Wong Ping 랔挴 INTRODUCTION

Flashing, pop-like imagery; visual and auditory narrations that explicitly touch upon sex, politics and Indeed, beyond the film’s pop-like appearance, the animation seems to reflect on the changing status social relations; vibrant installations that extend into three dimensions the artist’s fantastical animation quo of Hong Kong and to present a somewhat dystopian outlook. Such humour laced with weariness world - these are but cornerstones of Wong Ping’s (b. 1984, Hong Kong) practice that combines the crass is also found in further films such as ‘An Emo Nose’ (2016) that tells the story of a man’s heart-shaped and the colourful to mount a discourse around repressed sexuality, personal sentiments and political nose that moves away in distance from his face with every negative thought. Akin to Pinocchio’s ‘lying limitations. Hong Kong born and raised, Wong Ping discusses his observations of society, from teenage nose’, the man starts off as one with his friend: socialising, enjoying the small things in life from watching to adult-hood, using a visual language that sits on the border of shocking and amusing. movies to meeting women. The nose moves away, however, with every damaging thought till the point where the narrator can no longer see it, just vicarouly smells and thereby ‘lives’ through it, leaving him Running throughout Wong Ping’s animation work is the concept of control or limitation. In a sexual behind to be a social outcast or ‘emo’. sense, Wong introduces the poles of desire and obsession - animating, illustrating and describing acts or scenarios that are brutally honest, or indeed, compose our personal, ‘evil’ shame. In ‘Doggy Love’ (2015), Ultimately, however, Wong’s animations are not meant to be discouraging. They are happy, in a twisted for example, Ping tells the story of a repressed male teenager who becomes crazy about a girl who has yet realistic way, despite their fantastical scenarios and appearances. They also provide through their breasts on her back. The animation follows his incapacity to control himself sexually till they fall in love rawness a sense of comfort in that even our deepest and most private sentiments or acts are shared by and he ultimately understands the concept of the heart. On the opposite side, ‘Jungle of Desire’ (2015) others. In this way, Wong’s work is liberating – a cathartic twist on the trials rooted in daily life. follows a grown man’s self-loathing as he is incapable to fulfill his wife sexually, and who ultimately succumbs to at-home prostitution and is taken advantage of by a cop. Depressed and incapable, he Wong Ping is one of Hong Kong’s most exciting emerging artists. His animations have been commissioned speaks of taking to the hills and indeed his own life. by M+, NOWNESS as well as Prada and he was awarded one of Perspective’s ’40 under 40’. His recent shows include, ‘One Hand Clapping’ at the Solomon R. Guggenheim Museum and ‘Songs for Sabotage’ at Herein one starts to understand that despite the flashing, bright-coloured imagery, there lies a darker New Museum, New York. Moreover, Wong held a residency at the Chinese Centre for Contemporary Art undertone to Wong’s animation. ‘The Other Side’ (2015), commissioned by M+, is a two-channel (CFCCA) and has held exhibitions internationally in Manchester, Hong Kong, Istanbul, Berlin and Paris, installation that uses the story of a man’s reluctant birth, key junctures in his life, and his attempt to amongst other locations. His animation films have been presented at numerous festivals internationally, reenter his mother’s womb, as a metaphor for the process of immigration. from Belgium and the UK to Mexico and Australia, and have been reviewed in LEAP, ArtAsiaPacific and other publications. Wong’s work is held in several permanent collections including M+, Hong Kong, KADIST, Paris/San Francisco, Solomon R. Guggenheim Museum, New York, Fosun Art Foundation, Shanghai, amongst others. In 2018, he was the recipient of the inaugural Camden Arts Emerging Arts Prize. ➝稲

