Sculpture (Sculpture)

Four knives appearing as if thrown at the wall to alleviate frustration and boredom, form rhythmic shadows and markings of time above a translated phrase boldly printed in simplified Chinese and English. While the English reads “But Now I Manufacture Hate, Every Single Day,” the Chinese, resultant from Google Translate in 2011, reads awkwardly to something meaning “now I manufacture black special.” The term “black special” is derived from a transliteration of the word “hate” into the sound “heite”, where the corresponding written characters literally denote “black special”. The rigidity of the machine translation also preserved the syntax of English, forcing the Chinese to crudely abide by English grammar.

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.

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)

Highly autobiographical, exquisitely made and compiling different aspects of the artist’s practice, Kiss of the Rabbit God is one of Andrew Thomas Huang’s most precise, relevant, and successful videos. This video work exemplifies a new, global wave of queering tradition, indigenous references and international pop/post-internet esthetics. In this short video, a Chinese-American restaurant worker falls in love with an 18th century Qing dynasty god of gay lovers who visits him at night and leads him on a journey of sexual awakening and self discovery.

Sculpture (Sculpture)

Through a seemingly haphazard layering of glass and porcelain, Dérive is part of a larger installation series that address borders and displacement. Sheets of glass and porcelain, two transformational materials of alchemy, are stacked loosely in the shape of melting glaciers that places humans, animals, and nature in the same ecosystem. Migrations of one population into another and the subsequent displacement is emphasized in sharp, jagged edges of the transparent glass—phantasmagoric dreams of a distant place—the migration of not simply physical bodies but also that of political opinions and thoughts.

Drawing & Print (Drawing & Print)

The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement. These drawings were created during the trial of political activists pursued by the government that the artist would regularly attend. During the tribunal, the artist would let his pen slide freely across his notebook, replicating the automatic drawing techniques of the surrealists.

Installation (Installation)

Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials. One of the nine parts of this work is Page 22 (Half Folded Library) , a site-specific installation for which Pak covertly folded dog-ears on page 22 of every second book (a total of approximately 15,500 books) in the 58th Street Branch Library in Manhattan. By claiming it as a “solo exhibition,” Pak intentionally turned a public institution into a private and personal museum where his works are more or less a “permanent collection.” Being open-ended as far as further interpretation (or not) by readers who encounter the folded pages, the project tests the political and social potential of personal gestures in the public realm.

Film & Video (Film & Video)

The Third Seal—They Are Already Old. They Don’t Need To Exist Anymore is part of The Seven Seals , Tsang’s ongoing series of digital videos that are projected as installations onto the walls and ceilings of dark rooms. Using texts and computer technology, the series draws its reference from various sources—the Bible, Judeo-Christian eschatology, existentialism, metaphysics, politics, among others—to articulate the world’s complexity and the dilemmas that people face while approaching “the end of the world.” The Third Seal is a nineteen-by-twenty-seven-foot projection on a single wall that, together with sound, creates an immersive and dynamic environment.

Sculpture (Sculpture)

Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong. Intrigued by the accidental preservation of historical building material by renovations and rebuilding, Wong began paying attention to the experience conveyed by layered forms accreted to affect the visual historicity of a space. The geometric forms in the piece are welded together as a composite replica of a metal grate from a children’s playground next to Wong’s studio, a security grate door from his apartment complex, and the latticework that holds an air conditioner from an electronic store, and a front grate from an elementary school on his bus route.

Photography (Photography)

The photograph Monologic – Yo-Yo 1, 2 (U. F. O. ), (1982), shows Koller playing with a big white Yo-Yo in a drab concrete building among a group of tower blocks.

Painting (Painting)

A combination of planning and improvisation, control and lack of control, this painting is typical of Amm’s work. With its intimations of the sublime and reference to the works of Ad Reinhardt and Mark Rothko this painting extends the Romantic and modernist traditions in a perceptive way. These are subtle, slow, delicate paintings that evolve over a period of time—the product of long periods of contemplation.

Installation (Installation)

In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space. The trees, unique sources of light in the exhibition space, produce their own environment. These sculptures, as if extracted from a set, are enough to suggest an atmosphere, a landscape, or a movie.