Ming Wong
05 Feb - 01 Apr 2012
© Ming Wong
“Lerne Deutsch mit Petra von Kant,” 2007
single-channel video installation, 10 min
Courtesy the artist.
“Lerne Deutsch mit Petra von Kant,” 2007
single-channel video installation, 10 min
Courtesy the artist.
MING WONG
Making Chinatown
5 February - 1 April, 2012
Berlin-based Singaporean artist Ming Wong has been regarded internationally for his ambitious performance and video works that engage with the history of cinema and popular forms of entertainment. Working through the visual styles and tropes of such iconic film directors as Rainer Werner Fassbinder, Wong Kar-wai and Ingmar Bergman, Wong’s practice considers the means through which subjectivity and geographic location are constructed by motion pictures. For his first solo exhibition in Los Angeles, Wong creates a series of video sculptures and scenic backdrops that center around the making of Roman Polanski’s seminal 1974 film Chinatown, with the artist cast as two of the film’s central characters. Filmed on location in the Gallery at REDCAT, Making Chinatown transforms the exhibition space into a studio backlot and examines the original film’s constructions of language, performance and identity.
Making Chinatown
5 February - 1 April, 2012
Berlin-based Singaporean artist Ming Wong has been regarded internationally for his ambitious performance and video works that engage with the history of cinema and popular forms of entertainment. Working through the visual styles and tropes of such iconic film directors as Rainer Werner Fassbinder, Wong Kar-wai and Ingmar Bergman, Wong’s practice considers the means through which subjectivity and geographic location are constructed by motion pictures. For his first solo exhibition in Los Angeles, Wong creates a series of video sculptures and scenic backdrops that center around the making of Roman Polanski’s seminal 1974 film Chinatown, with the artist cast as two of the film’s central characters. Filmed on location in the Gallery at REDCAT, Making Chinatown transforms the exhibition space into a studio backlot and examines the original film’s constructions of language, performance and identity.