Flotsam, Jetsam, Lagan & Derelict | Wall Street International Magazine

A.I. is pleased to present Flotsam, Jetsam Lagan & Derelict, an exhibition focusing on different strategies of constructing archives of encountered territories. A selection of works by three artists, Haffendi Anuar (b.1985, Malaysia), WeiXin Chong (b.1988, Singapore) & artist collective without appeal (b.2016, London), in the form of table-top sculptures and prints examine the versatile and paradoxical power of the flâneur.

Haffendi Anuar’s table-top sculptures entitled Migratory Objects trace the contemporary mutations that occur in cultural symbols as a result of displacement, digitalisation and commodification. Through the current velocity of digital dispersion and pixelation of traditional designs and patterns, these resulting objects become pseudo-artefacts. Their existence, inspired by kitsch decorative pieces and cultural debris, question their potential to enter Western economic exchange markets.

The series Toute La Nuit by WeiXin Chong developed in response to exploring the urban environment whilst on a residency in Paris. Utilising natural and man-made ephemera found at site-specific locations, for example: Bois de Boulogne and the resting place of French writer, Simone de Beauvoir (whose grave she shares with her lifelong partner- the famed existential philosopher Jean-Paul Sartre) -these re-compositions evoke narrative associations simultaneously alongside its flash, frozen-in-flight aesthetic.

without appeal are premiering two bodies of work: a paperback self-publication titled Enthusiasm Is Blasting Out of All of My Holes is the result of a six-month long project which took place between Hunedoara, Warsaw, Venice and Paris. With roots in Guy Debord’s ideas on psychogeography and cultivating a new awareness of our environment, the publication documents a subjective engagement with these spaces and explores personal micro-narratives interwoven in each location.

The series Everything that is Man-Made Requires Maintenance is a response to rising nationalist delimitations and a growing appeal for singular identities and restrictive borders. The hybrid landscapes metaphorically eliminate distances and arbitrary delimitations set between the urban, institutional and natural environments. The resulting fictional territories hold the promise of open access and multiplicity, while they speculate on the possibilities of collaboration and community.

  Migratory Objects 4 , 201 - Haffendi Anuar   

Migratory Objects 4, 201 - Haffendi Anuar

 

 No Security of Tenure, 2017 - without appeal 

No Security of Tenure, 2017 - without appeal 

 Ionesco (Series: Toute La Nuit), 2015 - Chong Weixin

Ionesco (Series: Toute La Nuit), 2015 - Chong Weixin

Fiona Struengmann | ArtNet News

7 Young Artists Making a Big Impression at Photo London

 Series: Just Like You, But Different (Untitled 14), 2017

Series: Just Like You, But Different (Untitled 14), 2017

Classic images by the big beasts of photography are on show—and sale—at Photo London, the fourth edition of which opens to the public today, May 17, at Somerset House. The fair offers exhibitions of works by its 2018 Master of Photography, Edward Burtynsky, and one of the founding fathers of the medium, William Henry Fox Talbot, plus classic images by the likes of Brassaï and Bill Brandt, among many others. At the same time, collectors are sure to find fresh talent as well. 

Here’s our pick of seven young artists who are stretching the medium, giving its traditions a fresh twist and attracting the interest of collectors and curators. One of them, Tania Franco-Klein, has already added a new prize to her burgeoning resume, winning the Photo London Artproof Schliemann Award 2018, which was announced last night. Something of a double whammy, the young Mexican artist who studied in London gets two residencies, one in Arles funded by Joana and Henrik Schliemann and the second in Tallinn at the Artproof workshop, which comes with a €10,000 ($12,000) production budget to create new works. 

Fiona Struengmann, “Just Like You, But Different” (2017-18)
A.I. Gallery, London

The Munich-based artist Fiona Struengmann, who is a graduate of Parsons, has been mining an archive of around 7,000 found photographs and producing her own manipulated images. She transforms the snapshots of ordinary life in Germany from the 1920s to the 1950s by honing in on telling details, drawing attention to the way a woman is seated or a hand gesture, then blanking out the background, sometimes adding tiny drops of gold paint. Each is unique and at first glance the delicate monochrome images look like drawings.

