Wubin Zhuang
Zhuang Wubin is a writer who makes photographs, publications and exhibitions. He is interested in photography’s entanglements with modernity, colonialism, nationalism, “Chineseness” and the Cold War in Southeast Asia and Hong Kong. Zhuang received his PhD by Published Work (Research–Photography) from University of Westminster, London.
Zhuang is the major grantee of the Robert H. N. Ho Family Foundation Greater China Research Grant 2018 and a recipient of the Prince Claus Fund research grant (2010). In Singapore, Zhuang is the recipient of the National Library (NL) Digital Fellowship 2023 and the Lee Kong Chian Research Fellowship 2017 at the NL. He has been invited to research residency programmes at Institute Technology of Bandung (2013), Asia Art Archive (AAA), Hong Kong (2015), Kuandu Museum of Fine Arts, Taiwan (2017) and the Ha Bik Chuen Archive Project at AAA (2018). He is the contributing curator of the Chiang Mai Photo Festival (2015, 2017, 2020).
Published by NUS Press, Photography in Southeast Asia: A Survey (2016) is his fourth book. In 2019, Zhuang received the J Dudley Johnston Award and Honorary Fellowship from the Royal Photographic Society of Great Britain for that publication. The Chinese translation is published in 2019 by VOP BOOKS, Taipei.
Zhuang is a founding member of Writing Foto (writingfoto.wordpress.com), a growing collection of writings on photography loosely directed at the imaginaries of South/east Asia.
Zhuang has made presentations, exhibited work, curated shows, and taught classes and workshops at: Matca, Hanoi (2024); Objectifs, Singapore (2021, 2022, 2024); Zontiga, Kuala Lumpur (2023, 2024); Department of Art & Design, New Era University College, Malaysia (2023); Kongsi. Hub KL (2023); PannaFoto Institute, Indonesia (2019, 2021, 2022, 2023); 1st Global Colloquium on Photography and New Media Education for Youth Empowerment, Airlangga University, Surabaya (2023); Pusat Sejarah Rakyat, Malaysia (2023); Lumenvisum, Hong Kong (2012, 2017, 2018, 2019, 2023, 2024); Fotomoto 22, Manila (2022); Academia Sinica, Taiwan (2022, 2017); Institute of Social Research and Cultural Studies, National Yang Ming Chiao Tung University, Taiwan (2022); 2022 International Symposium on Art History & Visual Culture, Graduate Institute of Art Studies, National Central University, Taiwan; Bandung Photography Triennale (2022); School of Liberal Arts, Walailak University, Thailand (2022); Department of Chinese Studies, National University of Singapore (2022, 2012); Global Photographies Network (2022); International Centre for Cultural Studies, National Yang Ming Chiao Tung University, Taiwan (2021); National Center of Photography and Images, Taiwan (2021); Centre for East and South-East Asian Studies, Lund University, Sweden (2021); Kinabalu Photo Festival (2020); Art Fair Philippines (2020); Ateneo Art Gallery, the Philippines (2023; 2020); National Cheng Kung University, Tainan, Taiwan (2019); JIPFest 2019, Indonesia; Chennai Photo Biennale, India (2019); Kolkata International Photography Festival 2019; PhotoBangkok 2018; Hanoi DocLab (2018); Heritage Space, Hanoi (2017, 2018); Pioneer Studios, Manila (2017, 2018); Lightbox Photo Library, Taipei (2017, 2019); Department of Sociology, National Chengchi University, Taipei (2017); MA in Critical and Curatorial Studies of Contemporary Art, National Taipei University of Education (2017); Asian Center for Journalism, Ateneo de Manila University (2017, 2018); School of Design and Arts, De La Salle-College of Saint Benilde, Manila (2017, 2018); NUS Museum, Singapore (2017); Doctoral Program in Art Creation and Theory, Tainan National University of the Arts (2017); MA in Fine Arts, Chinese University of Hong Kong (2017, 2019); Hong