Tiffany Chung

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Tiffany Chung TIFFANY CHUNG TIFFANY CHUNG FINDING GALÁPAGOS: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order) Land of Ahhs (projection), 2009 and Sign-Sites-Sight-Sighs, 2009 p. 2: Find Yourself Here, 2009 Artificial Paradises or Home — Where? Tiffany Chung’s productions lead to utopia/dystopia by Ulrike Münter Where everything is planned, there is no room for life. Tiffany Chung’s multimedia works — ranging from drawings and staged pho- tographs to installations, and performances — send the observer on an emotional rollercoaster ride. The pastels that dominate her palette, the floral patterns, cloud-like shapes and soft materials seem invitingly cosy at first glance, but a closer look often reveals that Chung’s artificial paradises are sterile and deceptive. In Chung’s most recent films, this critical basic tenor has been replaced by melan- choly introspection. The exhibition Finding Galápagos: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order) (2009) traces the artist’s journey along this route. Born in Vietnam, Tiffany Chung immigrated to California with her family 30 years ago. She returned to Vietnam in 2000, and has since visited Japan, Thailand, Korea and China for numerous Künstliche Paradiese oder Heimat – Wo? Tiffany Chungs Inszenierungen führen nach Utopia/Dystopia von Ulrike Münter Wo es keinen Zufall mehr gibt, ist das Leben ausgehaucht. Tiffany Chungs multimediale Arbeiten stürzen den Betrachter in ein Wechselbad der Gefühle. Ob inszenierte Fotografie, Zeichnung, Rauminstallation oder Performance; die von Pastelltönen dominierte Farbpalette, florale Muster, Wolkenformen und weiche Materialien wirken zunächst einla- dend heimelig. Auf den zweiten Blick jedoch entpuppen sich Chungs künstliche Paradiese nicht selten als asep tisch und trügerisch. In ihren ak- tuellen Filmen weicht dieser kritische Grundtenor einer melancholi- schen Innenschau. Die Ausstellung Finding Galápagos: fish, pigs, youngs- ters, old folks, men, women and the Black Canals (not in any particular order) (2009) zeichnet diese Gratwanderung der Künstlerin nach. In Vietnam geboren, lebte Tiffany Chung nahezu dreissig Jahre mit ihrer Familie in Kalifornien. Seit ihrer Rückkehr nach Vietnam vor nun- mehr neun Jahren führen künstlerische Projekte sie nach Japan, Thailand, 4 5 The Sponge City, 2005 art projects. There she conducts field studies on the rapid pace of change in Asian megalopolises in the city where she currently lives, Ho Chi Minh City, and others. In Ho Chi Minh City and places like Tokyo, Seoul and Shanghai, whole residential areas go from the draw- ing board to completion in a matter of months and garden plots spring up as a substitute for nature. Faceless cities born in the pres- ent moment with no sense of history: Welcome to utopia! — or is it dystopia? To those not caught up in this tidal wave of change, Asian metropolises must seem like a film running in fast motion. While the colonial past, the Cultural Revolution and the Vietnam War were defining experiences for the older generation in Asia, there is little to remind younger city dwellers of these traumatic chapters in their countries’ histories. Urban planners have evidently not considered it their goal to give cities a distinctive face that incorporates the past into the present or to make urban spaces repositories of collective memory. But priorities are different in Asia: when raising the standard of living becomes a goal pursued so relentlessly, individuals must scramble to adapt. Korea und China. Dort betreibt sie ihre Feldstudien über den rasanten Wandel asiatischer Megacitys, u. a. am Beispiel ihres derzeitigen Wohn- orts Ho-Chi-Minh-Stadt. In kürzester Zeit finden dort, aber auch in Städten wie Tokio, Seoul oder Schanghai, ganze Wohngebiete den Weg vom Reißbrett zur Realisierung, angelegte Gärten werden zum Natur- ersatz. Blanke Gegenwärtigkeit um den Preis eines geschichtslosen Va- kuums. Willkommen in Utopia/Dystopia! Asiatische Metropolen müssen auf diejenigen, die nicht in die- sem reißenden Strom mitschwimmen, wie ein Film im Zeitraffer wirken. Koloniale Vergangenheit, in China die Kulturrevolution und in Viet- nam der Vietnamkrieg prägen bis heute den Erfahrungsraum der älteren Menschen. Für die jüngere Generation der Stadtbewohner dagegen erinnert kaum noch etwas an diese traumatischen Kapitel in ihrer Hei- mat. Städteplanerisch galt und gilt es augenscheinlich nicht, den Orten ein Profil zu geben, das Vergangenes im Gegenwärtigen aufgehen und urbanen Raum zum Erinnerungsträger werden lässt. Die Entwick- lung hin zum internationalen Lebensstandard wurde mit einer Radikalität vollzogen, die vom Einzelnen ein Höchstmaß an Anpassungsfähigkeit fordert. 