Episodes
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In this podcast I sat down with artist Liao Jiaming and talked about his current show in Hong Kong, talked about tarot card reading, we discussed the intricate relationship between artificial intelligence or AI and humanity, the search for personal identity and Liao discuss the complexity of fingers.
Liao Jiaming was born in 1992 in Guangdong, China, and currently lives and works in Hong Kong. He obtained his BA in Journalism from Sun Yat-sen University in 2016, and his MFA from School of Creative Media, City University of Hong Kong in 2019. Liao’s practice investigates the physical and bodily manifestations of identity vis-à-vis gender, technology, and socio-cultural influences. His works span across objects, videos, installations, and performance, crafting narratives that explore traditional as well as contemporary social practices via post-technological means of image-making.More on www.thelastsupper.asia
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This episode features the group exhibition ‘Karmic Fissures’ at Podium Gallery in Hong Kong by Phoebe Hui, Chloë Cheuk, Kin Ting Li, Genie Hui, and Yi To.
Interweaving media art, sculptures, installations, and paintings, the exhibition navigates between philosophies drawn from quantum physics and Buddhism to speculate how one may uncover microscopic, nuanced dynamics within hegemonic, overpowering orders. Through acute mindfulness of complex yet traceable loci of causes and effects, the artists open up karmic fissures to evoke radical transmutation and intervene in the logic of impossibility.
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Episodes manquant?
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In this special 100th episode, we sit down with photographer and writer No.223, to explore his unique approach to capturing the essence of modernity and sexuality over the last two decades. From his unconventional process of discovering subjects on social media to his boundary-pushing depictions of nudity, Lin offers a glimpse into the moments that define our contemporary experience.
Lin Zhipeng (aka No.223) Born in Guangdong, China in 1979, Graduated from Guangdong University of Foreign Studies with major of financial English. Lin Zhipeng is a photographer and freelancer writer based in Beijing. Created in 2003, his blog “North Latitude 23” where he published everyday pictures accompanied by short texts received millions views and made him famous among the web community. Presented for years in group exhibitions in China and abroad , Lin’s works have also been the object of several solo shows both nationally and internationally ( Delaware Contemporary Museum ; Walther Collection Ulm ; De Sarthe Gallery Beijing ; Stieglitz19 Gallery Antwerp ; M97 Gallery Shanghai, etc). He has published photography books in China, France, Canada, Japan and Italy.
With Lin Zhipeng, everything is tinged with a resolutely pop seduction. The colour, the shapes, the textures, the framing used are all symptomatic of a visual culture rocked by the flow of images, bodies and symbols that have marked our entry into the second millennium. Far from the traditional and unconstructive criticism of an "overconsumption" or "saturation" of images, those of the artist celebrate the vitality of his generation, starting with the staging of his life and that of his entourage. Mixing love and chaos, fantasy and eroticism, his photographs act as the collective poetic diary of a generation eager to escape social pressures and to aspire to the pleasures of life in a society that is as indifferent as it is rapidly evolving.
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I sat down with Dr. Marty Miller, a Hong Kong based artist and researcher. Our discussion spanned a broad range of topics, starting with an exploration of image ontology. We delved into Dr. Miller's research involving AI models and their ability to detect and reinterpret patterns in Sham Shui Po, a busy residential and shopping district in Hong Kong, and we explored AI hallucinations and human imagination.
Marty Miller (PhD) is a visual culture and technology learning researcher pursuing his PostDoctorate at CityU's School of Creative Media within The Studio for Narrative Spaces. His research notes how image-creation practices adapt to emergent technology and why this influence informs the meanings created. Specifically, found photography and technological literacy designs fuel his scholarly output, funded creative work, and integrated teaching practice.
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
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Artist Trong Gia Nguyen discussed the role of appropriation in his work and how he dissociates himself from materiality. We also delved into the notion of distributed ownership and possession of art, the intricate relationship between physicality and virtuality and how he sold his work on eBay.