Kong Art School (2017); Penang Institute (2017); Bangkok Art & Culture Centre (2017); Hong Kong Design Institute (2016); Faculty of Sociology and Anthropology, Thammasat University, Bangkok (2016, 2017); MA in Asian Art Histories, LASALLE College of the Arts, Singapore (2013-18); Lianzhou Foto 2015; Faculty of Fine Arts, Chiang Mai University (2015); Sabah Museum (2015); Bandung Photo Showcase (2015, 2020); Sharjah Art Museum (2014); ZeroStation, Saigon (2013, 2014); Nanyang Academy of Fine Art, Singapore (2012-14); Museum of Modern Art, New York (2013); Run Amok Gallery, Penang (2013); Academy of Visual Arts, Hong Kong Baptist University (2013); MA in Visual Culture Studies, Chinese University of Hong Kong (2013); Esplanade Singapore (2012, 2013); Institute of Contemporary Arts Singapore (2012); Photoquai 2011, Musée du Quai Branly, Paris; Langgeng Art Foundation, Yogyakarta (2011); Selasar Sunaryo Art Space, Bandung (2011); 2nd Luang Prabang International Image Biennial (2010); Antara Photojournalism Gallery, Jakarta (2010); National Institute of Fine Arts, Vientiane (2009, 2017, 2018); Bophana Audiovisual Resource Center, Phnom Penh (2009); Galeri CCCL Surabaya (2008); Chobi Mela III, Dhaka (2004).
Zhuang is the major grantee of the Robert H. N. Ho Family Foundation Greater China Research Grant 2018 and a recipient of the Prince Claus Fund research grant (2010). In Singapore, Zhuang is the recipient of the National Library (NL) Digital Fellowship 2023 and the Lee Kong Chian Research Fellowship 2017 at the NL. He has been invited to research residency programmes at Institute Technology of Bandung (2013), Asia Art Archive (AAA), Hong Kong (2015), Kuandu Museum of Fine Arts, Taiwan (2017) and the Ha Bik Chuen Archive Project at AAA (2018). He is the contributing curator of the Chiang Mai Photo Festival (2015, 2017, 2020).
Published by NUS Press, Photography in Southeast Asia: A Survey (2016) is his fourth book. In 2019, Zhuang received the J Dudley Johnston Award and Honorary Fellowship from the Royal Photographic Society of Great Britain for that publication. The Chinese translation is published in 2019 by VOP BOOKS, Taipei.
Zhuang is a founding member of Writing Foto (writingfoto.wordpress.com), a growing collection of writings on photography loosely directed at the imaginaries of South/east Asia.
Zhuang has made presentations, exhibited work, curated shows, and taught classes and workshops at: Matca, Hanoi (2024); Objectifs, Singapore (2021, 2022, 2024); Zontiga, Kuala Lumpur (2023, 2024); Department of Art & Design, New Era University College, Malaysia (2023); Kongsi. Hub KL (2023); PannaFoto Institute, Indonesia (2019, 2021, 2022, 2023); 1st Global Colloquium on Photography and New Media Education for Youth Empowerment, Airlangga University, Surabaya (2023); Pusat Sejarah Rakyat, Malaysia (2023); Lumenvisum, Hong Kong (2012, 2017, 2018, 2019, 2023, 2024); Fotomoto 22, Manila (2022); Academia Sinica, Taiwan (2022, 2017); Institute of Social Research and Cultural Studies, National Yang Ming Chiao Tung University, Taiwan (2022); 2022 International Symposium on Art History & Visual Culture, Graduate Institute of Art Studies, National Central University, Taiwan; Bandung Photography Triennale (2022); School of Liberal Arts, Walailak University, Thailand (2022); Department of Chinese Studies, National University of Singapore (2022, 2012); Global Photographies Network (2022); International Centre for Cultural Studies, National Yang Ming Chiao Tung University, Taiwan (2021); National Center of Photography and Images, Taiwan (2021); Centre for East and South-East Asian Studies, Lund University, Sweden (2021); Kinabalu Photo Festival (2020); Art Fair Philippines (2020); Ateneo Art Gallery, the Philippines (2023; 2020); National Cheng Kung University, Tainan, Taiwan (2019); JIPFest 2019, Indonesia; Chennai Photo Biennale, India (2019); Kolkata International Photography Festival 2019; PhotoBangkok 2018; Hanoi DocLab (2018); Heritage Space, Hanoi (2017, 2018); Pioneer Studios, Manila (2017, 2018); Lightbox Photo Library, Taipei (2017, 2019); Department of Sociology, National Chengchi University, Taipei (2017); MA in Critical and Curatorial Studies of Contemporary Art, National Taipei University of Education (2017); Asian Center for Journalism, Ateneo de Manila University (2017, 2018); School of Design and Arts, De La Salle-College of Saint Benilde, Manila (2017, 2018); NUS Museum, Singapore (2017); Doctoral Program in Art Creation and Theory, Tainan National University of the Arts (2017); MA in Fine Arts, Chinese University of Hong Kong (2017, 2019); Hong Kong Art School (2017); Penang Institute (2017); Bangkok Art & Culture Centre (2017); Hong Kong Design Institute (2016); Faculty of Sociology and Anthropology, Thammasat University, Bangkok (2016, 2017); MA in Asian Art Histories, LASALLE College of the Arts, Singapore (2013-18); Lianzhou Foto 2015; Faculty of Fine Arts, Chiang Mai University (2015); Sabah Museum (2015); Bandung Photo Showcase (2015, 2020); Sharjah Art Museum (2014); ZeroStation, Saigon (2013, 2014); Nanyang Academy of Fine Art, Singapore (2012-14); Museum of Modern Art, New York (2013); Run Amok Gallery, Penang (2013); Academy of Visual Arts, Hong Kong Baptist University (2013); MA in Visual Culture Studies, Chinese University of Hong Kong (2013); Esplanade Singapore (2012, 2013); Institute of Contemporary Arts Singapore (2012); Photoquai 2011, Musée du Quai Branly, Paris; Langgeng Art Foundation, Yogyakarta (2011); Selasar Sunaryo Art Space, Bandung (2011); 2nd Luang Prabang International Image Biennial (2010); Antara Photojournalism Gallery, Jakarta (2010); National Institute of Fine Arts, Vientiane (2009, 2017, 2018); Bophana Audiovisual Resource Center, Phnom Penh (2009); Galeri CCCL Surabaya (2008); Chobi Mela III, Dhaka (2004).
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PhD Thesis by Wubin Zhuang
The proposition unfolds through a portfolio of selected writings, centring on "Photography in Southeast Asia: A Survey" (2016). The portfolio also includes a journal essay, a book chapter, a profile essay and one curatorial text.
As a way of writing photography, documenting entails three trajectories: (a) ethnography and oral history, (b) archiving and mapping, and (c) Asian inter-referencing. It is a method that I developed to historicise, with equal care and concern, the multitude of photographic practices in Southeast Asia. It works against the binary of art versus photography, and the prevailing tendency towards a linear historiography in order to valorise a particular practice.
As a way of making work, documenting consists of three overlapping approaches: (1) documenting as looking and thinking, (2) documenting as cataloguing, and (3) documenting as world-making. It foregrounds the affect of the photographic encounter in which the photographer and the photographed person(s) meet to perform and experience their desires, which may or may not result in the making of photographs.
To put the proposition of documenting to use, I attempt a revisionist account of salon photography in Southeast Asia. Documenting as method allows me to surface the agency of individual practitioners without losing sight of salon photography’s relationship with political power during the shifting processes of nationalism, decolonisation and cold war. It helps me foreground Chineseness, which intersected the nation-building process, as an additional factor in the praxis of salon photography.
