Solo exhibitions of Young’s work have been held at the Kunsthalle Düsseldorf, the Centre for Chinese Contemporary Art in Manchester, the Hiroshima City Museum of Contemporary Art, M+, and elsewhere. His work has also been included in group exhibitions at the Solomon R. Guggenheim Museum; the Biennale of Sydney; the Shanghai Biennale; the National Museum of Art, Osaka; and the National Museum of Modern and Contemporary Art, Korea, Seoul; as well as in Documenta Radio for Documenta 14. He received the BMW Art Journey Award in 2015 and the Hong Kong Arts Center Honorary Fellowship in 2018. In 2017, he represented Hong Kong at the Venice Biennale with a solo exhibition.

Artwork presented at Sigg Prize 2019 Exhibition:

In Muted Situations #22: Muted Tchaikovsky’s 5th (2018), Samson Young invites the Flora Sinfonie Orchester of Cologne to perform Pyotr Ilyich Tchaikovsky’s Symphony no. 5 in its entirety, without sound. By stripping away the sounds of the orchestra, Young turns our attention to the collective breaths of the musicians and the gentle residual noise of their movements, prompting audiences to focus on what is often overlooked or ignored.

Her work has been exhibited extensively both in China and internationally, including at the Palais de Tokyo, Paris; the Bonniers Konsthall, Stockholm; Kunsthaus Graz; the Orange County Museum of Art, Newport Beach, California; the Museum Boijmans Van Beuningen, Rotterdam; the Rockbund Art Museum, Shanghai; the Shanghai Minsheng Art Museum; the Power Station of Art, Shanghai; the Ullens Center for Contemporary Art, Beijing; Video Bureau, Beijing; Beijing Commune; and Pace Gallery, Beijing. Her works have been collected by M+, the Rockbund Art Museum, the Hammer Museum, the Power Station of Art, and other institutions.

Artwork presented at Sigg Prize 2019 Exhibition:

Hu Xiaoyuan’s Spheres of Doubt (2019) uses a refined material language to draw attention to the processes of transformation and passage of time. The installation builds on her ongoing interest in working with found materials and organic objects to propose a view of permanence as a condition of perpetual flux.

Liang’s work has been presented at major museums around the world, including the National Art Museum of China, Beijing; the National Museum of Modern and Contemporary Art, Korea, Seoul; the Singapore Art Museum; the Power Station of Art, Shanghai; the Yerba Buena Center for the Arts, San Francisco; and the Rijksakademie, Amsterdam. His solo exhibition DISTANT tantamount MOUNTAIN was held at the Staatliche Kunsthalle Baden-Baden in 2017. Between 2005 and 2006, he was an artist-in-residence at the Koninklijke Academie van Beeldende Kunsten (the Royal Academy of Art), The Hague.

Artwork presented at Sigg Prize 2019 Exhibition:

In his site-specific installation In the Peak (2019), Liang Shuo approaches traditional Chinese landscape painting with the language of sculpture. The work offers audiences the experience of moving through an artificial landscape and constructs specific physical and visual encounters with surrounding space.

Lin participated in the major traveling exhibition Cities on the Move in 1997, as well as the Johannesburg Biennale in 1997, the Taipei Biennial in 1998, the Gwangju Biennale in 2002, the Venice Biennale in 2003 and 2015, Documenta in 2007, La Biennale de Lyon in 2009, the Swiss Sculpture Exhibition in 2014, and the Havana Biennial in 2015. His work has been exhibited at Kunsthalle Bern, the Solomon R. Guggenheim Museum, MoMA PS1, Asia Society Museum, the San Francisco Museum of Modern Art, the Hayward Gallery, M+, and MAXXI.

Artwork presented at Sigg Prize 2019 Exhibition:

Engaging with architecture in three distinct contexts, Lin Yilin proposes an unexpected experience of the body in the built environment. His works The Second 1/3 Monad (2018), The Back (2019), and Typhoon (2019) address narratives of progress and mechanisms of social structure.

Shen’s recent solo presentations include To Satiate at Madeln Gallery (Shanghai, 2019); Methods of Inhabiting at K11 (Shanghai, 2018); Sliced Units at the Centre for Chinese Contemporary Art (Manchester, 2018); half-sung, half-spoken at the Serpentine Pavilion (London, 2017); and At Home at Surplus Space (Wuhan, 2016). Recent group exhibitions include New Metallurgists at the Julia Stoschek Collection (Düsseldorf, 2018); Songs for Sabotage at the New Museum Triennial (New York, 2018); and The New Normal at the Ullens Center for Contemporary Art (Beijing, 2017). Shen was awarded the BALTIC Artists’ Award in 2017, and was an artist-in-residence at the Rijksakademie, Amsterdam, in 2018.

Artwork presented at Sigg Prize 2019 Exhibition:

Shen Xin's Provocation of the Nightingale (2017) is a uniquely sophisticated conceptual work that comprises four videos, proposing a sensitive exploration of issues of gender, identity, desire, science, and belief. Taken together, the videos offer a view of the complexity of emotional expression.

Tao’s solo exhibitions include Rhythm and Senses at Edouard Malingue Gallery (Hong Kong, 2019); Tao Hui at The Breeder (Athens, 2018); Not at All at OCAT (Xi’an, 2017); New Direction: Tao Hui at the Ullens Center for Contemporary Art (Beijing, 2015); and 1 Character & 7 Materials at AIKE-DELLARCO (Shanghai, 2015). Tao’s work was included in the Bangkok Art Biennale in 2018; How Little You Know About Me at the National Museum of Modern and Contemporary Art in Seoul in 2018; the Guangzhou Image Triennial in 2017; the Shanghai Biennale in 2016; and Bentu: Chinese Artists at a Time of Turbulence and Transformation at Fondation Louis Vuitton in Paris in 2016. He received the award of the Contemporary Art Archive of the Sichuan Fine Arts Institute in 2008, the Huayu Youth Award (Art Sanya) in 2015, and the Grand Prize at the Contemporary Art Festival Sesc_Videobrasil in 2015.

Artwork presented at Sigg Prize 2019 Exhibition:

In his video installation Hello, Finale! (2017), Tao Hui combines a clarity of structure with a set of nine open-ended narratives related to death and finality. By depicting a broad range of protagonists, the artist expresses the universal nature of these questions while preserving their fundamental ambiguity.

Members of the Jury

• Maria Balshaw (Director, Tate, United Kingdom)
• Bernard Blistène (Director, Musée National d’Art Moderne, Centre Pompidou, Paris)
• Gong Yan (Director, Power Station of Art, Shanghai)
• Lai Hsiangling (curator, Taipei)
• Suhanya Raffel (Museum Director, M+, Hong Kong)
• Dr Uli Sigg (collector and member of the M+ Board, Switzerland)
• Xu Bing (artist, Beijing)

Nominating Committee:

• Ying Kwok (curator, Hong Kong)
• Lu Mingjun (art critic, Chengdu)
• Shen Ruijun (curator, Guangzhou)
• Karen Smith (curator and art historian, Shanghai and Xi'an)
• Yang Beichen (art critic, Beijing)