This practice is best known for compelling public artworks and installations that respond to space and architecture with distinctive forms and ideas. They include kinetic works that move in space but are themselves, moving experiences. This is achieved by treating given site conditions and specificities as a finely tuned ecology – a place/space to host conceptual-aesthetic encounters that also give in embodied ways – physiologically, socially and psychologically - to remain engaged with a site’s evolving social, historical and urban profile over time.

The signature kinetic series “Contours” harnesses the physics of nature (Simple Harmonic Motion) to transform chandeliers into pendulums that swing over a bridge as their trailing lights “perform” ephemeral drawings in mid air eg Red Dragon and others (subsequent versions were commissioned for ZKM, Germany and the re-opening of Casula Powerhouse, Sydney). More recently, the Rainbow series of “objectless” art addressed environmental concerns. Unprecedented in concept and scale, this series induced natural double rainbows (not prisms or video projections) to appear within the museum’s monolithic colonial architecture instead of the open landscape where it commonly occurs.


Shown widely on the international circuit, Suzann Victor’s artworks have attracted critical attention including at the 49th Venice Biennale; 2nd Asia-Pacific Triennial (Queensland Art Gallery, Brisbane); 6th Havana Biennale; 6th Gwangju Biennale; 5th Seoul International Media Art Biennale; 6th Adelaide Biennale 2008: Australian! (2008), Casula Powerhouse, Sydney; Thermocline of Art (2007) at ZKM Centre for Art & Media, Germany, Art Basel Miami (STPI) 2014 and an extended showing at OÖ Kulturquartier (O.K. Center for Contemporary Art ) Linz, Austria. Most recently, Victor induced natural double rainbows to appear within the colonial architecture of the National Museum at the Singapore Biennale 2013. Her public artworks at high profile include World Square, Sydney CBD, Meritus Mandarin Hotel and National Museum of Singapore. Victor was nominated for the prestigious New York-based Civitella Ranieri Foundation Fellowship (2009) and the coveted artist residency at STPI (2014). Her signature series Contours of a Rich Manoeuvre was featured as the key artwork for Art Stage Singapore 2015 and voted its No.1 in Forbes 2015 list of Top Ten Must-See Artworks.  Victor completed her doctoral research on an Australian Postgraduate Award as well as the UWS Top Up Award in 2008.     


This practice considers the performance of situated subjectivity where the state and individual vie for dominion over the drives that construct the body as what one has (the body as object), as what one is (the body as subject), and as what one becomes (the absent body). This marking and remarking of territories between the Self and Other locates the alien and intimate as part of the very foundation of being. A stint as 5th Passage’s Artistic Director (Singapore’s first corporate-sponsored artist-run space from 1992-1994) enabled a glimpse into the fragility of the state’s divergent desires (and dreams) where one performance can portray the disintegration of another, producing a distinctive cultural artefact – the absent body that thus problematizes if performance is at all possible – even that of an absent body?

The works that have since come into form animate image, materiality and movement express disembodiment founded upon a postcolonial framework, particularly, the inversion of the abject as a weapon of the weak – the performance of pain into power. Its elements re-present the absent body via a circuitry between the rituals of the everyday and the rituals of dispossession, thus preventing its tacit acceptance. In engaging architectural spaces, the works temporarily or permanently occupy historical, commercial, institutional and public spaces to conspire or challenge spatial or contextual dynamics. 

Here, the practice of space is also a practice of a lust for symmetry even as it seduces with form the formlessness of the abject. The works re-embody the notion of “site” and “counter-site” - the physical, conceptual, material etc - as that which enables a change of state, materially, performatively or otherwise, in respect to a disembodied aesthetic. The viewer’s body completes the circuit via induced perceptual or physiological responses including but not limited to mimicry – eye and body movements that perform in proxy of the absent body in kinetic works eg Contours Series, as an artefact of vision – objectless art where natural rainbows can be perceived indoors eg Rainbow Circle, or averting the gaze by ‘turning’ or ‘re-orientating’ the body from the institution to the non-institutional eg Still Waters, 5th Passage, Contours at Casula.