As a way of making work, documenting offers a method for me to unpack the spectre of Chineseness through my photographic encounter with the Chinese Muslims in Indonesia. The experience of making work also informs the proposition of documenting as method.
Single-Authored Books / Photobooks by Wubin Zhuang
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Published by NUS Press (Singapore) on 2016
524 pages, 235mm x 187mm
ISBN: 978-981-4722-12-4 Casebound
212 photographs
[Additional essays by Dr. Charles Coppel, Enin Supriyanto and Yenny Wahid]
This is the introduction to my third photographic monograph, "Chinese Muslims in Indonesia", published by Select Books in 2011.
Writings in Anthologies by Wubin Zhuang
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Zhuang, Wubin. “A Mapping of Southeast Asian Photobooks after World War II”. In Chapters on Asia: Selected Papers from the Lee Kong Chian Research Fellowship (2017-2018), 139-72. Singapore: National Library Board, 2019. E-book.
https://nlb.overdrive.com/media/4730252
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This essay offers an overview of photographic practices in Malaysia, characterised by three different "moments" or phases of development.
Edited by Nur Hanim Khairuddin, Beverly Yong and T.K. Sabapathy
Writings in Photobooks (of Fellow Photographers) by Wubin Zhuang
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Zhuang, Wubin. “A Brief Profile of Lim Kwong Ling”. In Portrait of Home: Photographs of Post-Independence Singapore by Lim Kwong Ling, edited by Ryan Chua, 110-113. Singapore: Objectifs Centre, 2020.
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Zhuang, Wubin. “Photographing the In/visible: Thoughts on Eiffel Chong’s 'Hurt like Heaven' (2018-19)”. In Hurt like Heaven: Thoughts in Singapore about Euthanasia, edited by Li Li Chung, 5-8. Singapore: Exactly Foundation, 2019.
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This is a brief introduction to the art-making practice and the first photobook of Indonesian photographer Utami Dewi Godjali.
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In this essay, I consider the documenting practice of senior Singaporean street photographer Loke Hong Seng as an embedded/embodied practice, encapsulated by the idiom of “Shenti Lixing” (身体力行).
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This is a short introduction to Malaysian photographer Lim Li-Ling's photo book on a Chinese opera troupe in Singapore. In this text, I suggest that the digitisation of photography has finally created the infrastructure for an egalitarian world of storytellers.
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Detailed discussion on the art-making practice of Singaporean photographer Sean Lee
Journal Papers by Wubin Zhuang
*
The first draft of this essay was written in 2016 to mark the ten-year anniversary of the PannaFoto Institute. In this updated version, I will attempt to historicize PannaFoto, including the various initiatives that occurred before its establishment.
The proposition unfolds through a portfolio of selected writings, centring on "Photography in Southeast Asia: A Survey" (2016). The portfolio also includes a journal essay, a book chapter, a profile essay and one curatorial text.
As a way of writing photography, documenting entails three trajectories: (a) ethnography and oral history, (b) archiving and mapping, and (c) Asian inter-referencing. It is a method that I developed to historicise, with equal care and concern, the multitude of photographic practices in Southeast Asia. It works against the binary of art versus photography, and the prevailing tendency towards a linear historiography in order to valorise a particular practice.
As a way of making work, documenting consists of three overlapping approaches: (1) documenting as looking and thinking, (2) documenting as cataloguing, and (3) documenting as world-making. It foregrounds the affect of the photographic encounter in which the photographer and the photographed person(s) meet to perform and experience their desires, which may or may not result in the making of photographs.
To put the proposition of documenting to use, I attempt a revisionist account of salon photography in Southeast Asia. Documenting as method allows me to surface the agency of individual practitioners without losing sight of salon photography’s relationship with political power during the shifting processes of nationalism, decolonisation and cold war. It helps me foreground Chineseness, which intersected the nation-building process, as an additional factor in the praxis of salon photography.
