t l v r
^

NEWS

Latest Update on 7th/ NOV/ 2017

Current & Upcoming Events

Early 2018 Exhibitions
  • “Frontier – Re-assessment of Post-Globalisational Politics”
    at OCAT Shanghai, curated by Lu Mingjun
    30th Dec 2017 – 11th Mar 2018

  • “So Far, So Right: A Study of Reforms and Transitions Across Borders”
    at Kuandu Museum of Fine Arts, Taipei, curated by Fang Yen Hsiang

    29th Dec 2017 – 25th Feb 2018
  • “Harbour Arts Sculpture Park”
    at Central and Western District Promenade, The Hong Kong Arts Centre, The Hong Kong Academy for Performing Arts, Western Garden, Edinburgh Place, curated by Tim Marlow (Artistic Director at the Royal Academy of Arts) and Fumio Nanjo (Director of Mori Art Museum)

    22th Feb – 11th Apr 2018
  • “An Inch of Time; An Inch of Gold”
    Discoveries – Art Basel Hong Kong 2018, with A+ Contemporary

    29th – 31st Mar 2018

 

RTHK ARTSPIRATION 好想藝術 Feature, first aired on 25th Jun 2017

Harbour Arts Sculpture Park, commission new public sculpture by Morgan Wong

HA_KV_V16

Hong Kong’s first international sculpture park, Harbour Arts Sculpture Park transforms Hong Kong’s iconic harbourfront with artworks by established and emerging local and international contemporary artists. An unprecedented display of public art in Hong Kong, this free sculpture park of museum-quality works is curated by Tim Marlow (Artistic Director at the Royal Academy of Arts) and Fumio Nanjo (Director of Mori Art Museum and Director of International Programme at Hong Kong Art School), and offers a unique opportunity to experience world-class art against the backdrop of the Hong Kong skyline. Cementing the city’s position as a global arts player, Harbour Arts Sculpture Park is accompanied by a diverse and extensive programme of workshops and educational activities, demonstrating that art is for all ages and interests.

Artists:

ANTONY GORMLEY

BOSCO SODI

CONRAD SHAWCROSS

GIMHONGSOK

HANK WILLIS THOMAS

HO KWUN TING

JENNY HOLZER

KACEY WONG

MARK WALLINGER

MATTHEW TSANG MAN FU

MICHAEL CRAIG-MARTIN

MORGAN WONG

RASHEED ARAEEN

TONY OURSLER

TRACEY EMIN

WONG CHI-YUNG

YAYOI KUSAMA

ZHAN WANG

ZHENG GUOGU

Artforum.com 500 words

https://www.artforum.com/words/id=73415

 

MW_artforum_Jan2018

——-

Morgan Wong is a Hong Kong–based artist, whose “Dash Series,” 2016, deals with the so-called nine-dash line (also known as the ten-dash line and the eleven-dash line), a vague and disputed geopolitical border used by China and Taiwan to claim a major part of the South China Sea. Two paintings from that series and a commissioned video, The Proposed Boundary, 2017, are currently part of the group show “So Far, So Right: A Study of Reforms and Transitions Across Borders,” organized by the Taipei Contemporary Art Center. The exhibition is on view at the Kuandu Museum of Fine Arts in Taipei through February 25, 2018. Three canvases from Wong’s “Dash Series” are also featured in “Frontier – Re-assessment of Post-Globalizational Politics” at OCAT Shanghai until March 11, 2018. I’M INTERESTED IN THE TEMPORALITY OF SOVEREIGNTY, and how it can be examined or illustrated through geopolitical borders. For example, the ongoing debates that have been happening since the late 1940s about the commonly named “nine-dash line,” a territorial claim in the South China Sea that China and Taiwan have maintained over the years, have long intrigued me. Representing the South China Sea border as eleven separate paintings, my “Dash Series” partly taps into the psychology of how we can perceive a series of dashes as a continuous line. It’s a gesture of destroying the border and, at the same time, an act of rethinking the significance of each dash.

A solo exhibition that I had at KIGOJA Independent Arts Space Initiative in Seoul in 2016, “KIGOJA Standard Time (KST),” presented four installations featuring two steel rails, an open window, six unsynchronized clocks, and a television displaying a silent, spinning globe. With this fictional time zone I created, the works made up a stark tableau that spoke broadly to the role of time in nation building. The show revolved around North Korea’s decision, in 2015, to revert to a precolonial time zone. This setting up of Pyongyang time, on the seventieth anniversary of Korea’s liberation from Japan, created a new temporal border between the South and the North.

In 2013, I began the lifelong performance Filing Down a Steel Bar Until a Needle Is Made. The title references a Chinese idiom about determination, and the work evolved from my personal determination to become an artist. I am literally filing down a metal bar, which is the same height and weight as myself, by hand. It is also a metaphorical event, in a way. The project was presented as a video in the exhibition “Line of Times” at Mill6 in Hong Kong earlier this year, because I decided it should not be a public performance, but a daily ritual, for me. The metal bar project is already durational in that it’s going to take my whole life to complete, so I don’t feel the need to lock myself up in a room, just filing it every day. If I cannot be with the metal bar, because of work or travel, I just leave it. It also travels with me to residences and other long relocations.

I think it’s important not to recognize a project as absurd in the beginning, because that kind of defines its function and denies the nature of absurdity. Time has always been a concern of mine. Recently I have been looking into theoretical physics and whether the passing of time even exists. Repeating these actions and gestures almost allows me to create my own currency, my own unit of time.

— As told to Samantha Kuok Leese

Frontier at OCAT Shanghai, curated by Lu Mingjun

“Frontier – Re-assessment of Post-Globalisational Politics”
at OCAT Shanghai, curated by Lu Mingjun
30th Dec 2017 – 11th Mar 2018 unnamed