WeiXin Chong

Weixin Chong | Object of Desire Exhibition @ ICA SG

Artists: Dagrún Aðalsteinsdóttir, Weixin Chong, Guðlaug Mía Eyþórsdóttir, Styrmir Örn Guðmundsson, Saemundur Thor Helgason, Daniel Hui, Luca Lum, Guo-Liang Tan

Curator: Dagrún Aðalsteinsdóttir, alumna, MA Fine Arts (2016 cohort)

Object of desire brings together painting, installation, sculpture and film by eight artists from Singapore and Iceland. The works explore the affective agency of images and objects as ‘things’ which are desired, distributed and reproduced.

The title of the exhibition refers to an essay by artist Hito Steyerl titled ‘A thing like you and me’ (2010). In her essay, Steyerl explains the role of humans in the formation and operation of images. According to Steyerl, our participation in images not only blurs distinctions between subjects and objects, but also human subjectivity, which is increasingly objectified. In her essay, Steyerl describes images as fragments of the real world; things ‘like any other—a thing like you and me’.

For the exhibition, curator and MA Fine Arts alumna Dagrún Aðalsteinsdóttir invited each artist to create a work that explores the values and hierarchies associated with ‘being an object or an image’. The layout is conceived as an interdependent constellation, in which the works—as ‘object–subjects’—activate one another.

Full Description Here

Date & Time

Opening date: Fri 21 Jun 2019, 6:30pm – 8:30pm
Exhibition Period: Sat 22 Jun – Wed 24 Jul 2019
Opening Hours: 12:00pm – 7:00pm, Tue to Sun (Closed on Mon and public holidays)

Location

Brother Joseph McNally Gallery
Institute of Contemporary Arts Singapore
LASALLE, 1 McNally Street

WeiXin Chong | The Straits Times Singapore

ST_20181130_VNARTIST_4451586.jpg

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.

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

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 

WeiXin Chong | CARRARA

Exhibition EXCAVATA at CARRARA, Italy by WeiXin Chong & Gabriele Dini

 

Dates: 4- 18 November 2016

Venue: Fondazione Cassa di Risparmio di Carrara, Palazzo Binelli, Via Verdi 7, Carrara (Tuscany), ITALY

Opening times: 4th Nov from 17:00, M-F: 09.00-12.00, 15.00-17.00

 

The exhibition titled Excavata showcases the artistic outcomes of research and residency exchanges between Italy & Singapore by both artists WeiXin CHONG (b. Singapore) & Gabriele DINI (b. Italy). Past & present use of natural resources in both Carrara, Italy and Singapore are extrapolated and explored through material and aesthetic expressions.

...

CHONG plays with images, entities and surfaces as material metaphors for social relationships and the psychology behind structures and projections of power, value and desire. The Suiseki art of seeking landscapes within a piece of stone is a connoisseurship of aesthetic and philosophical potential, and is the starting point for her work in this series. 

WeiXin CHONG.  Suiseki Softfall 1.0

WeiXin CHONG. Suiseki Softfall 1.0

WeiXin Chong | START Art Fair (15-18 Sep, 4.30-5pm): Daily Performance

VIP Preview: Wednesday 14 September 2016      15.00 hrs –21.00 hrs

Public: Thursday 15 September 2016                    11.00 hrs –18.00 hrs

Public: Friday 16 September 2016                         11.00 hrs –18.00 hrs

Public: Saturday 17 September 2016                     11.00 hrs –18.00 hrs

Public: Sunday 18 September 2016                       11.00 hrs –17.00 hrs

 

A.I. is pleased to be returning to the third edition of START. This year, we are participating in the invitational section of the fair presenting solo booths of artists selected by, Fair Director, Niru Ratnam.

Our booth project titled Debris by WEIXIN CHONG (b. Singapore) features a varied collection of works that explore the concept of ephemera, both natural and man-made.

On the public days at the fair booth (4.30pm – 5pm), the artist will be leading a participative work with the audience called Dictation 2.1. A dictation session -transcribing a text as print creates, in the artist’s own words, a kind of force field; the magnetic field of suspended tension that forms around its participants and also the direct line of focus that it causes to occur- a line of conveyance between the dictator and transcribers/subjects, that makes them into one unit. Dictation is an on-going series of events, with each edition being an exploration of a unique setting and a different text. A copy of the transcription will be available for audience members to take away and keep.