6 7 Soft Air n Cotton Candy, 2005 Rapture in a frenzy of colour “All Asian metropolises seem to share a lot in common at first glance,” says Tiffany Chung, summing up her experiences in cities like Fukuoka, Tokyo, Bangkok, Seoul, Shanghai and Ho Chi Minh City. “Thanks to the internet, MTV, mobile phones, iPods and contemporary capital- ism, we all share a homogenization of tastes in terms of music, fash- ion, lifestyles and youth culture. But beneath the surface, there are still differences between the more and less developed nations. In terms of fashion, for instance, young people in Vietnam are trying to catch up with their Japanese counterparts, but they do not look genu- ine because the looks are not theirs. The Japanese, by contrast, look effortlessly fashionable.” 1 Bursting with vitality and narcissism, celebrating the here and now as if there was no tomorrow, Chung captured the attitude of the generation born after 1980 in her exuberant music and dance perfor- mance Soft Air n Cotton Candy (opening event at the 3rd Fukuoka Triennial, 2005). The production, featuring a young Vietnamese singer and Japanese dancers in a shower of pink, bright red and grass-green lights, enchanted performers and audience alike. While the artist Taumel im Farbenrausch „Auf den ersten Blick ähneln sich asiatische Metropolen“, resümiert Tiffa- ny Chung im Rückblick auf ihre Erfahrungen in Städten wie Fukuoka, Tokio, Bangkok, Seoul, Schanghai oder auch Ho-Chi-Minh-Stadt. „Die Vernetzung der jungen Generation durch Internet, MTV, Mobiltelefon und iPod führt zu einem globalisierten Geschmack hinsichtlich Musik, Mode und Lebensstil. Hinter dieser Oberfläche gibt es aber nach wie vor Unterschiede zwischen entwickelten und sich entwickelnden Ländern. In der Mode beispielsweise versuchen vietnamesische Jugendliche ihre japanischen Altersgenossen zu kopieren. Im Vergleich zur Lässigkeit der japanischen Outfits wirkt ihr Stil aber etwas unbeholfen.“ 1 Kraftstrotzend und selbstverliebt, das Jetzt und Hier zelebrierend, als gäbe es kein Morgen: Dieses Lebensgefühl der nach 1980 geborenen Generation bannt Tiffany Chung mit Soft Air n Cotton Candy in eine energetisch überbordende Musik- und Tanzperformance (Eröffnungsver- anstaltung der 3. Fukuoka Triennale, 2005). Pink, leuchtend rot oder grasgrün ergießt sich ein Lichterregen über die jungen TänzerInnen und SängerInnen. Die Inszenierung verzaubert Akteure und Beobachter gleichermaßen. Sympathisiert die Künstlerin hier spürbar mit dieser 8 9 Enokiberry Tree in Wonderland, Episode 3: another day another world, 2009 Face-Off Urban heroes in the pond obviously sympathises with this creative manifestation of cultivated contemporary zeitgeist in Soft Air n Cotton Candy, the indoor play- ground Kids’ Corner (2005) in the Fukuoka Asian Art Museum has an oppressive feel to it. Layers of gentle pastel shades blanket the curved shapes of furniture and toys; floral patterns on the window- panes soften the view of the austere surrounding buildings. But wouldn’t one prefer to see the children out in the sunshine, playing in a sandpit or maybe even in the woods? In her Plastic Fantastic! flower box — part of the mixed media installation The Sponge City (2005) — Tiffany Chung puts this shift from natural experience to Second-Life virtuality in a nutshell. Fleeting beauty is replaced by artistic perfection — albeit an odourless, flavourless one. By trans- forming sweets into cuddly, yet inedible material objects, Chung removes the element of taste (Tutti-frutti pompons, 2005). The result is a sensory shunting yard. While in her performance Soft Air n Cotton Candy Chung worked with young people from Japan, the protagonists in her most recent series of photographs Enokiberry Tree in Wonderland, Episode 3: Another Day Another World (2008) are a group of young cosplay 2 actors from Shanghai (episodes 1 and 2 feature young Vietnamese kreativen Form kultivierter Gegenwärtigkeit, so vermittelt der Indoor- spielplatz Kids’ Corner (2005) im Fukuoka Asian Art Museum ein eher beklem-mendes Gefühl. Schichten sanfter Pastellfarben überziehen geschwungen geformtes Mobiliar und Spielzeug, florale Muster an den Fensterscheiben dämpfen den Blick auf die kalte Strenge der Gebäude- architektur. Aber wünscht man sich die Kinder nicht doch lieber in die Sonne und den Sandkasten oder gar in den Wald? Mit ihrer Blumen- box Plastic Fantastic! – Teil der Mixed-Media-Installation The Sponge City (2005) – bringt Tiffany Chung diese Verschiebung von Naturerfah- rung hin zu einer Second-Life-Virtualität auf den Punkt. An die Stelle vergänglicher Schönheit tritt künstliche Perfektion – geruchsneutral wohlgemerkt. Indem die Künstlerin Süßigkeiten in kuschelige, aber unge-nießbare Stoffobjekte transformiert (Tutti-frutti pompons, 2005), entfällt die Geschmackskomponente.
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