“I was in a flea market and a woman came up to me and said ‘I have something for you,’” she explains of the source material. The artist kept some untouched but the rest form the basis of her series “Just Like You, But Different.”

She tells artnet News that she has discovered another trove, this time in France, this one “about slavery and colonialism.” Once again, a collector wants her to mine his archive.

Unique works at Photo London range from £800 to £1,350 ($1,000 to $1,820).

 

WeiXin Chong | PhotoMonitor

UNSEEN 2017 | Viewed & Reviewed

 

Booth reportage by Paul Carey-Kent:

"At A.I., Singaporean WeiXin Chong cleverly linked the vanitas tradition of the floral still life with the beauty industry’s contrary pretensions to counter the ageing process. The Beige Dreams series – referencing the ideal skin colour recalled from her girlhood memory of the crayon considered ‘people-coloured’ – applies make-up (in this case YSL Touche Eclat Shade 2.5) to flowers to yield a look similar to decay."

Link to article here

A.I._WeiXin Chong_Beige Dreams_2017_flower_04.jpg

WeiXin CHONG. Beige Dreams -Flesh Skin Surface.4, 2017. Courtesy of artist & A.I. Gallery

WeiXin Chong | UNSEEN Magazine 2017

A.I. is pleased to return to UNSEEN Amsterdam 2017 (22-24 Sep 2017) presenting a new body of works by artist WeiXin CHONG. On this occasion, an artist interview has been published in UNSEEN Magazine 2017. Except below:

 WeiXin CHONG.  Beige Dreams -Flesh Skin Surface.3,  2017. Courtesy of artist & A.I. Gallery

WeiXin CHONG. Beige Dreams -Flesh Skin Surface.3, 2017. Courtesy of artist & A.I. Gallery

Weixin Chong (b. 1988, Singapore) uses subtle and refined imagery to delicately commentate on the human practice of archiving and recording history. Her newest series examines our obsession with concealing the aging process, especially in women.

Q. Tell us about how you incorporate theories of archiving into your work.

A. I think we’re never fully aware of our predispositions and assumptions, and how this embedded subjectivity influences how we consider what is worth being archived. While making my plant series, Exponential Taxonomies, a lot of my research dealt with the motivations behind the construction of colonial natural history records—the drive to discover, collect, and attribute names to tropical plants and animals was a way of usurping the “exotic” as one’s own, often competitively among European colonisers.

 

Q. What specific materials and theories did you use to create Beige Dreams?

A. I wanted to create a clear image and record of my floral subjects, so I printed the photographs on aluminum to embody their texture, bringing out the slick fluidity and moist flesh of the plants. I like how portraiture is monumental in a specific way, like the French painter Fantin-Latour’s floral still-lifes. I also wanted to reference high-end cosmetic advertisements, which were a big influence for this series.

 

Q. Your final pieces are the result of a creative process that includes research and extensive personal interaction with your subjects before you photograph them. How did this process manifest itself in the creation of Beige Dreams?

A. Creating Beige Dreams was my first time working with flowers, and the work draws on the personal history of my perception of flora as symbols and visual motifs. Flowers have long been symbols associated with girls and young women, and images of or containing flowers usually represent some sort of feminine youth. Additionally, in Chinese culture, prostitutes are euphemistically referred to as “flowers,” and in the Chinese period dramas I remember watching with my grandmother, the characters who were prostitutes often had names associated with flora. Leading up to the creation of Beige Dreams, I became acutely aware of the rate and process of decay that each plant went through, and how different kinds of cosmetics masked or affected this aging. The flesh of the flowers represents our own skin in a way, since the youth of both ourselves and flowers are fetishized. With my past work, I often resisted or found ways around creating formal photographic images, instead using technology like scanners and mobile phones. This new work afforded me the opportunity to receive mentorship from photographer Julio Galeote, who helped me with making the final photographic images. This instruction and encouragement marked a turning point in my embracing the photographic medium, inspiring me to engage further with its capabilities.

