Artwork presented at Sigg Prize 2025 Exhibition:

Bi Rongrong’s new work To Connect, To Cut, To Draw (2025) is a multilayered monumental textile backdrop that combines Chinese oracle bone script with geometric patterns inspired by ancient civilisations in Asia, Africa, and Europe. Supported by a grid-like metal structure, Bi uses weaving techniques, such as cutting, connecting, and withdrawing, to show how these patterns have evolved. Bi explores the diverse artistic contexts and cultural traditions that produced these designs.

Artwork presented at Sigg Prize 2025 Exhibition:

Ho Rui An’s Figures of History and the Grounds of Intelligence (2024) and his newly commissioned text-based work A History of Intelligence in ((South)(East)) Asia (2025) examine the complex dynamics between systems of power and AI technology. Ho explores how narratives shift when images are removed from their historical contexts and reinterpreted through machine learning. Set within a bed of sand, the installation features two screens: the left shows Ho’s lecture with an entry point of a realist painting by Singaporean artist Chua Mia Tee, expanding into topics such as colonial history, machine learning, and tech-driven governance. The right screen shows images accompanying his lecture, generated by AI in real time. A History of Intelligence in ((South)(East)) Asia presents a detailed timeline of international events from the 1940s to 2025 that reveals the complex dynamics between state power and the digital world.

Artwork presented at Sigg Prize 2025 Exhibition:

Hsu Chia-Wei’s video installation The Sound of Sinking (2025) explores the intersections of regional history and collective memory through shipwrecks in the Taiwan Strait. Hsu’s work uses a combination of virtual reality and archaeoacoustics, an interdisciplinary field that studies archaeological sites through sound. Hsu weaves sonar data, experimental music, and local folk songs into an immersive underwater soundscape. At its centre, a buoy ball with an attached VR headset plays footage that combines an animated ship with a live feed of the exhibition space. It is surrounded by images of archaeological artifacts displayed across the floor. The work reveals how historical narratives are constructed and explores the boundaries between reality and virtuality.

Artwork presented at Sigg Prize 2025 Exhibition:

Heidi Lau’s suite of ceramic sculptures Pavilion Procession (2025) is inspired by the creatures and monsters of the Shanhaijing, a Chinese mythological text. Her work resembles ancient spiritual relics arranged on an altar-like platform. They are positioned either close to the ground or suspended in midair, symbolising the connection between Heaven and Earth. A robotic spider sits at the centre, while a sculpture resembling a human spine hangs above. These hybrid beings embody Lau’s complex emotions surrounding the loss of loved ones.

Artwork presented at Sigg Prize 2025 Exhibition:

Pan Daijing’s installation Bent (2025) combines elements of performance, sound, light, and sculpture into a sensorial experience tailored to the gallery space. The steel railings on the floor, the ladder by the window, the shadowy bodies on the screens, and the irregular chrome objects echo viewers’ movements around the space. As with much of Pan’s work, this commission uses sound as its main element to heighten the viewer’s awareness of their sensations and emotions.

Artwork presented at Sigg Prize 2025 Exhibition:

Wong Ping’s new video installation Debts in the Wind (2025) is a toy-like playhouse setting, with artificial turf and a rooftop flagpole interrupting the space. Set on a golf course, the video follows ten characters, including a wealthy golfer, secret lovers, and an ancient tree. The film is voiced entirely by Wong, whose dialogue combines absurd humour with thought-provoking insights. Wong’s narration reveals the subtle relationships between these characters and delves into themes of violence, power, desire, and absence.

Members of the Jury

• Suhanya Raffel (Museum Director, M+, Hong Kong)
• Maria Balshaw (Director, Tate, United Kingdom)
• Gong Yan (Director, Power Station of Art, Shanghai)
• Mami Kataoka (Director, Mori Art Museum, Tokyo)
• Glenn D. Lowry (The David Rockefeller Director, Museum of Modern Art, New York)
• Dr Uli Sigg (collector and member of the M+ Board, Switzerland)
• Xu Bing (artist, Beijing)

Nominating Committee:

• Amy Cheng (senior curator, Singapore Art Museum, Singapore)
• Ying Kwok (senior curator, Tai Kwun, Hong Kong)
• Chelsea Liu (curator, Ullens Center for Contemporary Art, Beijing)
• Sam I-shan (independent curator, Singapore)
• Wang Weiwei (curator, CHAT, Hong Kong)
• Xiaoyu Weng (artistic director, Tanoto Art Foundation, Singapore)