For Ho Tzu Nyen, histories are neither linear nor contained. They are fragmented, multiplied, and often resistant to the authoritative narratives imposed by empires and colonizers. His work draws on archival materials but feels like spectral archaeology, revealing what official records have obscured or mythologized.

2025 brought Ho’s inquiries to new geographies and scales. In February, “Time & the Tiger” opened at Mudam in Luxembourg, revolving around two motifs: time as nonlinear, characterized by loops and returns, and the tiger as an embodiment of recursive, epoch-traversing time. The following month, “Three Stories: Monsters, Opium, Time” was unveiled at Kiang Malingue in Hong Kong. The exhibition’s top floor featured Timepieces (2023), which comprises 43 individual screens cycling through durations from one second to 24 hours. Each screen holds its own rhythm, referencing Alfred Hitchcock’s Psycho (1960), the stillness of Yasujiro Ozu’s domestic spaces, Félix González-Torres’s clocks, and a beating heart, among others. “The challenge,” Ho explains, “was how the multiple can be composed, and how these different kinds of time can coexist without hierarchy.”