Trong Gia Nguyen is a multi-disciplinary artist currently based in Brussels, Belgium. Having also lived in Vietnam and New York City over the last 20 years, his wide array of works examines structures of power in their myriad forms, scrutinizing the soft foundation upon which contemporary life plays out, often behind the façade of fairness, sincerity, tradition, and civility. Regularly employing humor while at other times engaging sober reflection, Trong's work elevates the condition of doubt as it reveals and disrupts the undercarriage of our most trusted spaces - domestic, cultural, political, and economical. His work includes everything from iPhone applications to installation, film, painting, sculpture, performances, and web-based projects.More on www.thelastsupper.asia
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
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Gallerist and art technology founder Shyevin S'ng discussed her journey of becoming a gallerist in Vietnam, we addressed frequently asked questions from new artists, how to price new art, what good art is, and we talked about the future of art with Cohart which is a new online social marketplace for artists and art collectors that Shyevin co-founded in San Francisco.
As a community and business builder, Shyevin S'ng serves as an art dealer, gallerist, advisor and friend to the art community, where she is able to extend my network far and deep. She has worn multiple hats over the past 15 years and was responsible for guiding and nurturing artists and collectors who believe in her. As a business owner, Shyevin has built a global team with the purpose to extend and expose her brand to all the art community. She has been fortunate to have enjoyed a successful career in art, where now she extended her career to art and tech with Cohart where she serves as co-founder. Shyevin has an extensive background in strategy and business development, fund raising, advising / mentoring and community development.More on www.thelastsupper.asia
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The Supper Club event is initiated by Willem Molesworth and Ysabelle Cheung (PHD Group), Alex Chan (THE SHOPHOUSE), and is co-organised with the Fringe Club in Hong Kong, and will be curated by independent curator Anqi Li. The exhibition space will be adapted by BEAU Architects.
Supper Club is open from 25 - 30 March 2024, and will operate late night hours daily from 4pm -1am.
More information on www.supperclubhongkong.com
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Christie's Education
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Artist Serene Hui delved into meaning-making, the impossibility of communication in an unknown environment, the origins of scold, gossip and siren, voice modulation or how we understand voices within our body and how this impacts female leaders.
Serene Hui is a Hong Kong-born artist. Her practice is research-focused and multi-faceted, engaging primarily with installation, audio and live works, printmaking and text. Serene's work is involved in a discursive, artistic and political exploration of her own context, using the geographical distance from personal lived experiences to investigate the wider socio-political impact of how meaning is made and who has access to making it. Her practice is currently invested in epistemological colonialism for the ways it affects social structures, languages, psychology and its potential susceptibility for manipulation. In her works she addresses obscurity and nuances by creating an ontological shift of displacement - meaning to transform social conventions, normative ignorance, and language ambiguity into resistance, reflection and criticism of contemporary systems.
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Artist, designer Lin Pei-Ying delved into the fascinating world of viruses and how genomes offers us a look into our past, the origin of why we believe viruses are hostile, how viruses inform her work and how her work addresses the relationship between knitting and genomes, and we talked about how humanity can benefit from the development of AI.
Pei-Ying Lin is an artist/designer from Taiwan and is currently based in Eindhoven, the Netherlands. She is a PhD Candidate in the department of Industrial Engineering and Innovation Science and the Department of Industrial Design at the Eindhoven University of Technology. She also holds a MA in Design Interactions from the Royal College of Art, UK and a BSc in Life Science from National Tsing Hua University, Taiwan. Her main focus is on the combination of science and human society through artistic methods and is particularly interested in building a common discussion ground for different cultural perspectives regarding elements that construct our individual perception of the world. Recently she has been focusing on manipulating the boundary of invisible/visible, living/non-living and finding ways to build tools and methods that facilitate such explorations. She has won the Honorary Mention of STARTS Prize 2020, Honorary Mention in Hybrid Arts Category of Ars Electronica 2015, Professional Runner Up in Speculative Concepts of Core 77 Awards 2015, and BioArt and Design Award 2016. Her project PSX Consultancy is a permanent collection of the Museum of Architecture and Design, Slovenia.
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Su Yu Hsin is an artist originally from Taiwan but now based in Berlin. We delved into her captivating exploration of water, her unique filmmaking techniques to understand intricate ecological relationships, and her fascinating discovery of an underground waterway in Taipei.