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Solo Exhibition

⦐➃㾝錓 Kunsthalle Basel, Basel, Switzerland

榰㡦䊼㝱晋繠遮긬 18.01.2019 - 05.05.2019 The world we live in is twisted. Sexist, ageist, consumerist, post-factual, warmongering, it is all of these The aged, toothless protagonist in the animation grapples with the death of his wife, the technological things and more. Against this backdrop, we regularly and voyeuristically survey others while we let them obsolescence of his video collection, desire for his daughter-in-law, and alienation in the digital age. watch us via Facebook. We Instagram. We Tinder. We Google. We reveal where we are at any moment, Timid these stories are not. what we’ve eaten, what books we are reading, designating preferences with a thumbs up, with a heart, by swiping right. We scroll and consume ceaseless streams of images and information. In his latest videos, Wong Ping turns to the likes of the Grimm Brothers and Aesop’s fables for inspiration: “I want to write a kind of Wong Ping’s Fables for the Modern Age.” These morality tales for children, Enter Wong Ping. The Hong Kong native came of age at the dawn of the internet. He didn’t train as an populated by animal characters, explore everything from the self-loathing generated by impossible artist, but studied design. He wrote for years, and then began drawing his stories as animations late at beauty standards to the perils of self-righteousness. The artist’s latest fable, the second in what he hopes night afer his day job at a local television studio. There he worked in postproduction, editing recorded will be an ongoing series, was commissioned for this exhibition, his first major institutional solo show, images for broadcast—digitally removing, for example, the safety cables on a falling stunt actor in a crime and premieres at Kunsthalle Basel. drama, or replacing the exposed breasts of a show’s female lead with those of a body double. It was a crash course in the media, in digital technology—and in hypocrisy. Here, the non-chronological survey of new and recent videos is presented in specially conceived environments that lend dimensionality to the animations’ characters and themes. Opening the exhibition, The artist points out that what he makes “isn’t very proper animation, as you can see. It’s very simple stuff.” Dear, can I give you a hand? screens on LED panels positioned to form a radiant monolith. It is surrounded Despite signing his productions “Wong Ping Animation Lab” (to come across as more professional, he by The Ha Ha Ha Online Cemetery Limited (2019), thousands of golden-toothed plastic wind-up toys—an says), he executes nearly every aspect himself, from his home. He writes the scripts, draws the animations excessive multiplication of the protagonist’s late wife’s prized gold dentures. The second room features on his computer, creates the music, and ofen also narrates the voice-overs in his own deadpan Cantonese. Bestiality rider R, Bestiality rider A, and Bestiality rider T (all 2019), three child-size male mannequins Afer producing a few animations for a friend’s band and putting them online, interest in his work surged, dressed in colorful rat costumes mounted on springs so as to resemble freaky children’s playground toys. encouraging him to create and upload more videos, leading to a Hong Kong institutional commission and, Just as life’s trials become fodder for the artist’s videos, real-life events inspired this installation: Wong soon enough, commercial gallery representation. Ping’s home was invaded by a rat while he prepared for this show. Costumed and domesticated, the rats in this strange installation sublimate the artist’s terror and annoyance at the intrusive rodent. What Wong Ping sees as the “simplicity” of his videos—for instance the candy-colored, pixelated approximations of bodies, recalling digitized Legos or 1980s computer games—is what lends them their In the room that follows, in which he presents Jungle of Desire, Wong Ping covers the floor with fuzzy particularity and appeal. They are both charmingly childlike and graphically explicit, their cartoon forms purple carpet and a hundred or so Chinese “lucky cats,” their ever-moving paws sculpted into penises speaking to our contemporary condition with its many pathologies and discontents. Powerlessness, with multicolored heads. For the fourth room, which presents Slow Sex, Doggy Love, and Who’s the alienation, exploitation, and misogyny all make an appearance. These are tragic, pathetic, darkly humorous Daddy, a trio of films in which the assorted penises of the videos’ respective protagonists play a starring portraits of our time. role, the artist conceived BONER (2019), a shiny, giant phallus with an illuminated rotating heart at its tip and a column with three jutting video screens. The final room, featuring the videos Wong Ping’s Fables Critic Stephanie Bailey rightly said of Wong Ping’s work that it aims to make “individual desires, 1 (2018) and Wong Ping’s Fables 2 (2019), is furnished with transparent inflatable seating that forms the experiences, and thoughts public... as part of a perversely relatable collective subconscious.” Indeed, so artist’s surname in Chinese characters. The space is overseen by the giant inflatable Rabbit 3 in 1 (2019), much of what the artist writes and then animates is informed by the scenes he witnesses around him, a character from his latest fable. articles he reads, stories he overhears. Yet his approach to portraying the state of the world is not literal; otherwise, he notes, “You might as well just watch the news.” Articles about Wong Ping ofen mention the depravity of his themes. The artist maintains, however, that in the internet era, little remains that could still be considered taboo. Plus, he notes, while sex may be the For instance, the popular “slow food” and “slow living” trends incited one of Wong Ping’s earliest artworks, “language” he uses, “it’s not the message of the work.” Arguably his underlying themes are not sex, or Slow Sex (2013), an animated lesson on the dangers of rushing copulation. A random thought sparked even pervasion, but rather a quest for belonging in today’s world: How do we find acceptance and love by a common Cantonese expression informed Doggy Love (2015), in which a teenage boy first mocks, with others and in ourselves? How do we negotiate loneliness and the isolation of urban life? How do and then falls for, a girl who has breasts on her back. An article about police exploitation of prostitutes we care for one another? And what beyond these truly existential questions could be more urgent and inspired Jungle of Desire (2015), in which an impotent male antihero—an animator, as it happens—allows relevant today? his sexually frustrated wife to prostitute herself while he watches from the closet, becoming obsessed with a corrupt cop who affords his wife “the perfect orgasm.” The creepy, patriarchal lyrics of a 1980s Ask him to describe his work, and Wong Ping will point you to his favorite song by The Velvet Underground. children’s song partly inspired Who’s the Daddy (2017), which centers on a bodybuilding atheist who Its first lines, “I’ll be your mirror / reflect what you are, in case you don’t know,” provide a telling clue to unpacks his relationship to power by recounting childhood memories of being ordered to “passionately his animations and installations, which are an attempt to respond to our moment, using its own (digital) kiss his father,” and his submission to a Christian woman staunchly opposed to premarital sex, but with tools. The artist unravels some of the starkest realities of our own dark age with a touch as biting as it a predilection for fisting and decidedly bizarre ideas about atonement. Observing an elderly man in his is compassionate and humorous. And if you think Wong Ping’s films are twisted, they are—because the neighborhood mournfully trashing a bag full of VHS porn tapes led to Dear, can I give you a hand? (2018). world is, too.

