Lim Tzay Chuen

Lim Tzay Chuen (; born 1972) is a Singaporean contemporary artist known for his conceptual works that involve designing or constructing subtle interventions within systems, leading viewers to re-evaluate their perceptions and assumptions of social, economic, cultural and political processes.

Lim has exhibited both in Singapore and internationally, participating in exhibitions such as the Gwangju Biennale (2002) and the Biennale of Sydney (2004).

Career For the Gwangju Biennale 2002, Lim conceptualised the project Alter #10, which involved the addition of a "fictitious" floor to the exhibition space of the biennale by doctoring exhibition maps in published materials, as well as renaming floors and altering elevator buttons. This was done without obvious announcements, and emerged only six months later in an article by Singaporean art critic Lee Weng Choy in Art AsiaPacific number 37.

In 2002, for the work Alter #11, Lim proposed that a single rifle shot be fired into an art gallery on the campus of Singapore's National Institute of Education, executed by a trained sniper located at the military firing range located one kilometre away from the campus. The project was eventually unrealised, with the bureaucratic, legal, and ethical concerns preventing the work from being carried out.

In 2003, the Singapore performance company, TheatreWorks, presented the LIM TZAY CHUEN project conceived and directed by Ong Keng Sen. A graduation project of the pioneer class of the Theatre Training & Research Programme (TTRP), it was the final culmination of work by the nine graduating students from the TTRP Class of 2001, which involved the active participation of Ong, Lim, and Lok Meng Chue.

At the art event, Nuit Blanche, Paris, in October 2004, Lim proposed seeding the clouds over the city with a non-toxic quantity of organic Pheromones for the work, Alter #16. With such pheromones reputed to possess aphrodisiac qualities, Lim sought to literally send a rain of love down upon the world capital of romance. The project never materialised due to the lack of approval from relevant parties, pointing towards the bureaucracy of modern society. The solo exhibition by Lim featured an almost entirely empty, meditative space, placing an emphasis of the 'white cube' gallery space.

Art Lim's practice alters the conditions of contexts such as a gallery space, an exhibition, or a catalogue, leading viewers to critically re-evaluate their perceptions and assumptions of social, economic, cultural and political processes. Lim further describes his work as getting institutions to "entertain the possible", or being concerned with "offering" solutions to possible problems.