more artwork info                                                         


  • 2008
    • Doctor of Philosophy 
    • Title: Abjection: Weapon of the Weak
    • Research Supervision Mr Terry Hayes,  University of Western Sydney (SOCA)
    • Co-Supervisors:  Dr Ray Langenbach  (Senior Adjunct Fellow) and  Dr Sara Knox (UWS Writing & Society Research Group)
    • Examiners:  Dr Lindy Lee & Dr Francis Maravillas                                                           
  • 2000  Master of Arts (Hons)  Visual Art, University of Western Sydney, Australia                                                                                                                                        
  • 1997  Bachelor of Arts (1st Class Hons) Visual Art, University of Western Sydney, Australia  
  • 1990  Associate Diploma in Fine Art (Painting), LaSalle College of the Arts, Singapore                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    


  • 2003 - 2007 Doctoral Studies (research), Australian Postgraduate Award  
  • 2003 - 2007  Doctoral Studies (research), UWS Top-Up Award   
  • 1998 - 2001  Master of Arts Hons, UWS Postgraduate Scholarship  
  • 1997 - 1998  Master of Arts Hons, UWS International Postgraduate Research Award
  • 1996 - 1997  Bachelor of Arts Hons, UWS Faculty Scholarship                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    

FELLOWSHIPS / GRANTS / RESIDENCIES                                                                                                                                                                                 

  • 2018 Art in Fukuoka Castle (by invitation), Fukuoka Asian Art Museum, Fukuoka Asian Museum & Fukuoka City
  • 2017  Special Residency (by invitation), Sunshower Exhibition Travel Program, Fukuoka Asian Art Museum
  • 2014   Artist-in-Residence (by invitation), Singapore Tyler Print Institute, Singapore 
  • 2009   Civitella Fellowship (by nomination) Civitella Ranieri Foundation, New York
  • 2006   Grant Recipient, Australian Representative, 6th Gwanju Biennale, Australia Council for the Arts
  • 2004   Grant Recipient, UWS Research Travel Grant
  • 2002   Grant Recipient, International Touring Grant, National Arts Council, Singapore
  • 1998   Visiting Artist, National College of Art, Lahore, Pakistan
  • 1998   Grant Recipient, Group Research Grant, Arts Queensland, Australia
  • 1997   Grant Recipient, UWS Research Travel Grant                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                             


  • 2017 A Thousand Skies, Jyotenji Temple, Fukuoka Asian Art Museum, Japan
  • 2016   Wings of a Rich Manoeuvre, National Museum of Singapore & Sponsor: Swarovski
  • 2015   Bloodline of Peace, 5 Stars SG50 Project, Singapore Art Museum, Commissioned by Ministry of Culture, Community & Youth & Singapore Art Museum  
  • 2014   Invited Artist Tenderer, Public Artwork, Terminal 4, Changi Airport 
  • 2013   Rainbow Circle, Singapore Biennale 2013, Singapore, Commissioned by Singapore Art Museum & National Museum of Singapore
  • 2012   Bamboo Matrix, Presidential Suite, Banyan Tree Resorts, Macau, China
  • 2011   Wave Matrix, Oyster Bar, Banyan Tree Resorts, Macau, China                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               
  • 2009   Panoramic Matrix, Meritus Mandarin Hotel, Singapore
  • 2008   Contours of a Rich Manoeuvre 2008, Australian! Re-opening - Casula Powerhouse, Sydney, Commissioned by Casula Town Council & Casula Powerhouse 
  • 2007   Contours of a Rich Manoeuvre III 2007, Commissioned by ZKM Centre for Media & Technology, Karlsruhe, Germany
  • 2005   Skin to Skin, World Square, Sydney, Australia, Commissioned by Multiplex Constructions
  • 2006   Contours of a Rich Manoeuvre II 2006, (Link Bridge) New Wing, Commissioned by National Museum of Singapore. Sponsor: Singapore Press Holdings   
  • 2004   *Tranquil Bridge I & 11, (Site: Terminal 1, East & West Walls), Changi Airport, Commissioned by Civil Aviation Authority of Singapore (*decommissioned)                            