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⡲捀♧⦐㕼欰㕼Ꟁ涸껺度➃랓挳涸䧭Ꟁ⠶ꦐ衼✽耡笩涸莇饰կ⭽盗Ⱖ䨾㷸㼠噟僽鏤鎙⡎랓挳劥䠑⚛ ⚛ꬋ䭽撑ⶽ⡲儗꟦涸⯓䖔갫䎸姼妃㾝錓㼞랓挳涸剒鵛倝⡲ッ植倴暵ⴽ圓䟝涸橇㞯⚥䖰罜颭✮⹛殥LED ꬋ僽捀✫䧭捀♧⡙谀遮㹻կ㖈㻨⡲㢴䎃䖔랓挳㖈穡勲涯㣔殹㖑ꨵ鋕〵涸䊨⡲䖔Ꟛ㨤㖈儻♳粭殥荈䊹 ⚺錭ㄤ⚺겗㢴ꅾ笞䏞կ♧鹍Ⰶ㾝䑻♧⦐⫸ꄀ湡涸瀖烵佞縨涸The Ha Ha Ha Online Cemetery Limited곏爙㐼乄佞衼⡲ㅷշ鋶꨽銳剪⹢㌨(2019) 涸⹛殥佦✲կ㖈涯㣔涸ꨵ鋕〵䊨⡲⚥랓挳頾顑䖔劍醢⡲⢾㥵黫⿡㖈月縡晙⚥㟛衅涸暵䪮怵㆞魧♳涸 ոկ鸎ワ㕠涸晘㠗♳⵱他佞衼⡲ㅷշ ո կ鸎僽♧⟝歋侷⼪⦐ꪪ 㸝Ⰼ粪䧴僽欽剏魧涸脽鿈⢵剏䳕ⷛ⚥㥎⚺錭醗ꪪ涸脽鿈կ鸎㖈㯮넒䊨⡲ծ侷㶶䪮遮䧴僽⩝㊤㷸⚥鿪僽衼ꆄ蒀暅룈涸㝕俱涮哬梖Ⱘ穉䧭涸⡲ㅷ鸎❈梖Ⱘ僽㼩⚺錭涸❖㧻欰⵸噱捀棇鋕涸ꆄ醢⧺暅涸㣐ꆀ醲2019 Bestiality rider R Bestiality rider A Bestiality rider T ♧珏鸟䧭涸铭玐կ 醢կ㖈痦✳⦐㾝䑻佞縨衼䎃涸♲⦐倝⡲շ ոծշ ոㄤշ ո կ鸎僽♲⦐魧瑬늫鞴罈롖䨠剪涸⯥留㣐㼭涸歑䚍➃넒垷㘗ぐ荈鄄㸝佞㖈䔞矱♳⢵垷亻䚓殯涸⯥留麈 랓挳䭷ⴀ➭涸ⶽ⡲♶僽⼧ⴔ姻窠涸⹛殥〫僽♧❈暵ⴽ知㋲涸匌銯կ⭽盗➭涸ⶽ⡲鄄ⱟぜ랓挳⹛殥坾㜥梖Ⱘկ㥵ず欰崞⚥涸榹✲圓䧭✫랓挳ꏖ⫸⡲ㅷ涸稇勞植㻜欰崞⚥涸✲⟝⵱㉫涮谀遮㹻ⶽ⡲✫鸎䊨⡲㹔亘Ⱖ罜鎊鸎랂》ぜ僽捀✫溏♳⿡刿㼠噟♧❈랓挳♧➃㖈荈䊹㹻⚥䎘⛖䪬⺫㸤䧭✫䨾剣涸 ♧酤縨⡲ㅷ랓挳涸㹻㖈Ⱖ彋⪓鸎妃㾝錓儗귃「衼♧ꦷ罈롖涸Ⰶ⤀կ㖈鸎♧禹⴩㣼䚓涸酤縨⡲ㅷ⚥魧䊨⡲㻨⹛殥艀劥ծ㖈ꨵ舠♳粭殥⹛殥ծ箠㻨갉坾瘝կ➭鼨竤䌢欽荈䊹嬗搁䠭䞔涸䑝匌鑨捀⹛殥ꏖ醢倾瑬䨠剪鄄꼧⻊涸♲ꦷ罈롖⵱僽谀遮㹻㼩鸎♧Ⰶ⤀㹻⚥涸㓾룈⹛暟涸䛋䧌ㄤ⿇撕涸傻螟կ 涯կ㖈捀剦⿼涸坾꥙醢⡲✫侷⦐⹛殥⚛♳⫄笩窄䖔馊⢵馊㢴涸➃Ꟛ㨤㼩랓挳涸⡲ㅷ欴欰✫慭⾩涸莇 Jungle 馰䖰罜「ⵌ렽莺涸랓挳鹍遤⚛♳⫄✫刿㢴涸ⶽ⡲կ䖎䘯Ⱖ⤑格䖤✫껺度堤圓涸㨼⟣ㄤ㉁噟殥䐤涸砝㖈筝䱹衼涸㾝䑻⵱ッ植Ⱖ⡲ㅷշ䣥劅 ոկ랓挳㼞㖑꬗ꎦ♳稘蒀嬁窑㖑嬝ㄤ侷涰⦐걃Ⱘ⚥㕜暵蒀涸 秉կ 䬸頿頤♶⨢儚⹛涸頤昨鄄䅺Ⰶ♧⦐⦐剣衼䕙蒀걧鿈涸ꤤ蛡⚥կ㖈痦㔋涸㾝䑻⚥佞僥衼շ䢨䚍眎ոծշ 权➫䒭涸䠥ոㄤշ⡹銳攧捘㖑鋶鋶晄㖑ոկ㖈鸎♲鿈⡲ㅷ⚥⚺➃Ⱆ⦛涸ꤤ蛡鿪䪏怵衼⚺銳涸錭蒀կꡠ倴BONER (2019) 랓挳钡捀姻僽㔔捀Ⱖꏖ⫸⡲ㅷ⚥涸知㋲䚍⢾㥵祪卓蒀禹ㄤ⟁➃䟝饰侷㶶⻊涸坾넞䧴僽♳⚆私Ⱃ ⡲ㅷշ ո 랓 挳 ⵱ 圓鸣 ✫ ♧ ⦐ Ꟑ Ꟑ 涮 ⯕ 涸䊭㣐 ꤤ 蛡 㖈 Ⱖ 갥 畮僽 ♧ ⦐(2018) 〳偒鱲涸涮 ⯕ 䠥䗱 Ⱖ ⼧䎃➿涸ꨵ舠麈䨠涸⫸稇⻊➃暟䕎韌䩞⢪䖤鸎❈⡲ㅷ乩剣暵ⴽ⛓贕ㄤエ䒸⸂⽰㷛留菚涸㣔溫昇恟佅咽♳⵱鄄佞縨✫♲⦐瑲ⴀ涸ꏖ⫸곏爙㐼կ㖈剒䖔♧⦐佞僥衼շ랓挳㺱鎊♧ո(2019) ㄤշ 랓 挳㺱鎊 ✳  