Installation (Installation)

This research-based artwork acts as a memorial to early twentieth century European exploration of China. An antique open suitcase reveals a pile of rubbings and an air-dried peony, while projected photographs of the Chinese landscape appear as a slideshow on the gallery wall. The artifacts refer to a 1908-1909 expedition of naturalists, missionaries, and colonists to the west of China, which ended abruptly with the death of one of the travelers by unusual circumstances.

Film & Video (Film & Video)

The Orbit by Bo Wang is based on the story of Hu Na, a former professional tennis player who was known for defecting from the People’s Republic of China. While on tour in California for the 1982 Federation Cup with the China Federation Cup team, Hu Na fled her hotel room and sought refuge at a friend’s home on her second day in the United States. In April 1983, she requested political asylum on the basis that she had a well-founded fear of persecution because of repeatedly refusing to join the Communist Party of China’s tennis team.

Drawing & Print (Drawing & Print)

This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself.

Drawing & Print (Drawing & Print)

This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself.

Drawing & Print (Drawing & Print)

This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself.

Drawing & Print (Drawing & Print)

This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself.

Drawing & Print (Drawing & Print)

This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself.

Film & Video (Film & Video)

Artist Wong Ping’s madcap video, Wong Ping’s Fables 1 , might at first appear to resemble a crazy screensaver. Grid-like patterns allude to the work’s deep digital structure, while comic-book imagery illustrates a set of curious moral parables. The video tells the story of three flawed characters named Elephant, Chicken, and Tree.

Painting (Painting)

Shooshie Sulaiman’s pictures of unidentified figures initially appear alien and even monstrous: rendered hairless in unusual and even sickly colors, they stand in stark contrast to the aesthetic ideals of conventional portraiture. The green acrylic paint used for the subject’s skin in Maka Panau / Tinea Vesicolor (2005), for example, evokes cultural associations between phenotype and diseases such as hypochromic anemia, a blood-related illness historically diagnosed by the green-hued tone it produced in a patient’s pallor. Staring at the viewer a forlorn gaze, Sulaiman’s subject appears caught in a distressingly static state, at once both uncomfortable and yet incapable of ameliorating his condition.

Painting (Painting)

Fairy #2 (2011) depicts a surreal scene of roughly assembled household ephemera, potted plants, and a faintly visible figure rendered in thin red line. The picture shows a grouping of tables and stools arranged in a dense cluster. A collection of objects, all brown or burlap-hued, cover their surfaces: ceramic pots, wooden planks, roughly geometric wooden sculptures, and even a small figure that perches precariously atop of miniature cube alongside a forked wood finish form.

Sculpture (Sculpture)

Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open. A bundle of small red rattan balls hang from the front end of the plank, precariously knotted to a single thread hanging from the gallows’ edge. A book hangs from similar red threads at the plank’s rear, its surfaced wrapped multiple times over with the thread to hold it in place, the red thread resembling blood vessels or connective tissue.