PROFESSIONAL COLLABORATIONS                                                                                                                                                                     

  • Guppy & Associates (Art Consultancy), Sydney                                                                                                                                                                                          
  • Taylor, Thomson & Whitting Consulting Engineers Sydney                                                                                                                                                                                   
  • Fleetwood Urban Engineering, Sydney                                                                                                                                                                                                      
  • Thomas & Coffey Metal Fabricators, Sydney                                                                                                                                                                                          
  • Crafted Software, Australia                                                                                                                                                                                                                        
  • Crone Nation Architects                                                                                                                                                                                                                           
  • Oculus Landscape Design (Initial Artwork Design development)                                                                                                                                                                       
  • Lighting Design Partnership, Sydney (Fabrication of Lighting Design & Fabrication)                                                                                                                                                                            
  • Sydney University, School of Civil Engineering (Wind Tunnel Testing)                                                                                                                                                            

AWARDS / PRIZES                                                                                                                                                                                                                               

  • 1995   Singapore International Foundation Art Award                                                                                                                                                                                       
  • 1994   2nd Prize, Republic of Singapore Navy Art Competition                                                                                                                                                                    
  • 1989   IBM Merit Prize, Singapore, Ministry of Communication and Information                                                                                                                                             
  • 1988   Australian Bicentennial “Highly Commended Award”, National Museum, Singapore

COMMISSIONED PUBLICATION                                                                                                                                                                                                           

  • 2002   An Equation of Vulnerability, co-authors: Suzann Victor & Susie Lingham (ISBN No: 9810460333)

SELECTED EXHIBITIONS                                                                                                                                                                                                                   

2019   Still Waters (between estrangement & reconciliation), Theme for M1 Singapore Fringe Festival presented by 


  • See Like A Heretic: On Vision and Belief - A Solo Exhibition by Suzann Victor, Gajah Gallery 
  • The Armory Show 2018, New York, STPI @ Pier 94 2018 (March 8-11, Booth 623)
  • Art Basel Hongkong 2018, Hongkong, STPI (March 29-31, Booth 1D-06)


  • Sunshower: Southeast Asian Contemporary Art from 1980’s to Now (travel programme), Invited New Work Residency, Fukuoka Asian Art Museum
  • Sunshower: Southeast Asian Contemporary Art from 1980’s to Now, (new work) National Art Centre Tokyo & Mori Art Museum, Japan
  • Art Basel Miami, STPI (Singapore Tyler Print Institute)
  • Art Basel, STPI (Singpaore Tyler Print Institute), Basel, Switzerland


  • Wings of a Rich Manoeuvre, Permanent Public Art Commission, National Museum of Singapore & Swarovski
  • Art Stage Singapore 2016, Gajah Gallery
  • Bantul Art Summit, Gajah Gallery, Yogyarkarta, Indonesia


  • Art Basel Hong Kong, Gajah Gallery                                                                                                                                                                                                    
  • Imprint: New Works by Suzann Victor, Solo Exhibition, Singapore Tyler Print Institute 
  • Art Stage Singapore 2015 (Key featured artwork / No.1 “Must-See” list, Claire Voon, Forbes Magazine) 
  • MAP Exhibition, Copper Beech, Blue Mountains, Australia | SG50 Stars & Crescent, Singapore Art Museum 


  • Art Basel Miami, Singapore Tyler Print Institute
  • Moving Spaces, OÖ Cultural Quartier, OK Center for Contemporary Art, Linz, Austria
  • Guest Lecture, OÖ Cultural Quartier, OK Center for Contemporary Art, Linz, Austria 


  • If the World Changed, Singapore Biennale 2013
  • ASIA CODE_Full and Empty, Seoul Olympic Museum of Art, Seoul, Korea


  • Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011, Singapore Art Museum


  • Classic Contemporary, Singapore Art Museum, Singapore


  • Turn and Widen, 5th Seoul International Media Art Biennale, Seoul Museum of Art, Korea
  • Handle With Care, Adelaide Biennale 2008, Art Gallery of South Australia
  • Australian! Inaugural Re-Launch of Casula Powerhouse Art Centre, Sydney, Australia


  • Thermocline of Art - New Asian Waves, ZKM Centre for Art & Media, Karlsruhe, Germany 