Su Yu Hsin(b.1989) is an artist and filmmaker based in Berlin. She approaches ecology from the point of view of its close relationship with technology. Her artistic practice is strongly research-oriented and involves fieldwork where she investigates the political ecologies of water. Her work reflects on technology and the critical infrastructure in which the human and non-human converge. Her analytical and hydropoetic storytelling focuses on map-making, operational photography, and the technical production of geographical knowledge. Her video installations are exhibited worldwide in museums and International Art Biennials: the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020 and 2023, ZKM Karlsruhe, UCCA Center for Contemporary Art and Haus der Kulturen der Welt, among others. Her films have been screened at Kurzfilm Festival Hamburg, Experimental Film and Video Festival in Seoul and e-flux.
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Taiwanese-based artist Lo Yi-Chun talked about her captivating projects including "Carbohydrate Fueling Cycle I, II, III", an exploration of the history of economic crops within the global trade context. We also delve into "The Diver," a piece that she created for the Green Island Human Rights Art Festival and capoeira. Lastly, we re-experience Neolithic artefacts in Kaohsiung, delving into the rich historical significance they hold.
Lo Yi-Chun (b. 1985, Taipei) uses natural media such as banana peels, tobacco, and bagasse to create a wide range of objects and spatial installations that reflect on the history of economic crops in the context of global trade. In addition to exploring the relationship between agriculture and politics, her work also addresses the movement of people and commodities in the globalized world.
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In today’s discussion, artist Ting-Ting Cheng delved into the complexities of individualism in the context of post-colonialism. She shared her project that explores the challenges of constructing one's own island, as well as her work centred around inconclusive debates. We also addressed the concept of fluidity in identity and how a seemingly simple interview request for the Steel Art Festival unexpectedly transformed into a new art project.
Ting-Ting Cheng is an artist from Taiwan, graduated from MFA Fine Art at Goldsmiths College, London. She likes to reinterpret archival and found materials to construct narratives in the current context. She had solo exhibitions at Taipei Fine Art Museum and other institutions and galleries in Taiwan, Hong Kong, Japan, Spain, UK and more. She had participated in Tokyo Biennial, Contemporary Art Festival Sesc_Videobrasil (São Paulo), Bi-City Biennale of Urbanism\Architechture (China), and group exhibitions at Jim Thompson Art Center (Bangkok), Daegu Art Factory, Hong-Gah Museum (Taipei), Künstlerhaus (Vienna), ISE Cultural Foundation (New York), National Taiwan Museum of Fine Art, National Art Museum of China...etc. She was the resident artist at Iniva (London), CFCCA (Manchester), Zero Station (HCMC), MMCA (Seoul) and more.
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Vietnamese artist UuDam delved into power dynamics, including his notable project called "Fuck Button." We also explored the theme of pollution in his work titled "Serpents Tail" and delved into the symbolism of countries represented as weapons in his thought-provoking piece called "Weapon Country." At the end we discussed the role of technology and artificial intelligence in the realm of art and society.
The most fascinating artist of Vietnam Contemporary Art, UuDam was born into an artist family in Kontum, central highland of Việt Nam. He attended the University of Fine Arts in Sài Gòn (HCMC) and later got his Bachelor of Arts at UCLA and Master of Fine Arts at School of Visual Arts in NYC. UuDam has a unique and diverse practice ranging from conceptual sculpture, drawings, installation, video to robotics app art & performances realized in many media. Not for the faint hearted, UuDam's art deals with many social issues and power in a global context with a sense of humor. He exhibited widely in many museums and Biennales in Asia, Europe and the US. UuDam is one of the co-founder of the XEM collective. He lives and works in HoChiMinh City, Vietnam.
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In today’s episode with Lo Sheng-Wen we delved into the weirdness of the Netherlands, the implications of the post-human crisis, and how science has become a new religion. We also discussed his work Watch Out, a treasure hunt in Arles in France, and we spoke about society’s challenge of living with discomfort.
