Serene Hui is an artist currently based in the Netherlands and Hong Kong. Her practice is research-focused and multi-faceted, engaging primarily with installation, audio and live works, printmaking and text. Serene’s work is involved in a discursive, artistic and political exploration of her own context, using the geographical distance from personal lived experiences to investigate the wider socio-political impact of how meaning is made and who has access to making it. In her works she addresses obscurity and nuances by creating an ontological shift of displacement – meaning to transform social conventions and language ambiguity into resistance, reflection and criticism of contemporary systems.

Her current project Tiger’s Head, Nail’s Tail stems from her century-old Chinese grandfather’s oral histories, in turn leading into a thread of research that delves into the human migration and material flow around Southeast Asia, in the shadow of the colonial matrix of power during the cold war.

Serene’s works have been included in group exhibitions at the Thailand Biennale 2025; Ford Foundation Gallery, New York; Kunsthalle Mechelen, Belgium; TENT, Rotterdam; Tai Kwun Contemporary, Hong Kong; MMCA, Seoul and elsewhere. Her print editions are collected by Masereel, Belgium; Huis van het Boek (Museum Meermanno) and KB National Library in the Netherlands. She has been an artist-in-residence at Casino Luxembourg – Forum d’art contemporain, Luxembourg; MMCA, Seoul; Nida Art Colony, Lithuania and more. Her artistic practice has been awarded by Mondriaan Fonds (The Netherlands) since 2023.

許思樂是一位目前穿梭於荷蘭與香港兩地的藝術家。她的實踐以研究為核心，涵蓋多個面向，主要涉及裝置、聲音、版畫及文本。許氏的工作植根於對其自身語境的論述性、藝術性與政治性探索；她利用與個人生活經驗的地理距離，探究「意義生成」及其門檻背後更廣泛的社會政治影響。在作品中，她通過創造一種「錯位」的本體轉換來處理模糊性與細微差別:旨在將社會慣例與語言的歧義性轉化為對當代系統的抵抗、反思與批判。

她近期的項目《虎頭鐵釘尾》源於其百歲祖父的口述歷史，進而引申出一系列研究，深入探討在冷戰時期殖民權力矩陣陰影下，東南亞地區的人口遷移與物質流動。

許氏的作品曾於亞洲、歐洲及北美地展出並獲機構收藏。她曾於盧森堡 Casino Luxembourg – Forum d’art contemporain、首爾國立現代美術館（MMCA）、立陶宛 Nida Art Colony等地駐留。自 2023 年起，她的藝術實踐獲荷蘭蒙德里安基金會（Mondriaan Fonds）持續資助。