Latest Update on 7th/ APR / 2018
at Hong Kong Visual Arts Centre, Hong Kong
Aug – Oct 2018
- “MINIMALISM: Space, Light, Object”
at ArtScience Museum, Singapore
16th Nov 2018 – 14 Apr 2019
- 2018 Asian Cultural Council Fellowship Recipients
Morgan Wong discusses his recent and ongoing work
RTHK ARTSPIRATION 好想藝術 Feature, first aired on 25th Jun 2017
Morgan Wong, José León Cerrillo, Nina Beier
July 7 – Aug. 26, 2018
A+ Contemporary E-Catalogue
Interview with A+ (Chinese only at the moment)
A+ Contemporary is pleased to host Mexico City and Mérida-based gallery joségarcía ,mx for the exhibition Frame of the Images; Boundary of the Time, within the context of the first edition of Condo Complex in Shanghai on July 7th. In collaboration with joségarcía, mx, the works in this exhibition invite viewers to step inside a multidimensional labyrinth from installation-sculptural pieces, to found objects and video works. Centering on themes regarding image and time, typographical notations and fabrics move between trajectories of frames, they coalesce with the expanding boundary of the time, allowing works to rotate in a perpetual pendulum where objects and space intertwine. The exhibition will run through August 26th.
Transmuting from clean graphic images into carefully assembled sculptural works, Mexico City-based artist José León Cerrillo’s New Baroque and POEM series reinterpret and revisit the formal quality of images from which he liberates the basic pictorial elements of lines, shapes and colors to allow them with various spatial densities. Visitors are invited to view the works from various angles. Nina Beier, the artist born in Denmark and based in Berlin exhibits a series titled Portrait Mode, for which she reinvestigates the condition of image through a reverse trajectory, situating found second-hand clothes onto the verso of the pictorial frame. Turning the object into images, Beier comments on the ever-changing fashion trend as a framed one that is in itself superficial and artificial.
Re-examining and re-investigating the passage of time, Hong Kong-based artist Morgan Wong represents time in various mediums, stretching the boundary of the time to its very limit. Reframing an ancient Chinese proverb, the video work, Filling Down a Steel Bar Until a Needle is Made, presents a snapshot of such eponymous deed of the artist that absurdly transcends time in his lifetime. In Time Needle Series, the artist extends the former work by collecting and sealing the metal powder collected from the steel bar into a needle-shaped glass-tube that captures his daily effort as if a time capsule. Through these transitory yet continuous gestures, the artist invites the audience to enter into a ritualistic realm where the temporal and spatial interrelations become an intermediating one that slowly dissolve one another.
Crossing the shifting frame of the images and traversing the blurry boundary of the time, three artists’ conceptual and performative portrayals unfold a tale of image and time inside this subtle yet vigorous space. Between the moving and the static, the formal and the representational, viewers gradually become a part of this interlacing vista.
Exhibition View at A+ Contemporary
Luuk Schröder and Morgan Wong
Spending a number of days in Ulsan we regularly encountered people working on and around small plastic stools. These stools are almost exclusively used for functional purposes and labour. Ajumma’s on the marketplace use them while preparing food and shopkeepers sit on them to await customers. By bringing the stools into an exhibition space, we partly changed their function. Not only do they accommodate visitors, they also become an art object.
In the work Study of Eventfulness and Durationality (Permutating Six Stools), Morgan uses six IKEA stools of which their functionality loses its importance. Instead of sitting or working, he engages in seemingly endless and purposeless labour. For eleven hours straight, Morgan rearranged the six stools to cover all possible arrangements. This kind of wasted effort is found in the exhibited video works by both artists. When the value of labour is not in its end result, the only thing that is achieved is the passage of time. Each video device contains a performance in which time is spent. Seeing an endlessly revolving mirror through a studio space; words, actions and gestures rearranged by a computer into disconnected scenes; or a globe swiped continuously by an invisible finger, they each have its own, self-contained, subjective arrangement of time.
KIGOJA Standard Time is shown on the home page of OCAT Institute’s website (bottom right, the time difference is 45 minutes between KIGOJA Standard Time and Korean Standard Time)
In 2016, “KIGOJA Standard Time” and the eponymous exhibition was shown at KIGOJA, an art space in Seoul, Korea. “KIGOJA Standard Time” is a fictional time zone conceived and created in the context of the exhibition. KIGOJA Standard Time is UTC +9.75 (Japan and South Korea follow the standard time offset of UTC+09, while China follows UTC +8; and in 2015, North Korea decided to remove themselves from their colonial history by setting up their new Pyongyang time zone at UTC +8.5). Audiences were allocated their timeslots to visit the exhibition from an online booking system. Through the actions of booking and visiting, they implicitly agreed and accepted the existence of such fictional time zone. The artist broadcasted the KIGOJA Standard Time on site via the website of the art space. This work/intervention can be seen as a critique by the artist on the manipulation of time, as well as interweaved situation of reality and fiction. In the current exhibition, KIGOJA Standard Time will be presented again on the home page of OCAT Institute’s website. Archival materials from the 2016 exhibition will also be exhibited as well.
Exhibition view at OCAT Institute