  • Fever Variations, 6th Gwangju Biennale, Gwangju, Korea
  • Interrogating Time, Re-opening of the National Museum of Singapore, Singapore
  • High Tide: New Currents in Art from Australia and New Zealand, Zacheta National Gallery, Warsaw, Poland, Contemporary Art Centre, Vilnius, Lithuania


  • Asian Traffic, Today Art Museum, Beijing, China | Zendai Museum of Modern Art, China
  • Disobedience, Ivan Dougherty Gallery, Sydney, Australia
  • Anthology of Art, Akadamie der Kunste, Berlin | Bundeskunsthalle, Bonn, Germany
  • Open Letter, Inaugural Exhibition, Gallery 4A, Sydney, Australia


  • Asian Traffic, Inaugural Exhibition, Gallery 4A, Sydney, Australia
  • Anthology of Art, Zentrum fur Medienkunst, Karlsruhe, Germany | Verlag fur Moderne Kunst, Nurnberg


  • Il Palazzo Delle Liberta, Palazzo Delle Papesse Centro Arte Contemporanea, Sienna, Italy
  • Text & Subtext, Taipei Fine Arts Museum, Taiwan | X-RAY Art Centre, Beijing


  • Lights & Shadows (Solo Show), Adam Art Gallery, Wellington, New Zealand Art Festival
  • Text & Subtext, International Stenersen Museet, Oslo, Norway | Nikolaj Contemporary Art Centre, Copenhagen, Denmark
  • Attitude, Inaugural show of Kumamoto Contemporary Art Museum, Japan


  • 49th Venice Biennale, Singapore Pavilion, Venice, Italy
  • Anthology of Art, Inaugural Edition, Braunschwerg School of Art, Germany
  • Text & Subtext, Artspace, Sydney, Australia, Ostasiatiska Museet, Stockholm, Sweden


  • Text & Subtext, Earl Lu Gallery, Singapore
  • Threads of the Woven Maze, International Women’s University, Hanover, Germany


  • Cyfuniad International Artists Workshop, Snowdonia, Wales, Liverpool Hope University touring UK Harlech Bienale, Wales, U.K Oriel Mostyn Gallery, Wales, Bluecoat Gallery, Liverpool, UK


  • ARX5 (Artists Regional Exchange), Perth Institute of Contemporary Art, Perth, Australia
  • Imaging Selves, Singapore Art Museum, Singapore
  • Re-emplace (with Sally Smart), Earl Lu Gallery, S’pore, John Curtin Gallery, Perth, Australia
  • ARX5 (Artists Regional Exchange) Singapore Art Museum, Singapore
  • Waiting Room (Solo Show), Signs & Wonders, Gallery 4A, Sydney, Australia


  • Sixth Havana Biennale, Cuba, Havana


  • 2nd Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia
  • Lahore International Artists Workshop & Exhibition, Lahore, Pakistan
  • Expense of Spirit In A Waste of Shame, Artspace, Sydney, Australia
  • World’s Women On-Line (United Nations 4th World Conference on Women, Beijing, China)


  • Visions of Happiness - Ten Contemporary Asian Artists, Japan Foundation, Tokyo, Japan
  • New Criteria III, (Solo Show) Substation Art Gallery, Singapore.                                                                                                                                        

CONFERENCE / WORKSHOPS                                                                                                                                                                                                    

  • 2017    Artist Talk, Sunshower Exhibition Travel Program, Fukuoka Asian Art Museum
  • 2014    Guest Lecture, University of Art & Design, Linz, Austria                                                                                                                                                                   
  • 2010    Guest Lecture, Singapore Art Museum, Singapore                                                                                                                                                                              
  • 2009    Visiting Artist, International Artist Workshop, Nanyang Academy of Fine Arts, Singapore                                                                                                                     
  • 2008    Asian-Australian Art Now: Positioning the Field[s], Gallery 4A, Sydney, Australia  Paper: “Which ‘Asia’?”                                                                                             
  • 2005    Guest Lecturer, College of Fine Arts, University of New South Wales, Sydney, Australia   Paper: “The Terror of Uncertain Signs”                                                          
  • 2005    Open Letter Symposium, Gallery 4A, Sydney, Australia  Paper: “Brother Cane”                                                                                                                                   
  • 2004    Asian Traffic Conference, University of New South Wales, Sydney “Inverting Abjection / Perverting Creativity National University of Singapore | “The Image Stammers” | Discussion Island, Museum of Contemporary Art, Sydney   |   PSI Performance Studies International #10,                                                                                                                                                                            
  • 2000    Text & Subtext Conference, Earl Lu Gallery, Singapore  Paper: ‘“Asian”, “Woman”, “Artist” Panel Chair, Text & Subtext Conference, Earl Lu Gallery, Singapore  |  These Anxious Moments These Anxious Times Conference, Nexus Art Centre, Adelaide “The Image Stammers”.

