Days of Our Lives: Reading
2009 - Photography (Photography)
Wong Hoy Cheong
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist. It marks a new dimension of his ongoing effort to negotiate with the postcolonial reality across the world, with a unique interventional strategy to deal with the French society. Named after a soap opera in U. S. which has been running practically everyday for over 40 years, Days Of Our Lives is a series of six photographs which explores this new Europeaness. These reenacted photographs or tableaux vivant are based on French painting section in the Museum of Fine Arts (Lyon) which depict domestic scenes: preparing food; relaxing, reading and playing music; giving charity to the poor or being evicted from home or going off to war. They are paintings of ordinary people and their everyday activities and problems.
Born in Malaysia, Wong Hoy Cheong’s work examines the formation of his country’s multicultural identity vis-à-vis global migration, trade, colonialism, and the postcolonial circulation of people, ideas, and capital. His extended body of work uses various media—drawing, painting, performance, installation, video, and on-line projects—to critique the impact of these developments on contemporary life within and without South Asia. With the increasingly hegemonic domination of the media industry in everyday life, its systems of representation have become a central issue in Wong’s recent work, which oscillates between reality and fiction, irony and transgression—and gains a new strength in the process.
Colors:
Related works sharing similar palette
© » KADIST
Ghosts on the roof : Conversations about art, fossils, and spectra , with Víctor Costales and art historian, Ana María Risco The conversation between Víctor Costales of the artistic duo Rometti Costales and art historian, Ana María Risco will reflect on the artists’ intervention on the site of the Museo de la Solidaridad Salvador Allende (MSSA), for the exhibition Song for a chanting fossil (Canción para un fósil canoro) ...
© » ART AND CAKE
Art of the Joshua Tree – Art and Cake October 30, 2023 October 30, 2023 Author Art of the Joshua Tree Sossi Madzounian Deserts Ikebana , Photography Charity: Center for Biological Diversity Karin Lindeberg Frida, I see you under the shady tree , 35mm Photography 8×10 inches Charity: Center for Biological Diversity Chloe Allred, Dreaming in Cerulean and Quinacridone , Oil Paint on Canvas...
© » LE MONDE
Au Musée Gainsbourg, un énigmatique tableau peint par le chanteur refait surface Cet article vous est offert Pour lire gratuitement cet article réservé aux abonnés, connectez-vous Se connecter Vous n'êtes pas inscrit sur Le Monde ? Inscrivez-vous gratuitement M le mag Arts Au Musée Gainsbourg, un énigmatique tableau peint par le chanteur refait surface Par Véronique Mortaigne Publié le 03 février 2024 à 06h00, modifié le 05 février 2024 à 10h55 Temps de Lecture 11 min...
© » SLASH PARIS
Abigail Lane — Doing Time — Semiose Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Abigail Lane — Doing Time — Semiose Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Abigail Lane — Doing Time Exhibition Installation Abigail Lane, Black bird, Doing Time Abigail Lane Doing Time Ends in 27 days: January 13 → March 9, 2024 The series Doing Time, exhibited in Semiose’s Project Room, is made up of embroidered birds set in boxes closed off by bars...
© » ART & OBJECT
5 Objects That Show the Evolution of Women’s Work | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
© » ARTSJOURNAL
Quietly, After a $4 Million Fee, MoMA Returns a Chagall With a Nazi Taint - The New York Times Arts | Quietly, After a $4 Million Fee, MoMA Returns a Chagall With a Nazi Taint https://www.nytimes.com/2024/02/12/arts/chagall-moma-return-over-vitebsk.html Share full article 25 Advertisement SKIP ADVERTISEMENT For years, “Over Vitebsk” occupied a central place in the collection of the Museum of Modern Art, which spoke of Marc Chagall’s painting of his hometown in the Russian empire as an important part of its holdings...
© » KADIST
Colter Jacobsen
2007Victory at Sea is a simple mechanism made from cardboard and found materials that mimics the Phenakistoscope, an early cinematic apparatus...
© » KADIST
Chantal Edie and Zacharie Ngnogue
2020Au non de la liberté (Tiko drink Kumba drunk) is a photographic series by Zacharie Ngnogue and Chantal Edie that considers the correlation between those who hold power in Cameroon and how their actions affect the populations they rule in often compromising ways...
© » KADIST
Taiyo Kimura
The wall installation Friction/Where is Lavatory (2005) plays off anxieties about time but utilizes sound to create a disconcerting experience of viewership: comprised of dozens of wall clocks sutured together, the work presents a monstrous vision of time at its most monumental...
© » KADIST
Marcelo Cidade
2010Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
© » KADIST
Colter Jacobsen
2010The title Untitled Passport II was first used by Felix Gonzalez-Torres in an unlimited edition of small booklets, each containing sequenced photographs of a soaring bird against an open sky...
© » ARTS EQUATOR
Rage or Loss: Women in Photography 2019 | Remedy For Rage | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles November 7, 2019 By Elaine Chiew (1,050 words, 6-minute read) Now in its fifth edition, Objectifs returns with its annual showcase in the Women in Film and Photography series...
© » KADIST
Allora & Calzadilla
This installation combines the display of real objects with the deceptively painterly amalgamation of their content as the subject of a photograph...