 

Q. The title Beige Dreams is evocative and synaesthetic. Tell us about its different components and what they represent for you.

A. Using the colour beige was a reference to perceptions of skin tone and shades in the cosmetic and advertising industries that we are constantly surrounded by. Beige has always been an unsettling colour for me: I have memories from early childhood where the beige Crayon was a prized component of a colouring collection for being “people-coloured,” even in an ethnographically diverse school in Singapore. In terms of fashion, beige or “nude” colours gingerly tread between their perception as tacky or sophisticated. There’s this unspoken acceptance of beige as a symbol of the most neutral representation of a given entity. Dreams allude to desire’s aspirational components, but also to its darker undertones. Makeup and decoration both relate to a type of dream or desire that we are trying to reach.

 

Q. How does your work address vanitas, duplicity, and decay, and what you call “blatant superficiality”?

A. I love the chameleon potential of makeup and fashion, and how we encode ourselves through our appearance. Blatant superficiality often signals an awareness of this process, and I see it as our exercising agency and visible engagement with these cultural codes. My work captures some of that awareness, and also captures our own inevitable deterioration.

Link to UNSEEN Magazine 2017

 WeiXin CHONG.  Beige Dreams -Flesh Skin Surface.4,  2017. Courtesy of artist & A.I. Gallery

WeiXin CHONG. Beige Dreams -Flesh Skin Surface.4, 2017. Courtesy of artist & A.I. Gallery

WeiXin Chong | RA Summer Exhibition 2017

New work in Gallery VII

WeiXin CHONG's drawing titled Sleepwalk (2016, pen & ink, 20 x  25cm) is on exhibition at the Royal Academy's Summer Exhibition 2017 in Gallery VII. The unique work links back to her video work produced in 2010, similarly titled. To view, follow link here.

 WeiXin CHONG.  Sleepwalk , 2016 (pen & ink). Courtesy WeiXin Chong & A.I. Gallery

WeiXin CHONG. Sleepwalk, 2016 (pen & ink). Courtesy WeiXin Chong & A.I. Gallery

Description of the RA's Gallery VII's hang below:

In the second of the print galleries, Rebecca Salter RA surrounds us with people, animals and the places they occupy. As we investigate the works, we become tourists and voyeurs. We are drawn into the privacy of individual rooms and we surreptitiously look out through doorways or windows. In some of these works, we see tumbledown buildings and slow decay; in others we find industry, energy and new possibility – building sites, gas rigs and commuters hurrying to work. But the world we occupy is natural as well as urban. In this room, we encounter forces of nature, as well as the importance of our relationships with animals.

Link to the work online at the RA Summer Exhibition 2017 here 

Sarah Choo Jing | Wall St Journal Magazine

Feature: SARAH CHOO JING | Art of Rehearsal (13 May - 26 Nov 2017)

A.I. is pleased to announce Sarah Choo Jing (b. 1990, Singapore) will be presenting a new work titled Art of the Rehearsal in a group exhibition: Personal Structures hosted by the European Cultural Centre (organized by GAA Foundation) in the context of the 57th Venice Biennale.

Art of the Rehearsal was commissioned for the opening of the new media gallery at the National Museum of Singapore, the theme of which was traditional dance.

The work comprises a panoramic video collage and individual video portraits depicting cultural dancers from three different local troupes. A short essay by Louis Ho (curator at Singapore Art Museum) will be published to mark this exhibition supporting this new video work.

 Art of Rehearsal (Installation View). Image Courtesy artist and A.I. Gallery

Art of Rehearsal (Installation View). Image Courtesy artist and A.I. Gallery

Nicole Stott | Channel 4

Channel 4 - Man Made Planet: Earth from Space

 

Using images of Earth taken from space across the last 45 years and stunning time-lapse sequences, astronauts reveal how humanity is transforming the world - for better and worse. In 1972, the crew of Apollo 17 captured the iconic ‘Blue Marble’ - the only photograph ever taken by an astronaut of the entire Earth. Since then, NASA has taken much more.

