WeiXin Chong | The Straits Times Singapore


Visual artist Weixin Quek Chong, 30, received the $20,000 Grand Prize from President Halimah Yacob at the President's Young Talents awards yesterday at the Singapore Art Museum (SAM) at 8Q.

She was one of five finalists for the seventh edition of the prize, Singapore's only mentoring, commissioning and award programme for emerging Singaporean artists aged 35 and below.

Her installation, titled sft crsh ctrl, makes use of materials such as silk twill, latex sheets and faux fur. It is being exhibited, together with the works by the other finalists, at the museum until Jan 27.

Fiona Struengmann | Lensculture emerging talent 2018 award

Fiona Struengmann is amongst 50 international photographers who are winners of the LensCulture Emerging Talent Awards 2018.

“These photographers are all making remarkable, inspiring work right now while working in cultures all over the world. An international jury of photography experts reviewed hundreds of truly excellent submissions from more than 150 countries — and these 50 photographers rose to the top. They are creating truly amazing work that covers a wide range of subject matter and creative approaches — it’s fresh, inventive, meaningful and memorable.

Be sure to take time to look through each of the winning projects. We hope you will discover some great new work that will delight and inspire you.

These are the ones to watch. The best emerging talents of 2018. Enjoy!”


Just Like You, But Different

Just Like You, But Different

WeiXin Chong | Molten Capital Residency

Artist Residency with Molten Capital in Santiago, Chile

WeiXin Chong. Installation view at MAC group exhibition in conjunction with Molten Capital Residency. Courtesy of Taller Creativo Buenamano

WeiXin Chong. Installation view at MAC group exhibition in conjunction with Molten Capital Residency. Courtesy of Taller Creativo Buenamano

Artist WeiXin Chong (b.1988, Singapore) together with two other artists recently completed a three-week residency (30 November - 20 December 2017) which culminated in an exhibition at MAC (Museo de Arte Contemporaneo Facultad de Artes Universidad de Chile).

WeiXin Chong,  flores nativias  .1, 2017. courtesy the artist & A.I. Gallery

WeiXin Chong, flores nativias .1, 2017. courtesy the artist & A.I. Gallery

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

Fiona Struengmann. Series: Just Like You, But Different (Untitled - 14), 2017. Archive photograph. Courtesy the artist & A.I. Gallery

Fiona Struengmann. Series: Just Like You, But Different (Untitled - 14), 2017. Archive photograph. Courtesy the artist & A.I. Gallery

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 | Art Radar

Nov 2017

Like many of its Southeast Asian counterparts, Singapore has a complicated cultural heritage, one that is a conglomeration of racial, religious, regional and global influences.

Art Radar presents the research of three artists contributing to enrich Singapore’s arts and culture scene.

Over the years, Singapore has taken great pains to develop its art scene and consolidate its complex cultural landscape. The opening of National Gallery Singapore in 2015 marked the nation’s continued investment in the study and promotion of the region’s modern artistic history. Last year, the Singapore Art Museum hosted the fifth edition of the Singapore Biennale, which showcased contemporary artists from Southeast, East and South Asia. Institutions such as the Institute of Contemporary Arts, LASALLE College and NTU Centre for Contemporary Art (NTU CCA) have also provided opportunities for contemporary artists to showcase their works.

These efforts have supported a burgeoning art industry that grapples with a rapidly changing Singapore, Southeast Asia and the world at large. This article highlights three Singaporean artists whose work captures the daily experiences of being in Singapore and perceiving the world beyond it.



Weixin Chong

Weixin Chong considers her artistic practice as nomadic. Exhibiting in and travelling to a variety of places including London, Paris, Seoul and Singapore, this young artist explores the intricacies of human relationships through material metaphors. Chong creates art that responds to the environment she inhabits while being keenly aware of her own perceptions. In Sous-vide/ 真空, Chong collaborated with artist Pauline Cambrai Emond to collect and display discarded clothes found on the streets of Belgium. The work was a response to the 2015 terrorist attacks in Paris. The collaborationwas followed by Chong’s series “Under dress“, which was first shown at BAU 13: DRESS CODEX, Italy.

“Under Dress” began with 150 drawings of undergarments and lingerie, and is an ongoing project. The sensuous subject matter is accentuated through Chong’s delicate graphite drawings on gossamer black tissue paper. Her detailed renderings of the contours of each garment leave no surface of that intimate fabric unobserved, untouched. She labels – in careless, cursive lettering – each drawing: demi-cup, V-back high leg, soft backless. Chong’s transition from exploring states of dress and undress from a global to a personal perspective epitomise her artistic practice of skimming the surface of human desire and power, feeling, with utmost sensitivity, the outlines of things closest to us.

Text by Jean Wong

A.I._WeiXin Chong_Under Dress (1)_Graphite on Tissue_2016.jpg

Weixin Chong, ‘Demi-cup’, from “Under dress 0.2” series, 2016, graphite on black tissue paper. Image courtesy of the artist.

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