Sheng-Wen LO (b. 1987, Taiwan) is currently based in the Netherlands. His works investigate the relationships between non-humans and contemporary society, often taking daily experiences as points of departure. As a maker his practice comprises still/moving images, installations, video games, escape rooms and various media. He received MA in Photography from AKV|St.Joost in the Netherlands, and MSc in Computer Science from the Computer Music Lab at National Taiwan University. Lo is the creative director of Lightbox, a public photo library and a center for contemporary photography at Taipei. During his residency in Europe, he facilitates connections between Taiwanese and the international contemporary photography scene through talks, discussions, writings, and collaborations. Lo is an alumnus artist at the Rijksakademie (2019-2021) in Amsterdam.
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From Yangon in Myanmar, artist Thynn Lei Nwe talked with me about her past and current work, how memories inform art, why she sleeps during the day, the significance and meaning of animals and plants in her work, how Covid motivated her art practice, and the expectations of artists in Myanmar.
Thynn Lei Nwe (b.1991) is based in Yangon and studied Fine Arts, specializing in Painting at Lasalle College of the Arts, Singapore from 2012 to 2014. Nwe's practice explores different mediums of painting and sculpting with the interest in relations between memories, humans and places in a form of surreal works. Since 2008, Nwe has participated in exhibitions in Yangon, Singapore, Malaysia, Indonesia and Hong Kong, and a solo exhibition in 2018 in Yangon. She was the former residence artist at Cemeti Art House, Yogyakarta, Indonesia in 2010 and Rimbun Dahan, Selangor, Malaysia in 2016.
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Cambodian-based artist Khvay Samnang talked about Calling For Rain, a work that consists of a video installation but also multiple sculptures that are inspired by Reamker, the Cambodian version of the poem Ramayana. We talked about ecology and the impact of urban development, the critical role of animals in the Chang community and Stiev Selapak, an art collective committed to reevaluating and preserving Cambodian history as well as exploring the connections in visual practices that were disrupted by the civil war of the Khmer Rouge regime.
Khvay Samnang was born in 1982 in Svay Rieng, Cambodia. He graduated from the Painting Department at the Royal University of Fine Art in Phnom Penh, where he lives and works today. Khvay’s multidisciplinary practice offers new views on historic and current events as well as on traditional cultural rituals using humorous symbolic gestures. In his work, which includes all media, he focuses on the humanitarian and ecological impacts of colonialism and globalization. The development of each body of work is based on thorough research and investigation of local specificities, structures and conditions. Traveling is a crucial tool for his practice. Engaging directly and personally with local communities – within and beyond the cultural scene – is an integral part of his work, which makes it highly relevant, critical and connectable to various contemporary discourses. His work shows a remarkable ability to engage with cultural and geographic contexts as well as with spatial and institutional settings.
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Taiwanese-based artist Chang Wen Hsuan discussed the roles of paper as a social movement and as a tool for activism, the challenge of normalisation, how a new generation appears to have a disembodied experience about current affairs in Taiwan and addressed her work the international suicide award.
The artistic practice of Chang Wen Hsuan questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives in order to expose the power tensions embedded in historical narratives. Through versatile platforms including installations, videos, and lectures, she often navigates skewed documentations and first-person accounts to trigger reflections on how the understanding of history affects the purport of the present and thrust of the future. In 2018, she launched the project Writing FACTory. Prizes and awards include the Taipei Art Awards(2018), Kaohsiung Awards(2015), and Lin Yutang Literary Prize(2012). She has presented projects in Taiwan, China, Korea, USA, Singapore, Germany, Mexico, etc.
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I sat down with Cambodian-based artist Svay Sareth. We began our conversation talking about how the Blue Art Center provides free art education to children to become independent and find their own way, the impact of imagination, Sareth spoke passionately about his mission to preserve Cambodian’s artisanship and history for the next generation, and his performance work eat rubber sandals. We talked about Sareth’s experience of walking for 250 kilometres with a metal ball from Siem Reap to Phnom Penh and the amazing story how this work did not fit in the Singapora Art Museum, an UNESCO protected building.
Svay Sareth’s works in sculpture, installation and durational performance are made using materials and processes intentionally associated with war – metals, uniforms, camouflage and actions requiring great endurance. While his critical and cathartic practice is rooted in an autobiography of war and resistance, he refuses both historical particularity and voyeurism on violence. Rather, his works traverse both present and historical moments, drawing on processes of survival and adventure, and ideas of power and futility. More recently, Svay confronts the idea that “the present is also a dangerous time” through the appropriation and dramatization of public monuments that hint at contentious political histories.