PROFESSIONAL SERVICE TO COMMUNITY                                                                                                                                                                                    

  • 1996  Curator, Kandang Kerbau Hospital Women’s Project, 5th Passage Ltd, Singapore                                                                                                                                  
  • 1995  Curatorial Advisor, Transculture (Independent Pavilion) 46th Venice Biennale, Venice, Italy                                                                                                                 
  • 1992 - 94  Artistic Director, Conceptual Development and Implementation of 5th Passage Art Content

COLLECTIONS (not complete list)                                                                                                                                                                              

  • Singapore Art Museum
  • National Museum of Singapore
  • Changi Airport, Singapore (retrofitted since)
  • Australian High Commission, Singapore
  • Meritus Mandarin Hotel, Singapore
  • Multiplex, World Square, Sydney
  • Banyan Tree Resorts, Macau
  • Gallery Hyundai, Seoul, Korea
  • Ministry of Information and the Arts
  • Singapore  Meteorological Services, Singapore
  • Singapore Armed Forces Reservist Association
  • Republic of Singapore Navy
  • Takahasi Corporation, Japan
  • Hotel Royal Peacock, Singapore
  • Ernst & Young, Singapore
  • Film Partners, Australia
  • Fine Arts Management, Singapore
  • Ban Hin Lee Bank Berhad, Singapore
  • Nanyang Technological University 

PRINT / ELECTRONIC MEDIA  (to be updated)                                                                                                                                                                                                

