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Wong Ping: Your Silent Neighbor

06/30/21-10/03/21

The New Museum presents the first American survey exhibition of work by Wong Ping (b. 1984, Hong Kong).

Cover Image:

Wong Ping, Wong Ping’s Fables 2, 2019 (still). Single-channel animation, sound, color; 13 min. Courtesy the artist; Edouard Malingue Gallery, Hong Kong / Shanghai; and Tanya Bonakdar Gallery, New York / Los Angeles

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Over the past ten years, Wong Ping (b. 1984, Hong Kong) has developed a highly personal, self-taught style of animation to craft tales of individual desire, societal pressure, and political upheaval. Before his colorful and sometimes disturbing stories of life in Hong Kong received mainstream attention from the art world, the artist worked in television broadcasting and commercial animation. Although his videos may at first recall children’s cartoons, Wong’s work emerges from his own written stories and journals, revealing the aspirations and anxieties of everyday residents of Hong Kong through surreal narratives and a bizarre cast of anthropomorphic characters.

Filling the Museum’s Third Floor galleries, this exhibition will bring together a selection of new and recent work by Wong from across his experimental oeuvre, including Jungle of Desire (2015), a video that tells the story of a homemaker turned sex worker whose exchanges with her police-officer client are voyeuristically observed by her husband.

Other earlier works in the show include, Who’s the Daddy?, a tale of love and parenthood in the digital age; and Wong Ping’s Fables 2 (2019), the second of Wong’s takes on traditional fairy tales in which a variety of creatures learn valuable lessons about living in the complex sociopolitical landscape of contemporary Hong Kong. The first of Wong’s Fables premiered in the New Museum’s “2018 Triennial: Songs for Sabotage.” The presentation will include the debut of a new video by the artist commissioned for the exhibition.

The exhibition is curated by Gary Carrion-Murayari, Kraus Family Curator, with Francesca Altamura, former Curatorial Assistant, and is accompanied by a fully illustrated catalogue, the artist’s first, with an essay by Carrion-Murayari; an interview with the artist conducted by Tobias Berger of Tai Kwun Centre for Heritage and Arts, Hong Kong; and a special contribution by artist David Horvitz.

Wong Ping (b. 1984, Hong Kong) lives and works in Hong Kong, and founded the Wong Ping Animation Lab in 2014. He has had recent solo exhibitions at SCAD Museum of Art, Savannah, GA (2020); Institute of Contemporary Art, Miami (2019); Camden Arts Centre, London (2019); and Kunsthalle Basel (2019). His work has been included in group exhibitions at numerous venues, including Tai Kwun, Hong Kong (2019); 5th Ural Industrial Biennial, Ekaterinburg, Russia (2019); Today Art Museum, Beijing (2018); Times Art Center Berlin (2018); 6th Athens Biennial (2018); Changwon Sculpture Biennial, South Korea (2018); Sifang Art Museum, Nanjing, China (2018); Alt Space Loop, Seoul (2018); Solomon R. Guggenheim Museum, New York (2018); Haus der elektronischen Künste Basel (2018); and Arts Centre Melbourne (2017). His films have screened at many festivals and institutions, including London Short Film Festival, International Film Festival Rotterdam, Sundance Film Festival, Hong Kong International Film Festival, Kurzfilm Festival Hamburg, Centre Pompidou, and Artists’ Film Biennial. Wong was the recipient of the inaugural Camden Arts Centre Emerging Arts Prize at Frieze in 2018.

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Sponsors

Major support for this exhibition is provided by the International Leadership Council of the New Museum.

Support for this exhibition is provided by the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Artist commissions are generously supported by the Neeson / Edlis Artist Commissions Fund.

Artist support is provided, in part, by Laura Skoler.

We extend our special thanks to the Friends of Wong Ping:
Kiang Malingue
Tanya Bonakdar Gallery
Nelson Leong
Evan Chow
Andrew Xue

Education and community programs are supported, in part, by the American Chai Trust.

Support for the publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.

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