Svay Sareth was born in 1972 in Battambang, Cambodia during a period of political turmoil and violence that would last until he was 18 years old. Svay began making art as a young teenager in the Site 2 refugee camp, near the Thai-Cambodian border. He describes life as a refugee as “a void nationality…a time and place you imagine escaping from.” Drawing and painting became a daily activity for Svay – a process of bearing witness to the psychological and physical violence that was an everyday experience, as well as a way to symbolically escape and dream of change. After the wars ended, 1994 Svay went on to co-found Phare Ponlue Selepak, a non-governmental organization and art school in Battambang that continues to thrive today.In 2002, the artist continued his studies in France, earning the Diplôme National Supérieur d'Études des Arts Plastiques / MFA in 2009, after which he returned to Siem Reap to live and work and 2019 he found Blue Art Center.
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Researcher and curator Michelle Wong talked about her PhD research, discussed her work on Hong Kong artist Ha Bik Chuen, big egos, the weird sculpture in Aberdeen, and she explained her project New Park.
Michelle Wun Ting Wong is a PhD candidate in Art History at the University of Hong Kong, exploring the modernity emerging from Post WWII Hong Kong. Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art, 1945–1990 (2018), the journal Southeast of Now (2019) amongst others. From 2012–20 she was a researcher at Asia Art Archive (AAA), focusing on Hong Kong art history and histories of exchange and circulation through exhibitions and periodicals. Curatorial projects include Portals, Stories, and Other Journeys at Tai Kwun Contemporary (2021), Afterglow, Yokohama Triennale 2020, and 11th Edition of Gwangju Biennale (2016). She runs the independent space New Park with artists South Ho Siu Nam and Billy HC Kwok.
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Jolene Mok is an experimental artist. We talked about a range of subjects but started with her experience of not being able to see anything, the mundane or the exciting part of boredom, heuristics, deep ocean exploration in Barbados, and the red forest of “Life Is Elsewhere”
Jolene Mok (b. 1984) was born and raised in Hong Kong. An experimental artist, she takes video art and experimental film as her major creative platforms. Mok earned her M.F.A. in Experimental and Documentary Arts at Duke University in 2013. She has been exposed to an interdisciplinary learning and working environment since her undergraduate education in the School of Creative Media through her major in the Critical Inter-Media Laboratory (2003-2007). Since 2006, Mok’s works have been shown worldwide. From 2011 onwards, she has been on itinerant taking part in artist residency programs, and she has a particular interest in undertaking artist residency programs in relatively remote locations.
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Researcher Shih-Yu Hsu and director, curator Zoe Yeh of the Honggah Museum in Taipei talked about the upcoming Taiwan International Video Art Installation (TIVA) that is opening on the 4th of November, we discussed the multiple narratives of this year’s theme Living Togetherness, and how they make art more inclusive.
Shih-yu Hsu is an independent researcher and writer. She has been a member of the study group lam-nua since 2021. She graduated from Communication Engineering and Visual Art Administration at National Central University in Taiwan and New York University. Her research field includes image, media and new material feminism. She co-founded bi-lingual online media art platform SCREEN in 2015 and was the executive assistant of Taiwan Pavilion in Venice Biennale 2017. She was the curator at Taipei Contemporary Art Center in 2018-2021. Her writing on art has been published on several publications including Artforum.cn, Artist Magazine, Art Investment, Leap, No Man's Land and Yishu. She is going to co-curate the 8th Taiwan International Video Art Exhibition.
Zoe Yeh is the director and curator of the Honggah Museum. She studied Curating and Cultural Production in the Institute of Trans-disciplinary Arts of National Taipei University of the Arts. She also received a BA degree in National Cheng-Chi University Commerce School. Yeh has actively contributed to the arts community as a board member of Polymer Art Studio and has been involved in various projects within artist-run spaces. In addition to her involvement in community projects, Zoe Yeh also spearheads research on Taiwanese video artists and curates annual solo exhibitions for emerging talents.
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