As a way of making work, documenting offers a method for me to unpack the spectre of Chineseness through my photographic encounter with the Chinese Muslims in Indonesia. The experience of making work also informs the proposition of documenting as method.
*
Published by NUS Press (Singapore) on 2016
524 pages, 235mm x 187mm
ISBN: 978-981-4722-12-4 Casebound
212 photographs
[Additional essays by Dr. Charles Coppel, Enin Supriyanto and Yenny Wahid]
This is the introduction to my third photographic monograph, "Chinese Muslims in Indonesia", published by Select Books in 2011.
*
Zhuang, Wubin. “A Mapping of Southeast Asian Photobooks after World War II”. In Chapters on Asia: Selected Papers from the Lee Kong Chian Research Fellowship (2017-2018), 139-72. Singapore: National Library Board, 2019. E-book.
https://nlb.overdrive.com/media/4730252
*
This essay offers an overview of photographic practices in Malaysia, characterised by three different "moments" or phases of development.
Edited by Nur Hanim Khairuddin, Beverly Yong and T.K. Sabapathy
*
Zhuang, Wubin. “A Brief Profile of Lim Kwong Ling”. In Portrait of Home: Photographs of Post-Independence Singapore by Lim Kwong Ling, edited by Ryan Chua, 110-113. Singapore: Objectifs Centre, 2020.
*
Zhuang, Wubin. “Photographing the In/visible: Thoughts on Eiffel Chong’s 'Hurt like Heaven' (2018-19)”. In Hurt like Heaven: Thoughts in Singapore about Euthanasia, edited by Li Li Chung, 5-8. Singapore: Exactly Foundation, 2019.
*
This is a brief introduction to the art-making practice and the first photobook of Indonesian photographer Utami Dewi Godjali.
*
In this essay, I consider the documenting practice of senior Singaporean street photographer Loke Hong Seng as an embedded/embodied practice, encapsulated by the idiom of “Shenti Lixing” (身体力行).
*
This is a short introduction to Malaysian photographer Lim Li-Ling's photo book on a Chinese opera troupe in Singapore. In this text, I suggest that the digitisation of photography has finally created the infrastructure for an egalitarian world of storytellers.
*
Detailed discussion on the art-making practice of Singaporean photographer Sean Lee
*
The first draft of this essay was written in 2016 to mark the ten-year anniversary of the PannaFoto Institute. In this updated version, I will attempt to historicize PannaFoto, including the various initiatives that occurred before its establishment.
*
The "Trans-Asia Photography Review" is an international refereed journal (ISSN: 2158-2025) devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the Michigan Publishing, a division of the University of Michigan Library.
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The Vietnam War was one of the most bloodied conflicts in the spectre of Cold War. Since then, the research on Vietnam War photography has focused mainly on the works of Euro-American photographers, sometimes setting them apart from those who worked for the Democratic Republic of Vietnam. This paper takes a different approach by attempting a comparative reading of two iconic photobooks produced ostensibly to represent the viewpoints of the two Vietnams. The first photobook is "Viet Nam in Flames" (published c. 1969), involving photographers Nguyễn Mạnh Đan (1925-2019) and Nguyễn Ngọc Hạnh (1927-2017). The second book is "War Time Photos" (published in 2000) by Lâm Tấn Tài (1935–2001). While recognising the imprint of politics dividing both Vietnams, this paper attempts to resurface the parallel (and diverging) contexts that informed the production and afterlife of both photobooks. This is made possible by tracing the biographies of the photographers involved, their participation in the global milieu of salon photography, how they understood their involvements in the war efforts, and their lives after reunification. This reading aims to complicate our dichotomous impression of two Vietnams and to unpack the reach (and limits) of politics in photographic production.