Alongside fellow astronauts, Nicole Stott, highlights that population growth has changed the view of cities, creating mega-cities from virtually nothing: "To see these glowing cities kind of popping out at you at night is really pretty incredible. For me it opened up this whole new view of looking at places like China. "You can imagine all of these people bustling around that area, but it’s like the mute button is on. It’s a very surreal thing. It gets you thinking about what are all those people doing down there?"

 

For U.K. viewers, refer to the broadcast here: http://www.channel4.com/programmes/man-made-planet-earth-from-space/on-demand/64826-001

View of a man-made salt pond in Australia (Photo credit: NASA/Channel 4)

Sarah Choo Jing | Sovereign Art Prize 2017 Finalist

Sovereign Art Prize 2017

We are pleased to share that Sarah Choo Jing's (b.1990, Singapore) recent photograph work titled 'Nowhere Near' has been nominated and is a finalist for the Sovereign Asian Art Art 2017 Prize. The artist was previously a finalist for the 2014 Prize. All finalist works will be exhibited at the Christie’s Hong Kong showroom, The James Christie Room from 19 - 21 April and then at The Rotunda, Exchange Square Hong Kong, from 25 April – 4 May.

The Grand Prize winner will be announced on 28 April.

Link to the 2017 finalist shortlist here. Public nominations are also taken for the Public Prize.

 Sarah Choo Jing.  Nowhere Near , 2015. 35cm x 200cm. Digital C-type on Diasec

Sarah Choo Jing. Nowhere Near, 2015. 35cm x 200cm. Digital C-type on Diasec

This year's judging panel include: Alexandra A. Seno – Head of Development, Asia Art Archive; David Elliott – Writer, curator and museum director; Jim Supangkat – Artist, art critic and curator; Michael Snelling – Artist, writer and former Director and CEO of the National Art School, Sydney; Miao Xiaochun – Artist and Professor at The Central Academy of Fine Arts, Beijing.

 

About Sovereign Asian Art Prize

The Sovereign Art Foundation was founded by Yorkshire-born art collector and CEO of Sovereign Group, Howard Bilton, with the purpose of utilising art to fund and promote art programmes.

Held annually, the Sovereign Asian Art Prize invites mid-career contemporary artists, who have been nominated by our carefully selected board of art experts, to enter up to three artworks online. Entries are then judged by a small judging panel consisting of independent art experts and professionals from the region, who select the best 30 artworks from a range of digital images. These 30 pieces are then exhibited in a prominent public space in Hong Kong, where the pieces are judged a second time, in person.

 

Iyvone Khoo | Birch Aquarium, San Diego

Installation exhibition at Birch Aquarium in San Diego

April - December 2017

 Iyvone Khoo.  Infinity Cube , 2017. Installation, video projection & audio

Iyvone Khoo. Infinity Cube, 2017. Installation, video projection & audio

On April 7, artist Iyvone Khoo (b.1975, Singapore) unveils Infinity Cube, a new immersive installation that explores bioluminescence. 

London-based artist Iyvone Khoo worked alongside Scripps Institution of Oceanography marine biologist Michael Latz whilst on a residency at Scripps Institution of Oceanography in San Diego. Khoo varied sound stimulation, flow visualization and macro videography to reimagine the phenomenon of bioluminescence. The project is supported by the MEAD Fellowship, University of Arts London, UK. More than six hours of footage was documented of single-celled marine organisms called dinoflagellates reacting to various stimulants, such as the human heartbeat, music, water flow, and air pressure.

Link to exhibition at Birch Aquarium, San Diego here.

Two bioluminescent video works were recently exhibited at Moving Image NY 2017, further info here.

 

About the artist

Khoo (b. 1975 in Singapore) lives and works in London, England. Her diverse media include glass, photography, video and bioluminescence. Often employing a spirit of investigative play, she considers how perception shapes experience, sometimes using the camera lens as a surrogate eye. “I use light as a form of painting, space as an extension to the canvas and video as a polymorphic visual tool,” Khoo explains. Khoo earned her MFA at Central Saint Martins, University of the Arts, London.

 

Link to press coverage on San Diego Union Tribune