ㄤ䧭➃䞔眎䒁⠽ⴀ僈焷幡兠涸⚺겗ꏖ⫸⚥涸⽓鸑䕎韌闍鶣衼䧮⦛殹♴⯎倉ぐ珏氻椚ㄤ♶怐涸欰崞 ո 涸㾝䑻⚥㢴⦐鷳僈⯎孴䒭䏠喱鄄佞縨䕎䧭✫谀遮㹻涸⚥俒㨹孒կ鸎♧瑟꟦鼨佞縨衼♧⦐䊭㣐Rabbit 3 in 1 (2019) 橇㞯կ搁腊捀⸂ծ礵牟ꐫ✥ծⶒ⵴ⵄ欽ㄤ⿇㥎氿搁♧♶㖈곏植ず儗⛲僽鸎⦐儗➿⯎怐䝱ⷛㄤ⫊䠭涸랱 涸⯎孴䒭շ ո 鸎僽Ⱖ剒倝㺱鎊⚥涸⚺錭կ 蒀䎕랾菚涸㻨撑կ Stephanie Bailey 剣ꡠ랓挳涸俒畎䌢䌢䲿⿺Ⱖⶽ⡲⚺겗⚥涸㟹衅♶㜕կ罜谀遮㹻⵱⚺䓹㖈✽耡笩儗➿♴䎘⛖尝剣䨾閖鐱锸㹻钡捀랓挳涸⡲ㅷ䠑㕭㼞⦐➃涸䣥劅ծ竤娛ㄤ䟝岁Ⱆ⛓倴滞⡲捀♧珏⿿䌢⿶ㄤ涸犜䗻կ⚛⚂➭钡捀䚍䧴鏪僽Ⱖ⢪欽涸铃鎊⡎⚛♶僽⡲ㅷ䟝銳⫄麧涸⥌䜂կ〳⟄铝랓挳悳㖈涸㊤涸꧋넒悳䠑陏կ✲㻜♳穪㣐㢴侷랓挳涸䨾㻨䨾ⶽ鿪僽㛇倴Ⱖ㖈魧鼸錙㻋ⵌ涸㜥兞ծ隡麔涸俒畎ㄤ ⶽ⡲⚺겗⚛ꬋ䚍䧴㟹衅湱⿿僽♧珏㼩殹♴娞㿂䠭涸䱲程䧮⦛㥵⡦䪪㼥㼩➭➃ㄤ荈䧮涸䱹「ծ⺫㺂ㄤ聂ⵌ涸佦✲կ搬罜➭䲽鶣⚆歲植朜涸倰䒭⚛♶僽㥵㻜鷶㶶涸䲽鶣♶搬亘Ⱖ䨾珖⡹♶㧎〫錙溏倝老䠥䧮⦛㥵⡦莄㙹䋑欰崞䌞⢵涸㷐栬䠭ㄤꥬꨅ䠭Ⱏ贕䧮⦛㥵⡦䕹姼ꡠ䧃㖈鸎❈溫㻜㶸㖈涸㉏겗⛓ 㜡㼫⤑駈濸կ ♳植㥵➚➊랂䩞僽刿捀ꅾ銳ㄤ筝鶖涸 (2013) The Velvet Underground 莉⢾铝僈「䢨굹ㄤ䢨欰崞涸崨遤馸⹳㉫涮랓挳ⶽ⡲✫Ⱖ傍饰⡲ㅷշ䢨䚍眎ո կ鸎僽 ♧ ⦐ 剣殹锝랓挳锒锒➭涸⡲ㅷ儗➭剚ぢ⡹䲀讃Ⱖ剒䠥涸♧껷⢵荈涸姐刼կ姐鑂涸痦 ꡠ⺭⤛䚍遤昸涸괏ꦖ涸⹛殥侅㷸կ歋♧⦐䌢鋅涸䑝匌鑨⤾铃罜䒸饰涸ꦐ䟝钱欰✫〥♧⦐⡲ㅷշ权➫䒭(2015) ♧〣䧮剚䧭捀⡹涸ꖏ㶩⿿㼘⡹僽铪⟄⯝⡹♶荈濼〳⟄溏⡲僽랓挳⹛殥ㄤ酤縨涸ⶽ⡲箁程⽰鑑㕭涸䠥ո կ㖈鸎⟝⡲ㅷ⚥♧⦐ꫬ㼱䎃⯓僽㏜疭䖔⿶鶴䧗♳♧⦐脽鿈Ꟁ㖈胜䖔涸㥎㷛կ♧⵱ꡠ倴险倰Jungle (2015) 欽侷㶶䊨Ⱘ⢵㔐䥰䧮⦛䨾贕涸儗➿կ谀遮㹻⟄♧珏鳟鳯⡎⿶䡹䝱䎕랾涸邍植䩛岁⢵䳶爙䧮⦛荈䊹涸䠣 ⶒ⵴㦛㥎涸俒畎⿶⤛⢪랓挳ⶽ⡲✫շ䣥劅 ո կ鸎 ♧ ⡲ ㅷ 闍鶣 ✫ ♧ ⦐ ꤿ 沫涸 ⿿ 薉 ꧆ 䒭涸 ⹛ 殥僳儗➿⚥剒捀帀巜涸珏珏植㻜կ⦩蕯⡹钡捀랓挳涸ꏖ⫸僽䪍刼隶䕎涸铇搬㥵姼㔔捀⚆歲⛲僽♧垺涸晙醢⡲罏ず䠑Ⱖ䚍♶怐涸㧻㶩颪帰劍꟦➭魷㖈邆夔酭⩓瓸䖔⢵小鶴倴瓸⠿♧⦐腊⢪➭涸㧻㶩格䖤80 䪍刼կ 㸤繠䚍넞惐涸臱侁险㻋կ⢵荈♳⚆私(2017) 䎃➿涸♧껷⯥姐⚥鑠殯⿶⯎怐歑奙蒀䕙涸姐鑂雊랓挳ⶽ⡲✫շ ⡹銳攧捘㖑鋶鋶晄㖑ո կ鸎♧⡲ㅷ翸搋♧⦐攧䠥⨴繠涸搁牟锸罏捀✫䳶爙Ⱖㄤ⸂ꆀ⛓꟦涸ꡠ⤙ 罜㔐鶣剣ꡠ䱗衼꥙攧捘鋶ガ昿鋶涸留䎃鎹䥊ㄤ➭㼩♧⦐㛚㹁⿿㼩㭵⵸䚍遤捀涸㛇漛䖝㮒㥎涸娞갫 俒榰㡦䊼㝱晋繠遮긬 鸎♧㛇漛䖝剣衼㼩䭗䭷䚍❜涸㍄㥩ㄤ噱捀⻲㣧䨾䙼涸餁縡䟝岁կ㛇倴錙㻋ⵌ⡞ず♧爢⼥涸罈➃꬗ꪪ䝱(2018) ⫊⚓唲✫♧侮郍蒀䞔㹻䏭ꏖ⫸䌞涸㜥兞⡲ㅷշ鋶꨽銳剪⹢㌨ո ⵱僽ꡠ倴♧⡙♳✫䎃私暅룈䱈 ⯕涸⹛殥⚺錭⸖⸂⯘剪㧻㶩涸娥❖ծⰦ棇诡鋕걽涸䪮遮㜡䑛ծ㼩⯥㰽㮒涸庮劅ㄤ侷㶶儗➿䌞窍➭涸毜 ꨅկ鸎♧禹⴩涸佦✲⚛ꬋ剣ꡠ苟䚚䦢䓳湱⿿僽♧珏㣐苟搁歷ծ嬗搁黫伍涸溫㻜넒植կ Installation View