Deepika Shetty, 5 Stars: Art Reflect on Peace, Justice, Equality, Democracy and Progress, Straits Times, 1 October 2015, Claire Voon, Top 10 Must-See Works of Art List, Art Stage Singapore 2015, Forbes Life Magazine 20/1/15 | Lijie Huang, Showstoppers, Straits Times, 27/1/15 | Lijie Huang, Suzann Victor keeps pushing the boundaries …., Life! 28/7/14 | Dr Susie Lingham, The Art of Inversion: Seeing Backwards, Thinking Forward, Making Oblique, STPI catalogue essay, Imprint: New Works by Suzann Victor, 2015  | TK Sabapathy, Introduction, STPI catalogue, Imprint: New Works by Suzann Victor, 2015 | TK Sabapathy, In Conversation – Suzann Victor & TK Sabapathy, STPI catalogue essay, Imprint: New Works by Suzann Victor, 2015 | Joyce Toh, Singapore Biennale 2013, Singapore Art Museum | Joyce Toh, Classic Contemporary, Singapore Art Museum 2010 | Yoo Hee Young, Turn and Widen, 5th Seoul International Media Art Biennale cat, Oh Se-Hoon, 2008 | Deborah Rice, Art & Social Change, Asia-Pacific Focus, Australian Broadcasting Corporation, Australia, 4/9/05 | Wellington Today, Wellington TV, Cultural Programme, New Zealand Arts Festival, New Zealand, 2002 | Jill Singer, The Arts Programme, 49th Venice Biennale, The ABC, (Australian Broadcasting Corporation), July 2001 | 49th Venice Biennale Reports, Italian TV Channels RA1 and RA2, August 2001 | 49th Venice Biennale, Ukraine TV, 2001 | Sharon Solomon, Asian Working Woman 2000, CNBC Cable Broadcast, 2000 | Gunalan Nadarajan, Russell Storer & Eugene Tan, Contemporary Art in Singapore, Institute of Contemporary Arts Singapore, 2007 | Felicity Fenner, Gwangju Biennale review, Art and Australia | Felicity Fenner, Handle with Care catalogue, Art Gallery of South Australia, 2008 | Wonil Rhee, Peter Weibel, Gregor Jansen, Thermocline of Art – New Asian Waves catalogue, ZKM Center for Art & Media, 2007 | Caroline Turner, Editor, Art & Social Change – Contemporary Art in Asia and the Pacific, Pandanus Books, Research School of Pacific and Asian Studies, The Australian National University, Canberra, 2005 | Susie Lingham, Suzann Victor, Grove Art Online/Dictionary of Art, Oxford University Press, New York, USA, 2005 | Binghui Huangfu, The Fugitive, State of the Arts, January 2005 | Zara Stanhope, Catalogue Essay, Adam Art Gallery, Victoria University of Wellington, February 2002 | Luca Cerretti, 49th Venice Biennale Report, Flash Art, September 2001 | Arte & Finanza, Recensioni – Biennale di Venezia, Platea Dell “Umanita”, September 2001 | Monica Dematte, Chinese Artists at the Venice Biennale – Then & Now, Vol. 4 Issue 4, 2001 | Alice Angus, Four Days In Venice, Life and Death, Issue 14, 2001 |, Tres as en la Biennale, 4 November 2001 | Joanna Sandell, Kristollkronorna Revolterar , Kultur Section, Svenska Dagbladet, 7 Sept. 2001, Sweden | Cristina Karlstam, Asiatisk Konstvind over Stockholm, | Ulrika Stahre, Hybrid av en hybrid, Aftonbladet, Huvud Section, Stockholmsupplaga, 16 Sept. 2001, Sweden | Johan Sjostrand, Ostasiatiska tar grepp om samtiden, Smalanningen, 4 Sept 2001, Stockholm, Sweden | Upsala, Nya Tidning, 27 August 2001, Uppsala | Natalia Kazmierska, Text och Subtext, Norrkpings Tidningar, Huvud, 28 Sept 2001 | Kristina Mezei, Ungt, Asiatiskt och kvinnligt, Vestmanlands Lans Tidning, 18 Sept  2001 | Parvathi Nayar, Art & the Asian Woman, Business Times, Singapore, 24 June 2000 |Nicole Combs, Art Notes Asia, Art Monthly, Australia, July | Lynn Gamwell (ed), Dreams 1900-2000, Science, Art, and the Unconscious Mind, Dream Archive Section, pg. 285, Cornell University Press, Binghamton University Art Museum, State University of New York | Dean Chan, The Lessons of Censorship and Collaboration,  RealTime pg 39, Aug-Sept 1999 | Nick Tsoutas, These Anxious Moments….. These Anxious Times cat., Nexus Multicultural Art Centre pub. 1999 | Margaret Moore, Hot House Conditions, RealTime pg. 31, 28 Dec 1998 Jan 1999 | Ng Siang Ping, Cultural Misreadings, Zaobao Fukan Art Section Cover Story, Oct.12 1998 | ARX5 Processes cat. Singapore Art Museum 1998 | Imaging Selves cat. Singapore Art Museum 1998 | Melissa Chiu, Disembodied Aesthetic, Suzann Victor’s Corporeal