, scientists, activists, and enthusiasts of glacial and polar activity in the Artic Circle to conduct scientific investigation, data collection, and glacier sampling...
Created during Zhao Renhui’s residency at Kadist SF in 2014, Zhao Renhui began observing and cataloguing insects inspired by the scientific impulse towards exhaustive taxonomy of Sacramento-based Dr...
Created during Zhao Renhui’s residency at Kadist SF in 2014, the photographic grid features a selection of some 6,000 members from single family of flies –hoverfly– identified over the last 25 years by Sacramento-based Dr...
The photograph Proxy II (Beetles) by Robert Zhao Renhui belongs to a series, titled Christmas Island, Naturally, that focuses on the ecology of Christmas Island; a remote volcanic land formation in the Indian Ocean...
Mad women, divine punishment, and “Dionysus” | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Courtesy of Arts House Limited June 4, 2019 By Corrie Tan (1,700 words, eight-minute read) This review contains spoilers and/or plot points for The Bacchae, a 2,500-year-old ancient Greek tragedy; Beware of Pity, a 1939 German novel adapted for the stage by the Schaubühne Berlin and Complicité; as well as the final season of the fantasy television epic Game of Thrones, which concluded last month after an eight-year run...