TWO MILLION (Hong Kong Dollar)
2013 - Film & Video (Film & Video)
Kwan Sheung Chi
One Million is a video work depicting the counting of bills. Divided into three versions, the video first shows a number of Japanese ten-thousand-yen bills being counted without in an orderly, efficient manner. In Two Million , a similar counting of one-thousand-dollar bills from Hong Kong follows. However, a closer viewing of the videos reveal that they were created by looping the same scene of moving fingers, giving the illusion that many bills are being counted when, in fact, only a few are in the scene. Beyond commenting on the illusions of transactions and interdependencies in a regional economy, the video calls attention to the way media distort quantity as well as manipulations of values occurring with the transcoding of economic units into visual data. The false appearance of accountability presented in One Million and Two Million highlight the instability underlying the desire for convenience and efficiency in a globalized, media-dependent economy.
Kwan Sheung Chi obtained a third honor B.A. degree in Fine Art from The Chinese University of Hong Kong. In 2003, Kwan manufactured an exhibition history and CV for himself, hosting a retrospective as his first solo show towards the end of art school in order to critique the unspoken conventions of the contemporary art system. In general, Kwan’s works explore the nexus between art and text and use repetition as a constant measure of time and a metaphor for life, as he states: “Repetition gives the work power.” He is especially interested in how meaning is constructed, who makes art, and its interactions with other people, places, and things as part of the work’s cultural context.
Colors:
Related works featuring themes of: » Assemblage, » China, » Collective History, » Contemporary Conceptualism
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Du Zhenjun
2010The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
© » KADIST
Du Zhenjun
2010The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Carlos Amorales
2006This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
© » KADIST
Ho Tzu Nyen
2011The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
© » KADIST
Simon Fujiwara
2016Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
© » KADIST
Mario Garcia Torres
2004Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Edgar Arceneaux
2006Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
© » KADIST
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
© » KADIST
Edward Kienholz
1984Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...