㾝錒植㜥 Kunsthalle Basel, 2019 , 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Dear, can I give you a hand? ? 鋶꨽銳剪⹢㌨2018

Animated LED color video installation, with sound LED ⹛殥䕙蒀鋕걽酤縨耪갉12 min

Watch Dear, can I give you a hand?

錙溏鋕걽 [PW: EMGWP123]

Kunsthalle Basel, 2019 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Kunsthalle Basel, 2019 , 2019 Photo:䊼㝱晋繠遮긬 Philipp Hänger / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 The Ha Ha Ha Online Cemetery Limited 2019

Mixed media (4,500 plastic teeth; 4,500 metal brackets) , 4,500 Each幊ざ㯮➝ 幊ざ㯮➝ 6.5 秉x 7.5 x 6.5⦐暅룈 cm 嫦♧⦐㽯㼄 Kunsthalle Basel, 2019 2019 Photo:䊼㝱晋繠遮긬 Philipp Hänger / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Bestiality rider R, Bestiality rider A, Bestiality rider T 2019

Kunsthalle Basel, 2019 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Bestiality rider A 2019

Mixed media

approx. 119 x 45幊ざ㯮➝ x 116 cm 秉 Kunsthalle Basel, 2019 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Bestiality rider T 2019

Mixed media approx.幊ざ㯮➝ 79 x 45 x 116 cm 秉 Kunsthalle Basel, 2019 2019 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Bestiality rider R 2019

Mixed media approx. 79 x 45幊ざ㯮➝ x 116 cm 秉 Kunsthalle Basel, 2019 2019 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Kunsthalle Basel, 2019 , 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 BONER 2019

Mixed media

Diameter 180 cm, height幊ざ㯮➝ 450 cm 180 cm, 450 cm 湬䖜 넞 Kunsthalle Basel, 2019 , 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Who’s the Daddy

⡹銳攧捘㖑鋶鋶晄ㆄ2017

Single channel video

㋲걽麤ꏖ⫸⡲ㅷ9 min 15 sec

Watch Who’s the Daddy

錙溏鋕걽 [PW: EMGWP123] Doggy Love

权➫䒭涸䠥2015

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㋲걽麤ꏖ⫸⡲ㅷ5 min 59 sec

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錙溏鋕걽 [PW: EMGWP123] Slow Sex

䢨䚍眎2013

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㋲걽麤ꏖ⫸⡲ㅷ2 min 40 sec

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錙溏鋕걽 [PW: EMGWP123] Installation View

㾝錒植㜥 Kunsthalle Basel, 2019 , 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Rabbit 3 in 1 2019

Plastic

Inﬂated, Approx. 600 x 730 x 340㝕俱 cm 600 x 730 x 340 cm ⯎孴秉 Kunsthalle Basel, 2019 , 2019 Photo: Philipp Hänger䊼㝱晋繠遮긬 / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Installation View

㾝錒植㜥 Wong Ping’s Fables 1

랓挳㺱鎊♧2018

Single channel video

㋲걽麤⹛殥13 min

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錙溏鋕걽 [PW: EMGWP123] Installation View

㾝錒植㜥 Wong Ping’s Fables 2

2019랓挳㺱鎊✳

Single channel video

13㋲걽麤⹛殥 min

Kunsthalle Basel, 2019 2019 Photo:䊼㝱晋繠遮긬 Philipp Hänger / Kunsthalle Basel Philipp Hänger / 伡䕧 䊼㝱晋繠遮긬 Frieze London 䒼ꅽ蘗⧍侚谀⽇剚 Booth H09 㾝⡙ Regent’s Park, London, UK