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View the video recording of this presentation here: https://www.youtube.com/watch?v=BmycnhGQJZA
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Abstract
This paper takes my previous photo book, "Chinese Muslims in Indonesia" (2007-09) as starting point. The first section of the paper details the motivations, methodology and findings of the work. The second section advances some of my thoughts on photography, with its attentive focus on the particular and the performative. Photography, or documenting (as method), frames and provides a performative space for the sitter and the photographer to project their desires in the collaborative encounter. Here, I discuss the performative in relation both to the issue of reactivity in sociological fieldwork and the cultural turn in dakwah amongst some Chinese Muslim leaders in the post-Suharto era. The subjectivity of each particular encounter helps to visualise and complicate the notion of Chineseness amongst the Sinophone Muslim communities in Indonesia.
Keywords: Chineseness, Sinophone, Diaspora, Indonesia, Islam, Photography, Performative, Dakwah
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This is a mapping of the evolving ways in which photography has been taught since the colonial era in Southeast Asia.
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This is an essay written for the catalogue of Thai artist Pramuan Burusphat's retrospective at Bangkok Art & Culture Centre in 2017. This PDF contains the English original and the Thai translation (made by Pramuan).
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This is a show I curated for the inaugural Chiang Mai Photo Festival 2015, which runs from 20 to 28 February. This essay is published in the exhibition catalogue.
Link to the festival page: http://cmphotofest.com/main_ex.html#do
Featuring the works of Maika Elan, Sean Lee, Nge Lay, Vuth Lyno and Minstrel Kuik.
Curated by Zhuang Wubin
Curated by Zhuang Wubin
Featuring: Deden Hendan Durahman, Henrycus Napit Sunargo and Sari Asih
Curated: Zhuang Wubin
Video recording of the workshop:
http://www.aaa.org.hk/Collection/CollectionOnline/SpecialCollectionItem/6154
"I am basically a researcher focusing on photography in Southeast Asia (ASEAN). As an extension of that interest, I write, curate and photograph. In this talk, I will look at the development of independent documentary photography in Southeast Asia since 1986. The year is significant because it signaled the start of the gradual breakdown of the dictatorial structures in place within the region--something that has always influenced the production of documentary photography around the world. The next two significant shifts occurred during the Asian Financial Crisis and the boom of digital technology. In this very brief overview, I will highlight key individuals and initiatives within Southeast Asia that have seized upon these changes to produce poignant works about the societies where they come from. In this sense, I am primarily interested in documentary photographers working independently in their country-of-origin, fueled by a burning desire to make thoughtful and intelligent comments about her or his environment."
Video recording of this talk: https://vimeo.com/25464744
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Zhuang, Wubin. “攝影與華人性:反思《印尼華人回教徒》”. Translated by Yunwen Sung. 數位荒原. Last modified May 21, 2020. https://www.heath.tw/nml-article/photography-and-chineseness-reflections-on-chinese-muslims-in-indonesia/.
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This is an interview with prominent Singaporean photographer Tay Kay Chin. In this session, Tay talks about his love-hate affair with Singapore and the balance he seeks in maintaining his artistic tendencies against his intention to raise pertinent issues.
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In this essay for Asia Art Archive, I suggest ways in which we may traverse the rupture in Cambodian photography, a result of decades of conflict, as we begin to re-inscribe its histories and current trajectories.
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Zhuang, Wubin. “The Invisible Picture”. The RPS Journal, December 2019, 849.
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Zhuang, Wubin. “From the Archives: The Work of Photographer K.F. Wong”. BiblioAsia, July-September 2019, 52-58.
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This is a translated and abridged version of my earlier essay, titled "Politics and Identity: Contemporary Photography in Thailand" (2011). This Chinese version is published on "Modern Art" in Taiwan.
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This article introduces the works of two Myanma artists who use photography in their practices.
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In this article, I compare/contrast the documenting practices of Philippine photographers Sonny Yabao and Alex Baluyut, key references in documentary work in Manila.
