Ko Sin Tung, Su Yu-Hsien, Tao Hui, Evelyn Wang, Wong Ping, Yu Cheng-Ta
Film Screening II
July 26–September 6, 2018
Opening: July 26, 6–8pm
Edouard Malingue Gallery, Hong Kong
Sixth floor, 33 Des Voeux Road Central
Edouard Malingue Gallery (Hong Kong) is pleased to present the second edition of Film Screening, a summer programme initiated in 2017 focusing on moving image. This iteration brings together six artists from Hong Kong to China to Taiwan and features works such as The Prophet (2016) by Su Yu-Hsien, The World of Yesterday (2017) by Ko Sin Tung, Double Talk (2018) by Tao Hui, Forest, A Man, A Baby (2015) by Evelyn Wang, Wong Ping’s Fables 1 (2018) by Wong Ping and Tell Me What You Want (2017) by Yu Cheng-Ta. By presenting this group of filmmakers simultaneously, the film series aims to urge a deeper contemplation of each practice and allow for the possibility of dialogue between their oeuvres.
Taiwanese artist Su Yu-Hsien primarily addresses the people and elements around him. By measuring the difference between himself and the other, life and media, he creates distance and a place for subjectivation, thinking about how to achieve a state of Zen without chasing after it vigorously. It is precisely this sense of incredible confidence that he seeks to pursue.
Moving over to Hong Kong, Ko Sin Tung is concerned with the impact of ‘things’ and investigates, through a myriad of mediums and materials, including moving image, the psychological influences private objects project and the idiosyncratic functions they’ve been personally channeled to fulfill. Observing the city’s inhabitants and their close-quarters, she identifies with curiosity their values as dictated through the items they treasure and keep, slowly observing how these objects mirror ways of life, or in the very least, illustrate what is expected for living.
Tao Hui is a Chinese artist born in the city of Chongqing who uses the creative language of imagery and installation art to express collective experience, the focus of which is often social identity, gender status, ethnic issues and cultural crisis. Particular to his practice is a reflection upon the cultural psychology and aesthetic needs of society today in metaphorical ways. The scenes he creates are mostly absurd and even exaggerated; certain characters appear, each of which have certain metaphorical qualities, such as tarot cards and the spiritual colours of major emotions. Running throughout his work is a sense of “misplacement,” prompting the audience to face their own cultural histories, living conditions and social identities.
Born in Chengdu, Evelyn Taocheng Wang is a Chinese artist who currently works and lives in the Netherlands. Her works explore her identification as transgender and wander around the boundary of matter and spirit, between virtual reality and the creation of fantasy. At the core of her practice is the notion of cultural relativity of the body as well as the change of its representation with that of time and place.
Hong Kong artist Wong Ping uses flashing, pop-like imagery juxtaposed with visual and auditory narrations to explicitly touch upon sex, politics and social relations. Building a fantastical animation world, Wong Ping combines the crass and the colourful to mount a discourse around repressed sexuality, personal sentiments and political limitations. Hong Kong born and raised, he creates alter motifs for his observations of society, from teenage to adulthood, using a visual language that sits on the border of shocking and amusing.
Yu Cheng-Ta from Taiwan often involves verbal communication with the subjects and viewers in a playful manner to create the concept of “life theatre,” that is, deliberately setting up real life situations as the shooting scenes. The artist fuses local urban negotiation techniques during the process of film production, experimenting with the human relations and economic structures in such interactions, while also drawing out the definitions of friendship exchange and behaviours in different cultures.
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