SPSL

susan pui san lok < 駱佩珊 > ~~susan~~ lok pui san is an artist and writer based in London.

Projects range across site-specific and immersive installation with moving image, sound and occasional performance, to artist books/multiples and text works. Multi-stranded, temporary and open-ended, works often interweave and fold into each other, in the process of interrupting archives, amnesia, diaspora, and translation.

Current exhibitions and recent commissions include REWIND/REPLAY (2022-23), a multichannel site-specific installation with sound, video projections and tape, part of Rewinding Internationalism (Netwerk Aalst, Belgium; Van Abbemuseum, Eindhoven; Villa Arson, Nice); Found Cities, Lost Objects, curated by Lubaina Himid (Birmingham Museum and Art Gallery, Southampton City Art Gallery, Royal Academy West, Bristol, Leeds City Art Gallery, 2022-24); and Centenary (2022), a long poem/soundwork/short film, part of the Becontree Centenary programme (Create London).

VIMEO / SOUNDCLOUD / CV

SELECTED SOLO EXHIBITIONS / PROJECTS

Centenary commissioned by Create London for the Becontree Centenary (2022); seven x seven solo show, South Block and Briggait Project Spaces, Glasgow, curated by Mother Tongue for Glasgow International Festival (2021); A COVEN A GROVE A STAND at Firstsite, Colchester, part of New Geographies (2019); RoCH Fans & Legends at CFCCA, Manchester and QUAD, Derby (2015); Lightness (2012), commissioned by Film & Video Umbrella (FVU) and De La Warr Pavilion for Everything Flows; Faster, Higher (2008), commissioned by FVU and BFI Southbank, with solo shows at the Gallery at Winchester Discovery Centre (2012) and MAI, Montreal (2014); DIY Ballroom/Live (2007-08), a Cornerhouse / BBC Bigger Picture national touring commission; and Golden (2005-ongoing), an Arts Council England and AHRC-funded project, including exhibitions, residencies, a publication, live events, and commissions for Beaconsfield, London, Chinese Arts Centre, Manchester, Guangdong Museum of Art, and Venice.

SELECTED GROUP EXHIBITIONS

Rewinding Internationalism, Netwerk Aalst, Belgium (2022), Van Abbemuseum, NL (2022) and Villa Arson, Nice (2023); Found Cities, Lost Objects, Birmingham Museum & Art Gallery, UK (2022), Southampton City Art Gallery, UK (2023), Royal Western Academy, Bristol, UK (2023), Leeds City Art Gallery, UK (2024); Working: Women in Art Practice, He Xiangning Museum, Shenzhen (2021-22); Common Third, Copperfield Gallery, London (2018); ~~Diaspora ~~Pavilion~~~~ , Wolverhampton Art Gallery (2018); Presence – A Window into Contemporary Chinese Art, St George’s Hall, Liverpool (2018); FLOW, Asia-Art-Activism, Raven Row, London (2018); Diaspora Pavilion and Sonic Soundings, Venice (2017); China Remix, Indiana University, Bloomington (2017); 1st Asia Biennial & 5th Guangzhou Triennial (2015-16); The Global Archive, Hanmi Gallery (2013); Everything Flows, De La Warr Pavilion, Bexhill (2012); AND Festival, Holden Gallery, Manchester (2012); March 2012, SITE Sante Fe (2012); How We Became Metadata, University of Westminster Gallery, London (2010); Hit the Ground, Hatton Gallery, Newcastle (2009); Artist in the Archive, Cornerhouse (2008); Cruel/Loving Bodies, Hong Kong Arts Centre (2006); Reassurance, Chinese Arts Centre (2006) and SPACETriangle, London (2005); Lightsilver, Beaconsfield (2005); Tsuyoshi Osawa, Mori Art Museum, Tokyo (2004); Cruel/Loving Bodies, Shanghai Duolun MoMA (2004) and Beijing 798 Space (2004); The Translator’s Notes, Cafe Gallery Projects (2003); New Releases Gallery 4a, Australia (2001); Cities on the Move, Hayward Gallery (1999); and DEAL, 198 Gallery (1998).

ARTIST BOOKS / MULTIPLES

REWIND/REPLAY (2022, concertina script/score, 38 panels); seven x seven (2021, multiple in 7 parts / digital edition and video); RoCH Fans & Legends (2017, freee-book); RoCH Fan (2015, concertina multiple, 90 panels); Making Ways (2012, series of risograph prints); Faster, Higher (2009, monograph); Golden (Notes) (2007, artist book); and NEWS (2005, artist book).

RECENT PUBLICATIONS

‘Vong Phaophanit and Claire Oboussier: Three Decades, Four Moments‘, an extended interview in ‘Remapping British Art’, Art History (S Boyce and D Price eds., 2021; ‘Tiohtià:kee, Tāmaki Makaurau – somewhere over the under, beneath the between‘, short essay in GAX: Ngā Tai o te Ao: Global Tides (A Chang, C Huddleston, J Randerson eds., 2021, St Paul St Publishing, AUT/GAX, A/P/A Institute, NYU); contribution to ‘Decolonising Art History’ Art History (C Grant and D Price eds., 2020); ‘between the voice between the words between the work between us‘, a visual/text essay in ‘Voice as Form‘, Oxford Art Journal (P Corey and W Teo Eds, 2020); co-editor and contributor to Conceptualism: Intersectional Readings, International Framings (N Aikens, SPSL and S Orlando eds., 2019, Van Abbemuseum); ‘We Will Be‘ a visual/poetic text for The Place Is Here (N Aikens and E Robles eds., 2019, Sternberg); ‘Through the Gate/an(g)archivery‘ a video/essay for Deviant Practice (N Aikens ed., 2018, Van Abbemuseum); and visual/text essays for Contesting British Chinese Culture (A Thorpe and D Yeh eds., 2018, Palgrave Macmillan) and the Journal of Contemporary Chinese Art (2016, special issue, F Koch and RO Lopes, eds).