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A Bahasa Indonesia article introducing the works of Myanma artists Phyu Mon and Nge Lay
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A Bahasa Indonesia article introducing the works of photographers and artists from Malang and Surabaya, East Java
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In this article, I give a brief overview of Manit Sriwanichpoom's increasingly direct photographic practice since the ousting of PM Thaksin.
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This article traces the development of art and documentary photography in East Java, Indonesia.
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This article looks at the issue of control (before the current era of liberalisation) and its impact on photojournalism/documentary photography in Myanmar.
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In this article, I track the emergence of Malaysian photographers working in the documentary mode since 2000.
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A Bahasa Indonesia article on the contemporary photography collective MES56 at Yogyakarta, Central Java
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In this article, I trace the revival of individual attempts at experimenting with photography in post-Doi Moi Saigon, by introducing the practices of Nguyen Xuan Khanh and Bui Xuan Huy.
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In this article, I attempt a critical analysis of the so-called "new" or "contemporary" in the photographic practices of MES56, a collective of photo artists in Yogyakarta, Central Java.
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A Bahasa Indonesia article on the current state of documentary photography in Malaysia
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This article looks at the re-emergence of independent photographic practices in Cambodia, post-Khmer Rouge era, through the examples of Heng Sinith, Mak Remissa and Chan Vitharin. They are some of the first practitioners to start shooting for editorial clients since the military withdrawal of the Vietnamese.
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The title of this article mocks the myth that Cambodian photography emerged out of nowhere in recent years. It looks at the younger generation of documentary practitioners who started experimenting with the medium in the last decade. They include Kosal Pisey, Vandy Rattana, Chhin Taing Chhea, Lim Sokchanlina, Pha Lina and Thy Heang.
Note that that the editor has used the wrong images to illustrate this article. The text is accurate though, to the best of my understanding.
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Mu Gua [pseud.]. “失落的對聯──阮世山「山連山 水連水」” [The chopfallen couplet—Nguyễn Thế Sơn’s 'Mounting Connecting Mountain, River Connecting River']. Visual Art, Delta Zhi, May 2019, 6-9.
doi:10.1353/jbs.2017.0013.
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A review of my work as an artist focusing on the Sinophone communities in Southeast Asia
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A review of my solo show "小城故事 | Small-Town Stories" at Yeo Workshop, Gillman Barracks, by Pauline Gan from (plu)ral. the art blog.
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Concerning my research into Vietnamese photography
This is an interview regarding my study on Vietnamese photography, written by curator Nguyen Nhu Huy and published on Vietnamese newspaper ("Thể Thao & Văn Hóa") in 2013.
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Profile of my practice as an artist and writer (of photography)
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A review of my show, "小城故事 | Chinese in the Small Towns and Rural Areas of Southeast Asia", at Esplanade Tunnel, Singapore
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An interview published on Hong Kong's "Wenhui Bao" on my photographic work concerning the Chinese Muslims in Indonesia
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A discussion on my work as a photographer and a writer of photography (in Southeast Asia)
This pamphlet features a short essay on my work by photo historian Edwin Lai.
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An interview with China filmmaker Ying Liang
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A report on Chobi Mela IV, including a short interview with Bangladeshi photographer Saiful Huq
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An interview with China contemporary artist Miao Xiaochun
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An interview with Australian photographer Palani Mohan
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An overview of Filipino cinema
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An interview with China filmmaker Wang Xiaoshuai
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An interview with Malaysian writer-filmmaker Amir Muhammad
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An interview with Taiwanese filmmaker Hou Hsiao-Hsien
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An interview with Iraqi filmmaker-photographer Ziad Turkey Al-Ani
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An article and interview with Japanese photographer Araki
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A report on Chobi Mela III, including a short interview with Bangladeshi photographer-activist Shahidul Alam
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An interview with Taiwanese photographer-editor Wang Chih Hong, who runs Tzuchi's "Rhythms Monthly" magazine.