⧍侚伡佟Ⱆ㕧 04.10.2018 - 07.10.2018 Edouard Malingue Gallery (Hong Kong, Shanghai) was thrilled to launch its inaugural participation at Despite the vibrant and illogical superposition of narrators and events, the films address toils that Frieze London as part of the Focus section featuring celebrated emerging Hong Kong artist Wong Ping (b. affect each of our contemporary daily lives. The delivery is met, however, by “a profound sense of social 1984) presenting ‘Fables’, a single surreal animation in three parts exhibited within an immersive setting. awkwardness” [3], an interaction that at once arouses intrigue and discomfort. Presented at Frieze as the On this occasion, Wong Ping was the recipient of the first Camden Arts Emerging Arts Prize at Frieze central projection lighting up a dark immersive space, visitors are lured into an encounter, one that is met and will realise a major exhibition at Camden Arts Centre, London within the next 18 months. Garnering and further activated by a sequence of three-dimensional vignettes from the animation hung on either extensive critical attention, the booth reflected the cornerstones of Wong Ping’s practice that combines flanking wall. the crass and the colourful to mount a critically humorous discourse around repressed sexuality, personal sentiments and political limitations. Ultimately, ‘Fables’ is a vivid, cynical and cuttingly wry source of insight into societal behaviour. Through the fantastical foil, the works cumulatively provide a liberating rawness and urge a cathartic twist on the Flashing, pop-like imagery; visual and auditory narrations; installations that extend into three dimensions trials rooted in daily life. the artist’s fantastical animation world – these are elements of Wong Ping’s practice that express his observations of society, from childhood to adulthood, using a visual language that sits on the border of /// shocking and amusing. As described by Xiaoyu Weng, associate curator for Chinese art at the Guggenheim in light of Wong Ping’s recent group show ‘One Hand Clapping’ at the New York institution: “He acutely Camden Art Emerging Arts Prize at Frieze is a major new annual prize – launching for the first time at responds to his surroundings on a micro level but also speaks to the social and political reality” [1]. Frieze London 2018 – offering an emerging artist vital critical exposure through their first solo show at a London institution. The prize winner will be supported by the experienced Camden Arts Centre curatorial ‘Fables’, in particular, comprises three back-to-back distinct animations, each of which presents, as the team, and the exhibition will be underpinned by an extensive programme of public talks and events. title suggests, a succinct fictional story with imaginary characters that communicates a ‘moral’ lesson. Unveiled for the first time at the 2018 New Museum Triennial as part of ‘Songs for Sabotage’, ‘Fables’ was cited as “one of the few pieces with obvious digital roots and with politics that feel as much existential [1] Xiaoyu Weng as quoted in “Hong Kong’s Youth Culture, Captured in Disturbing Animations” by Barbara as circumstantial” [2]. Jumping between the tales of a Buddhist nun elephant, social-media-addicted Pollack, The New York Times, May 18 2018 chicken and insect-phobic tree, ‘Fables’ touch upon issues of appearance, love, digital interaction, narcissism and fear. [2] “New Museum Triennial Looks Great, but Plays It Safe” by Holland Cotter, The New York Times, February 22 2018

[3] “Hong Kong’s Youth Culture, Captured in Disturbing Animations” by Barbara Pollack, The New York Times, May 18 2018 1984 (Frieze꼛ⲳ殥䐤껺度 ♳嵳伞䩛껺度濼ぜ倝猖谀遮㹻랓挳欰倴 London) (Focus) 껷 妃 ❭ 湱 ⧍ 侚䒼 ꅽ 蘗谀遮⽇錓剚 շ㺱鎊ո僽⟄欰⹛涸䕎䒭㼩爢剚遤捀䤨⚆㱷⤺ծ㼺ꌳ镽ⵞ涸峯㻋կ鸑麔㣼䎑涸邍韌 ⡲ㅷ䭯糵㖑㾝植荈歋翸搋㋲⯋կ랓挳涸⡲ㅷշ㺱鎊ո僽歋♲鿈ⴔ穉䧭涸馄植㻜⹛殥㖈小嵵䒭㾝䑻酭18 㤕佞涸磦案颶㖑䓽捘㖑傻螟呏嗃倴傈䌢欰崞葾鳟涸㹒峾կ 佞僥կず儗랓挳格䖤✫䒼ꅽ蘗⧍侚谀⽇剚껷㾂⽓㨖⚸谀遮⚥䗱倝莇谀遮㹻栀➭㼞㖈 ⦐剢Ⰺ㖈⽓㨖 ⚸谀遮⚥䗱莉鳵⦐㾝կ鸎⦐㾝⡙䒸饰✫䑝岌ꡠ岤⿿僥✫랓挳涸ⶽ⡲㛇瀖磦祳涸颶䠭莄僈鞴涸蒀䕙穡ざ傻螟䧭䎕랾涸鑨铃䪠ⴼ㖑䱲鎣䚍㠹䫈ծ⦐넒涸㢴䟵㊤䠭ㄤ佟屛㽷ꣳկ - 2018 䒼ꅽ蘗⽓㨖涬谀遮倝莇谀遮栀僽♧갪ꅾ銳涸䎃䏞栀갪 껷妃㖈䎃䒼ꅽ蘗⧍侚䒼ꅽ蘗谀遮⽇錓剚莉 Ꟑ早涸岚兜殥꬗ծ耪殥侃✲ծ䒁⠽Ⰶ谀遮㹻繠㦪⹛殥⚆歲涸♲笞酤縨Ղ랓挳涸ⶽ⡲⯋稇ⵄ欽⡙倴钀鳵鸑麔捀倝莇谀遮㹻㖈⧍侚堤圓莉鳵껷妃⦐㾝涸堤剚䲿넞➃⦛㼩➭⦛涸ꡠ岤կ格栀罏㼞「ⵌ竤뀿鞮镛ծ꩎乞鼸歲涸鋕錏铃鎊邍植✫➭㼩爢剚䖰留䎃ⵌ䧭䎃涸錙㻋կ姻㥵〢呏恍繠遮긬⚥㕜谀遮耡ざ瘻㾝(One Hand Clapping) 㺢涸⽓㨖涬谀遮⚥䗱瘻㾝㕰꥙涸Ⰼ奙佅䭯㾝錓ず劍❠㼞莉鳵♧禹⴩涸ⰖⰟ闍䏠ㄤ崞⹛կ ➃线疭ꨍ䨾䕎㺂㖈剒鵛涸纈㾝㋲䩛䬝䱍[1] ⚥ ➭㼺ꌳ㖑䖰䗎錙㾵꬗㔐䥰✫䨾贕涸橇㞯 ⛲莄爢剚ㄤ佟屛植㻜䕎䧭㼩鑨 կ [1] Barbara Pollack, 2018 5 18 线疭ꨍ 䒸欽荈շ⯕䚓ꤶꨅ涸⹛殥䯲䯝껺度涸䎃鰋俒⻊ո 䎃剢傈晜շ秢秉儗鸎♧럊㖈շ㺱鎊ո⚥㽍捀僈곏կշ㺱鎊ո歋♲穉鶇殯涸鸭糵⹛殥穉䧭嫦♧穉鿪㥵垥겗䨾冝爙ッ植✫♧⦐ 㜡ո 知悥剣⸂涸贠圓佦✲ 歋贠圓➃暟⫄麧麤䗞侅肫կ㖈倝殹➿谀遮⽇暟긬痦㔋㾂♲䎃㾝♳ շ㺱鎊ո⡲捀[2] [2] Holland Cotter, 2018 2 22 灶㡏⛓姐涸♧鿈ⴔ껷妃㾝ⴀ 鄄鐱锸捀㼱侷稟呏侷㶶⻊ず儗ⰯⰨ䗳搬ㄤ⩐搬䚍佟屛䠑纏涸⡲ㅷ շ倝殹➿谀遮⽇暟긬♲䎃㾝溏⡃♶䬳♧呔⽿饥㸝Ⰼ騟箁ո 䎃剢傈晜շ秢秉儗 կ騥鬩㖈⡱侅㽲㨳韌ծ爢❜㯮넒♳涖涸ꧽ漛叅ㄤ䙲辿㶩涸埠涸佦✲⛓꟦ շ㺱鎊ո鍹⿺✫㢪頗ծ䠥ծ侷焺✽ 㜡ո ⹛ծ荈䧗ㄤ䛋䧌瘝♧禹⴩鑨겗կ [3] Barbara Pollack, 2018 5 18 շ⯕䚓ꤶꨅ涸⹛殥䯲䯝껺度涸䎃鰋俒⻊ո 䎃剢傈晜շ秢秉儗㜡ո ꤑ✫侃✲罏ㄤ✲⟝❀䕙俤俫⚂嬗搁齄鰿㖑毕⸈ 䕧晙⛲䭷ぢ✫殹➿欰崞傈䌢涸葾鳟կ搬罜⡲ㅷ涸ッ植⽿[3] 黨麁✫♧珏帿帿涸爢❜㽫㽘 ✽⹛倰䒭用⽰㋍饰✫♧䱲瑕界涸㥩㣼䗱ㄤ♶黟䠭կ㖈䒼ꅽ蘗谀遮⽇錓剚♳ 㾝⡙⚥㣛涸䫏䕧⭑럊❭✫小嵵䒭涸瑟꟦ 錙滞鄄䒸Ⰶ♧㜥鼢鷜 ♧禹⴩䱦㖈Ⰾ⩎晘㠗♳涸⹛殥用넒酤縨雊鸎㜥鼢鷜刿⸈溫㻜կ Installation View

