Wei Hao Goh
Biographic Data
| ID | 9514626 |
|---|---|
| NAME | Wei Hao Goh |
| GIVEN NAMES | Wei Hao |
| FAMILY NAME | Goh |
| SIGNATURE | GOH W H |
| AFFILIATIONS | King’s College London, National University of Singapore |
| ORCID | 0000-0002-5499-5811 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Performing (the) Rural Migrant Workers
Since China’s reform era began in 1978, millions of rural-urban migrant workers, known as nongmingong 农民工 , have moved to cities for better wages. However, they remain marginalised in the very urban spaces they sustain. This article examines how these workers challenge China’s distribution of the sensible − the system of what is perceptible, shaped by the urban-rural divide − through their performances. Specifically, I analyse Wang Wei’s Temporar…
It does not run in the family
Since the beginning of the post-reform era (1978–present), China has witnessed dramatic changes to its society such as falling birth rates, rising divorce rates and changing attitudes towards patrilineal values – trends that suggest a move away from the Confucian family. Yet, it remains the normative family model in China today. In this article, I examine a range of performance artworks that depict queer subjects and familial relationships to unc…
Performing Protest in Singapore
In the early hours of 1 January 1994, Josef Ng concluded his 25-minute performance artwork Brother Cane (1994) by snipping his pubic hair. The performance created a public furore, resulting in the cessation of public funding towards performance artworks for ten years. Undeterred by the backlash, Tang Da Wu created and performed Don’t Give Money to the Arts (1995) to protest the no-funding rule: during the opening of a state-sponsored exhibition, …
Singapore Art History as a History of Mobilities
Moving away from the study of the history of art using place-bound and ‘rational' terms, this article examines how the different forms of mobilities practiced by Singaporean artists have shaped their artworks, practices and identities. This is achieved through a study of artists who practiced ‘unconventional’ forms of mobilities: Suzann Victor, who describes herself as an “exile” as she was pressured to move to Sydney by the Singapore government,…
No prominent works on this page.
Singapore Art History as a History of Mobilities
Moving away from the study of the history of art using place-bound and ‘rational' terms, this article examines how the different forms of mobilities practiced by Singaporean artists have shaped their artworks, practices and identities. This is achieved through a study of artists who practiced ‘unconventional’ forms of mobilities: Suzann Victor, who describes herself as an “exile” as she was pressured to move to Sydney by the Singapore government,…
It does not run in the family
Since the beginning of the post-reform era (1978–present), China has witnessed dramatic changes to its society such as falling birth rates, rising divorce rates and changing attitudes towards patrilineal values – trends that suggest a move away from the Confucian family. Yet, it remains the normative family model in China today. In this article, I examine a range of performance artworks that depict queer subjects and familial relationships to unc…
Performing Protest in Singapore
In the early hours of 1 January 1994, Josef Ng concluded his 25-minute performance artwork Brother Cane (1994) by snipping his pubic hair. The performance created a public furore, resulting in the cessation of public funding towards performance artworks for ten years. Undeterred by the backlash, Tang Da Wu created and performed Don’t Give Money to the Arts (1995) to protest the no-funding rule: during the opening of a state-sponsored exhibition, …
Performing (the) Rural Migrant Workers
Since China’s reform era began in 1978, millions of rural-urban migrant workers, known as nongmingong 农民工 , have moved to cities for better wages. However, they remain marginalised in the very urban spaces they sustain. This article examines how these workers challenge China’s distribution of the sensible − the system of what is perceptible, shaped by the urban-rural divide − through their performances. Specifically, I analyse Wang Wei’s Temporar…
Law (3 works) · Political science (3 works) · Art (2 works) · Asian Studies and History (2 works) · Politics (2 works) · Socioeconomic Development in Asia (2 works) · Sociology (2 works) · Aesthetics (1 works) · Authoritarianism (1 works) · Beijing (1 works)