何子彦于1976年出生于新加坡，通过戏剧性的乐谱和光效来呈现大量的历史参照是何子彦创作录像和装置作品的主要手法。各不相同的录像作品向人们揭示鲜为人知的东南亚历史的同时，也在指出我们自身并未察觉的未知。何的作品脉络参考一系列文学、艺术史和音乐的文献，一种被扩大强化的模糊、戏剧性和不安的感受充斥于其中。何借由身心两方面来调动观众多种感知，并促使其思考那些我们已知的和更为重要的未知。
何子彦的录像作品的核心是观察历史，具体而言是编织事实和谬论，对比那些人们信以为真的事件来揭露和阐明道听途说的种种。游移于真伪的边缘，何的作品涉及调研为导向的纪实和无中生有的空想。
A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu Nyen’s (b. 1976, Singapore) complex practice that primarily constitutes video and installation. Features in their own right, each work unravels unspoken layers of Southeast Asian histories whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not.
At the heart of Ho’s films is an observation of history; more specifically, a weaving of fact and myth to unravel and reveal what one is told versus what one believes to know, interprets and remembers. Ho’s work titters on the edge of fact and artifice, tending in scope from research-driven documentative exposure to the fantastical.