㾝錒植㜥

Watch Wong Ping’s Fables 1

랓挳㺱鎊 ♧ 2018

Watch ‘Wong Ping’s Fables 1’ 錙溏鋕걽 [PW: EMGWP123] Installation View

㾝錒植㜥 Installation View

㾝錒植㜥 Kidnapped Chicken feels guilty for his inability to crow before sunrise Premature Elephant ꣚ꧽ㔔鄄竁卺劢腋⿻儘倴傈ⴀ儘ꧽ㊓罜䠮ⵌⰉ毰2018 2018傍欴涸韍 3D printed relief painting 3D printed relief painting 3D 3D 䩧⽪嵥ꧧ殥䩧⽫嵥ꧨ殥 40 x 62 x 14 cm 50 x 64 x 12 cm Turtle, who is ofen called by the name of penis because of his looks, suffers from severe depression and takes Albino Cockroach becomes the lightest colour bodybuilding championship winner in history poison to commit suicide 涯⻋氿刻歎䧭捀⨴繡〷♳芕蒀剓幏涸⨴繡ꐘ垦飓籏ⱟ鮪2018 2018꣚륰㔔垺㶩竤䌢鄄嫲㌈捀ꤿⰨ罜䝖♳㓂ꅾ䫈뇓剪嫬 3D printed relief painting 3D printed relief painting 3D 3D 䩧⽪嵥ꧧ殥䩧⽪嵥ꧧ殥 55 x 47 x 20.5 cm 40 x 66 x 17.5 cm Tree takes on part-time nude life modelling during his spare time Tree takes on part-time body rental for Pole to pole dance during his spare time ꣚埠꟥儗Ⱟ耶ⴀ獆魧넒雊ꏈ盗騥埠莺 2018꣚埠꟥儗Ⱟ耶醗넒㻨欰垷暵⯥ 2018

3D printed relief painting 3D printed relief painting 3D 3D 䩧⽪嵥ꧧ殥䩧⽪嵥ꧧ殥 41 x 38 x 17 cm 40 x 27 x 18 cm One Hand Clapping

㋲䩛䬝䱍 Solomon R. Guggenheim Museum, New York, USA •R• 䨾繏Ꟍ 〢呏嵳㨖繠遮긬 秢秉繠㕜 04.05.2018 - 21.10.2018 The Solomon R. Guggenheim Museum presents One Hand Clapping, a group exhibition of newly R commissioned works by Cao Fei, Duan Jianyu, Lin Yilin, Wong Ping, and Samson Young. The exhibition 䨾繏Ꟍ˖ ˖〢呏嵳㨖繠遮긬涸纈㾝չ㋲䩛䬝䱍պ㾝ⴀ剆信媯䒊㸙卌♧卌 랓挳ㄤ嘥㎗鰜涸Ⰼ倝㨼⟣2013 is the third of The Robert H. N. Ho Family Foundation Chinese Art Initiative, a research, curatorial, and ⡲ㅷկ劥妃㾝錓僽չ⡦듳嫏㹻偛㛇ꆄ⚥㕜谀遮鎙ⷔպ涸痦♲㔐ざ僽♧⦐倴2018 5 4 10 21 䎃Ꟛ㨤涸灇瑕瘻ⷔㄤ诡 collections-building program begun in 2013. On view from May 4 through October 21, 2018, One Hand ㅷ䒊鏤갪湡կ㋲䩛䬝䱍㼞倴䎃剢傈荛剢傈㾝ⴀ㾝錓㼞⠶ꦐ衼ⴀ晜暟⟄⿺♧禹⴩Ⱆ Clapping will be accompanied by a catalogue and public and educational programming. Ⱏㄤ侅肫갪湡կ

