Artist Morgan Wong participates in group exhibition “Minimalism: Space. Light. Object.” co-organized by National Gallery Singapore and ArtScience Museum, Singapore. The exhibition delves into the emergence, development and legacies of Minimalism from the 1950s to the present, unfolding an array of minimalist artworks to the audience crossing time and geographic regions, where a series of musical, filmic and dance events will also be performed at the two venues to unravel the profound influence of Minimalism movement on other forms of art.

Centering on the investigation towards time’s irresistibility, artist Morgan Wong interweaves his personal experiences into his practices, unraveling the intangible time through his contemplative deeds. Reframing an ancient Chinese proverb, the video work, Filling Down a Steel Bar Until a Needle is Made, presents a snapshot of such eponymous deed of the artist that absurdly transcends time in his lifetime. In Time Needle Series, the artist extends the former work by collecting and sealing the metal powder collected from the steel bar into a needle-shaped glass-tube that captures his daily effort as if a time capsule. Through these transitory yet continuous gestures, the artist invites the audience to enter into a ritualistic realm where the temporal and spatial interrelations become an intermediating one that slowly dissolve one another. The exhibition will be on view until Apr. 14th.

 “Minimalism: Space ‧ Light ‧ Object ” Exhibition stills. Courtesy of Asia Juan

About artist

Morgan Wong was born in 1984 in Hong Kong. He graduated from School of Creative Media, City University of Hong Kong with BA (Hons) in Creative Media in 2007 and from Slade School of Fine Art, University College London with MFA in 2013. He currently lives and works in Hong Kong. His selected solo exhibitions include: The Dashes(Goethe Institute, Hong Kong,2019) (Upcoming) , medialogue (Hong Kong Visual Arts Centre, Hong Kong, 2018), An Inch of Time; An Inch of Gold(Art Basel Hong Kong-Discoveries, Hong Kong Convention & Exhibition Centre, Hong Kong, 2018), Mean Time(Centre A, Vancouver, 2016), The Dashes; The Laughter; The Reservoirs(organized by A+ Contemporary, Asia Art Center Taipei II, Taipei, 2016), KIGOJA Standard Time(KST) (KIGOJA, Seoul, 2016), UntitledExpressway(Rolls Royce Motor Car Showroom, Hong Kong, 2015), Filing Down a Steel Bar Until a Needle is Made(Tintype Gallery, London, 2013), One Hour(2P Contemporary Art Gallery, Hong Kong, 2011). His selected group exhibitions include: The D-Tale Video Art from The Pearl River Delta (Times Art Center Berlin, Berlin, 2018), MINIMALISM: Space. Light.Object. ( ArtScience Museum, Singapore, 2018), Frame of the Images; Boundary of the Time Condo Shanghai (co-organized by A+ Contemporary and joségarcía, mx, A+ Contemporary, 2018) , Connective Videos: Berlin – Hong Kong 3/6(Goethe-Institute, Hong Kong, 2018) , The work we do while not exactly working (ICAPU, Ulsan, Korea,2018) , Frontier: Re-assessment of Post-Globalisational Politics(OCAT Institute, Beijing, 2018), Frontier: Re-assessment of Post-Globalisational Politics(OCT Contemporary Art Terminal Shanghai, Shanghai, 2017), So Far, So Right: A Study of Reforms and Transitions Across Borders(Kuandu Museum of Fine Arts, Taipei, 2017), Line of TIMES(MILL6 Foundation, Hong Kong, 2017), Time Test: International Video Art Research Exhibition(CAFA Art Museum, Beijing, 2016), Seoul Babel(Seoul Museum of Art, Seoul, 2016), Imagine There’s No Country, Above Us Only Our Cities(Para Site, Hong Kong, 2015), Essential Matters(Borusan Contemporary, Istanbul, 2015), The 8th Shenzhen Sculpture Biennale(OCT Contemporary Art Terminal Shenzhen, Shenzhen, 2014), Art Basel Hong Kong 2014 Encounters( Hong Kong Convention & Exhibition Centre, Hong Kong, 2014), 18th Videobrasil( SESC Pompeia, Sao Paulo, 2013), Move On Asia – Video Art in Asia 2002 to 2012(Media Museum ZKM, Karlsruhe, Germany, 2013), No Soul for Sale(Tate Modern, London, 2010). At the same time, Morgan Wong also writes articles for, Artforum(CN) and Art Review Asia.