Chong seeks to challenge the notion of natural versus artificial ephemera in the form of print (photographic & textile), text and drawings. The etymology of the word ‘ephemera’, in its ancient sense, extends to the mayfly and other short lived insects, flowers and for something which lasts a day or a short period of time. The artist plays on this very idea that any transitory written or printed matter are meant to be neither retained nor preserved. The imagery of this very debris is captured in a flash, frozen-in-flight aesthetic or even as a transcription.

Chong is fascinated with the relationships between digital and organic, surface and perceived superficiality. Materials, text and happenings become metaphors of the psychology behind structures and projections of power, value and desire. The effects and methods of manipulating and reproducing imagery across materials feature strongly in her practice. The translation of things -its possibilities, impossibilities, failures and transcendence are always in her mind.

 

Dictation 2.1 - Participative perfomance by WeiXin Chong during START Art Fair 2016 solo booth presentation with A.I. Gallery. Image courtesy: A.I. Gallery

WeiXin Chong | BAU 13: Dress Codex, Italy

BAU Contenitore Di Cultura Contemporanea, Italy - Issue 13: DRESS CODEX (June 2016)


Artist WeiXin Quek Chong is participating in BAU's residency & presenting at Issue 13 in collaboration with fellow artist Pauline Cambria Ermond.

The collaboration resulted in the production of Sous-Vide (真空), 2015. In French : sousvide, under emptiness; in Chinese : zhenkong or 真空, true emptiness. In their own words: "Both of us are really into disappearance, decay, failure, disintegration, delinquence, regression, or the states of being that are considered as such. Loss is a good word to summarize all that stuff.”

Clothing discarded in streets in Laeken/Scharbeek/Molenbeek in Brussels, and Charleroi, Belgium, were vacuum-packed by the artists. Following the aftermath of 2015 terrorist attacks in Paris there was a heavy subsequent backlash against Belgium for perceived failure to control/regulate the neighbourhoods where the attackers were based. As Quek & Cambrai's Brussels base is located within the vicinity of these highlighted neighbourhoods, this work was a personal reflection on states of Un-Dress.

This close collaboration involved conceptualising and carrying out the project together, subsequently presented in NTU-CCA Singapore with the main edition of 150 pieces to be shown summer 2016 as part of BAU ISSUE 13: DRESS CODEX.

The works are available for sale via BAU & all proceeds are used towards future residencies.

WeiXin Chong & Pauline Cambrai Ermond. Sous-Vide (真空), 2015

WeiXin Chong | Monocle

Culture/Art: Portrait of a Nation (Dec 2015)

 

Singaporean artist WeiXin Chong is featured in Monocle's December 2015 Culture/Art video reportage on Singapore's thriving art scene as the nation celebrates its 50th year of independence. 

Chong is an artist-in-residency at NTU Centre for Contemporary Art Singapore (located in Gillman Barracks). She is using her time there to explore notions of nature and technology at odds in her world. The artist is interviewed in situ with her latest works on view. 

Producer/reporter Gillian Dobias states: "Singapore is not used to letting people do whatever they want and thus it has been stuck with a moribund art scene. But the opening of the new National Gallery aims to change perceptions of the city-state both at home and abroad; Monocle takes a look at a fast-emerging art scene."

 

Video: Portrait of a Nation

 

---

 

Chong graduated from the Royal College of Art, London with a MA Fine Art, Printmaking. In 2015, Chong was an Artist-in-Residence at Laboratori Artistici Nicoli and Studio Fitz-Carrara in Cararra, Italy. She has exhibited in START 2015 at Saatchi Gallery, London; The Third Print, TOTAL Museum of Contemporary Art in Seoul, Korea and was a showcased artist at the Southeast Asian Platform at Art Stage Singapore 2015.

The NTU Centre for Contemporary Art Singapore is a research centre of Nanyang Technological University located in Gillman Barracks alongside a cluster of international galleries led by Founding Director Professor Ute Meta Bauer. The CCA takes a holistic approach towards art and culture, intertwining its three platforms: Exhibitions, Residencies and Research & Education. CCA Founding Director, Professor Ute Meta Bauer states, “Unique to the CCA Residencies programme is an emphasis on research and knowledge production complementing contemporary artistic production. This underlines CCA’s position as a young research centre and new gateway for accessing practices and discourses within Southeast Asia. The CCA Residencies programme feeds into our holistic approach of intertwining three platforms: exhibitions, residencies and research.”

WeiXin Chong. Specimen 4 (Series: Exponential Taxonomies), 2014-15. Digital C-type on Chromica Metallica. 80cm × 58.2cm (Edition of 3). © WeiXin Chong, courtesy of A.I.