The artists in One Hand Clapping explore our changing relationship with the future. Produced in both new 㾝錓չ㋲䩛䬝䱍պ⚥涸谀遮㹻⦛䱲程衼➃稡莄劢⢵⛓꟦涸隶⻊ꡠ⤙կ䖰贠亻植㻜䪮遮ⵌ屘殥⡲ㅷ巑覇 and traditional mediums-from virtual-reality technology to oil on canvas-their commissioned works ✫倝莇ㄤ⫄窠涸ⶽ⡲㯮➝谀遮㹻涸⡲ㅷ䮋䨞衼Ⰼ椕⻊䕧갠♴⟄䪮遮捀⚥䗱涸劢⢵կ㖈❀垛랓挳ⶽ鸣 challenge visions of a global, homogeneous, and technocratic future. On Tower Level 5, Wong Ping creates ✫♧⦐㢴㯮넒酤縨Ⱖ⡲ㅷ僽♧⦐蒀䕙鞴뜨涸⹛殥䱲鎣衼罈룱⻊涸纈넒莄馊⢵馊猰䪮⻊涸⚆歲⚥涸 a multimedia installation centered on a colorful, racy animated tale that explores the tension between 筝䓹ꡠ⤙ 媯䒊㸙㖈㥟涸粭殥ㄤꧧ㝕⡲ㅷ⚥ⶽ鸣✫♧⦐馄植㻜㙹ꀀ❜䕀涸倝⚆歲卌♧卌圓䒊✫♧⦐ an aging population and the relentless pace of a digital economy; in her paintings and sculptures, Duan 贠亻涸耶噟砭椕麋⹛鷳麔猰䪮雊錙遛鹍Ⰶ➭罏涸魧넒կ㖈♫垛剆信㻣鋕衼⚥㕜荈⹛⻊ㄤ堤㐼➃䪮遮 Jianyu depicts a surreal, transitory place where the rural meets the urban; and Lin Yilin constructs a virtual- 䨾䒸涮涸悳㖈⽭堤嘥㎗鰜⵱㼞ꧧ㝕✫⯎怐⧺涸坾㐼莄耪갉涸䎑㞯⿿䙼衼䧮⦛㼩擿䜪ㄤ溫㻜䚍涸鶴 reality simulation featuring a professional basketball star, testing the potential for using technology to 䧗կ inhabit the experience of another. On Tower Level 7, Cao Fei examines the new realities and potential crisis driven by automation and robotics at some of China’s most advanced storage and distribution 㾝錓⚺겗չ㋲䩛䬝䱍պ⢵荈倴㖈狪⥝⚥䮋䨞椚䚍䙼笞ꣳⵖ涸閰겗չグ➃濼䜪✳䱍 (618 - 907) 湱乹⛓耪搬⵱栬䩛䬝J.D. facilities, and Samson Young reﬂects on our obsession with ritual and authenticity through a sonic and ⛓갉⿶⡦蕯(J. D. Salinger պꧪ彂荈⚥㕜㇫劊 (1953) 90瀊铃չ㋲䩛䬝䱍պ㖈♶ず俒⻊⚥♶倬鄄缺陼ㄤ䒸欽䖰飓 sculptural environment of imaginary musical instruments and their digitally engineered sounds. 卌呔 շ⛰佦✲ո 涸ⵌ 䎃➿卌㶩牬涸礡铃㼠鰿ㄤ㋲刼ⱄⵌ慌㣐ⵄ❏ꨵ䕧⟄⿺♧ ⦐薉㕜坾꥙涸ぜ珖瘝瘝կ荛姼չ㋲䩛䬝䱍պ䧭昸♧⦐騗㕜ꥸ涸ꦠ㌇Ⱖ䠑纏鄄铏隡箠鸣 ⫄乄⚛㖈♧ The exhibition title One Hand Clapping is derived from a koan-riddles used in Zen Buddhist practice to ⦐Ⰼ椕⻊涸⚆歲⚥♶倬ꅾ鶣կず儗չ㋲䩛䬝䱍պ涸䠑韌⛲⟁➃耡䟝ⵌչ栬贕պ⟄⿺谀遮㹻⟄⦐넒錙럊腊 challenge logical reasoning-that asks, “We know the sound of two hands clapping. But what is the sound 䮋䨞⚺崨 ⵠ匣⽪韌ㄤ⫄窠奙⸂涸栬暵腊⸂կ of one hand clapping?” Emerging from a tradition that originates in China’s Tang period (618- 907), the •R• phrase “one hand clapping” encompasses a history of cross-cultural translation and appropriation that 歋䨾繏Ꟍ 〢呏嵳㨖⽇暟긬䲿⣘ continues into the present, from serving as the epigraph to J. D. Salinger’s Nine Stories (1953) to being referenced in the titles of a Cantopop song and an Australian ﬁlm and in the name of a British band. In this light, “one hand clapping” becomes a metaphor for the processes by which meaning is fabricated, transmitted, and restated in a globalized world. The image of “one hand clapping” also suggests connotations of solitude and the ability of artists to put forth a singular perspective and to challenge prevailing beliefs, stereotypes, and conventional power structures.

- Courtesy of Solomon R. Guggenheim Museum Installation View

㾝錒植㜥