Spaces, pg 52 - 57, Art Asia Pacific issue 17 1998 | David Bromfield, Language and art: an uneasy mix, The West Australian Art Section, June 27 1998 | Jove Winter, Out Loud, West Side Observer issue 174, July 3 1998 | Tan Shzr Ee, Hey, watch out. This art is really in-your-face!, Straits Times Oct 28 1998 | Benjamin Genocchio, Sex/Light, Syndey Morning Herald (Metro Art section pg 19). Aug 22  28, 1997 | Masahiro Ushiroshoji, Present Encounters  The Asia Pacific Triennial, Art Asia Pacific no 15, pg 30, 1997 | Hilda Maria Rodrigues, Sexta Bienal de la Habana cat. Essay, Wifredo Lam Center Pub. Pg 122, pg 183 | Lynn Gumpert, Report from Singapore, Art In America, Dec 1997, pg 41 | Kwok Kian Chow, Channels and Confluences, Singapore Art Museum Pub. 1996, pg 132  133 | Natalie King, Rare Space, Other Space, Real Time 14  pg 4. Aug/Sept 1996 | T.K. Sabapathy, Second Asia Pacific Triennial of Contemporary Art cat., Queensland Art Gallery pub. | Artist Magazine (Taiwan), vol 11, 1996 pg 314  328. | Jyunichi Shioda, Creation of exchange beyond boundaries, Daily Yomiuri (Japan Daily) Art section Oct 31 1996 | Susie Lingham, Transcending Space, eds. Lee Weng Choy & Krishnan, Looking at Culture 1996, Singapore | Patrick Flores, Reclaiming Signs of Performance in Painting and Installation, Eyeline 32 1996 pg 24 27.Brisbane | Lee Weng Choy, Alternative Spaces and Radical Pleasures, Art Asia Pacific vol. 3 no. 2, pg 45  49, 1996 | Susie Wong, South East Asian Art Today, ed. Joyce Van Fenema, Roeder Publications, pg 200  205, 1996 | Lee Weng Choy, All Washed Up, Art Asia Pacific, vol 3 no 1 pg 24 25 1996 | Kwok Kian Chow, Perspective of Singapore Art Museum, Art Asia Pacific 1996 (supplement pg 12) | Susie Lingham, Spilt Bliss, Dose cat. UWS Nepean pub. 1997 | Lee Weng Choy, Chronology of a Controversy, Looking at Culture, Singapore 1996 | Karen Lim, The Body, Imaging Selves cat., Singapore Art Museum Collection Exhibition Series cat., pg 46 49,1998 | Rod Paras-Perez, Draped Nudes, Naked Words, Taipan (Philippines) Jan  Feb issue, pg 26  29, 1995 | Shimizu Toshio, Visions of Happiness  Ten Contemporary Asian Artists cat. Pg 22, Japan Foundation pub., 1995 | Daniel Wong, New Criteria III cat. & documentation supplement, Substation pub. Singapore 1995 | Chng Seok Tin, New Criteria III, The Chinese Daily art section, 9 Jul 1995 | Leong Weng Kam, Singapore artists making their mark overseas, Straits Times (Life!) cover story, Feb 19, 1995 | Susie lingham, Body by Proxy, New Criteria III cat., Substation pub. 1995 | Asahi Shimbun (Tokyo) Japan Daily, March 14, 1995 | T. Ranganayaki, Fifth Passage to hold all-women art exhibition, Straits Times Art section, pg 12, Aug 12 1994 | Susie Wong, The Elusive Woman, Man mag. Art Section 1994 | Susan Tsang, Stretching the Imagination, Business Times, Aug 20  21 1994, Singapore | Riana Zakir, What’s that in the shop window?, The New Paper pg 5, July 5 1994, Singapore | Ray Langenbach, Annotated Singapore Diary, Art Asia Pacific pg 82  91, vol 1 no. 4, 1994 | Raiji Kuroda, Asian Contemporary Art, Art Express , Spring issue. Vol 2 no. 2, pg 32 41, 1995, Japan | Cheo Chai Hiang, An unusual art venue, LianHe Zaobao Art section. Aug 10 1994, Singapore | Chng Seok Tin, Women’s Stories Chinese Daily, Sept 24 1994 Singapore | Ovidia Lim, Law deals with the act, not the arts, New Paper Jan 6 1994 Singapore.“Government act against 5th Passage over performance art”, Straits Times Jan 22 1994, Singapore | Tan Hsueh Yan, Art acts at Parkway Parade vulgar and distasteful: NAC:, Straits Times Jan 5 1994, Singapore | Alexius Pereira, Passage to the Arts, Strait Times pg 14, Dec 18 1992, Singapore | Thio Lay Hoon, Not for Art’s Sake, Straits Times pg 14, Nov 1 1992, Singapore | Give me that big unused space, Calibre mag. May 1991, Singapore | Maureen O’hara, The Long and Winding Route, 8 Days, Jan 2 - 9 1993 pg22, Singapore | John Lui, Would it be art if it were in a museum instead of a restaurant? Sunday Times, Home Section, July 12 1992, Singapore.                                                                                                      


© Suzann Victor 2018