90 x 180 cm.
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. He then scans these random traces, blowing them up on the computer, multiplying each fragment, giving way to decorative abstract motifs reminiscent of wallpaper. Through this process Chuen analyzes the details of these unconscious productions, allowing him to begin a psychological healing process, leading him to reconnect with his environment. Furthermore, these drawings, born from the public gallery of a courtroom, speak of the relationship between the State and the individual. Following their creation, works from this series, Street, Court and Prison entered into the public domain, accompanying newspaper articles, and entering the sphere of collective memory.
Pak Sheung Chuen’s practice can be described as immaterial, everyday, process-based, and collaborative. Without producing additional objects, Pak’s projects usually start with a familiar but not necessarily acknowledged idea. However, they go beyond a conceptual gesture. Through repetition and continuously anonymous intervention, the idea gradually starts to take form and infiltrates into the surroundings, leaving subtle traces. Although never visually spectacular, Pak’s projects reconfigure a personal system that involves bodily actions and effectively challenges the existing societal logic and commodity-based culture.
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...