WeiXin Chong. Specimen 4 (Series: Exponential Taxonomies), 2014-15. Digital C-type on Chromica Metallica. 80cm × 58.2cm (Edition of 3). © WeiXin Chong, courtesy of A.I.

WeiXin Chong | NTU Centre for Contemporary Art Singapore

NTU-CCA RESIDENCIES: INSIGHTS – DICTATION WITH ARTIST WEIXIN CHONG, SINGAPORE. 21 OCT 2015 - 21 OCT 2015  (5.00 – 6.00PM)

During her residency, Singapore artist Weixin Chong is exploring perspectives and portrayals of tropicality in a Singaporean context, from projections of exoticism and escape to the post-colonial self-conscious gaze of the tropical being, to how the natural growth of wildlife represents ‘undevelopment’.

For her current project, Chong is calling for participants to take part in a performative dictation event within the Gillman Barracks "jungle". Chong will read aloud a text in which participants will be asked to transcribe from her dictation. These texts will be translated by the artist into an artwork. After the dictation, guests are invited to a read in the artist’s studio.

The artist will curate & produce a final exhibition installation piece titled 'Living Room in the Tropics' at the culmination of the residency period.

----

Weixin Chong graduated from the Royal College of Art, London with a MA Fine Art, Printmaking. In 2015, Chong was an Artist-in-Residence at Laboratori Artistici Nicoli and Studio Fitz-Carrara in Cararra, Italy. She has exhibited in START 2015 at Saatchi Gallery, London; The Third Print, TOTAL Museum of Contemporary Art in Seoul, Korea and was a showcased artist at the Southeast Asian Platform at Art Stage Singapore 2015.

The NTU Centre for Contemporary Art Singapore is a research centre of Nanyang Technological University located in Gillman Barracks alongside a cluster of international galleries led by Founding Director Professor Ute Meta Bauer. The CCA takes a holistic approach towards art and culture, intertwining its three platforms: Exhibitions, Residencies and Research & Education. CCA Founding Director, Professor Ute Meta Bauer states, “Unique to the CCA Residencies programme is an emphasis on research and knowledge production complementing contemporary artistic production. This underlines CCA’s position as a young research centre and new gateway for accessing practices and discourses within Southeast Asia. The CCA Residencies programme feeds into our holistic approach of intertwining three platforms: exhibitions, residencies and research.”

WeiXin Chong.  Figures of Speech .  A set of prints on tissue paper embossed with writing and binary code, shown with a corresponding set of small printed texts pinned to the wall.

WeiXin Chong. Figures of Speech.

A set of prints on tissue paper embossed with writing and binary code, shown with a corresponding set of small printed texts pinned to the wall.

Artist Talk: James Seow & WeiXin Chong | Sat 12 Sep, 2pm - 2.45pm

START Art Fair | Booth 4.4

Meet the artists, James Seow & WeiXin Chong at our fair booth for an informal talk about their recent works.

James Seow (b.1971, U.K.) works across a range of media and techniques including prints, photography, sculpture and installation. Seow’s hybrid Malaysian and British identity often inspires architectural and urban themes in his work. While he presents the city as a dynamic and vital force, he often raises questions about contemporary urban life: the way we plan, build, consume and experience our cities.  His work is concerned with themes of urbanism, social control, and political struggle. Collectively, his works demonstrate the human attempt to impose order on natural forces, depicting the struggle between the natural and the artificial, the rational and the instinctual.

WeiXin Chong's (b.1988) work is drawn from fascination with the stylisation of natural elements, digital and organic memory systems and the relationship between surface and perceived superficiality. The artist sees these concerns as material metaphors for human social relationships and the psychology behind the structures and projections of power, value and desire. Interactions of the digital and the organic, and the effects and methods of reproducing and manipulating images across materials, are core to her practice.

Chong lives and works in Singapore. She is currently an artist in residence at the Centre of Contemporary Art, Singapore (Aug-Nov 2015). 

James Seow. Please Let Me In, 2014.  Giclee print. 39cm x 48cm.   ©  James Seow, courtesy of A.I.

James Seow. Please Let Me In, 2014. Giclee print. 39cm x 48cm. © James Seow, courtesy of A.I.

WeiXin Chong. Day Panorama (Detail) (Series: Neo-Netsuke), 2013. Giclee print on Hahnemuhle. 80cm x 37.5cm. Edition of 3. © WeiXin Chong, courtesy of A.I.

WeiXin Chong. Day Panorama (Detail) (Series: Neo-Netsuke), 2013. Giclee print on Hahnemuhle. 80cm x 37.5cm. Edition of 3. © WeiXin Chong, courtesy of A.I.