Morgan Wong solo exhibition | TIME ISN'T OUR BORDER
TIME ISN’T OUR BORDER
Mixed Media Installation
22.2.—22.3.2019 | Goethe-Gallery and Black Box Studio
Supported by / A+ Contemporary
In 2019 Morgan Wong’s solo exhibition at the Goethe-Institut Hong Kong “TIME ISN’T OUR BORDER” shows how time and its passage can be presented in a transformational way. The Artist’s artistic practice focuses on time and overlaps with other contexts—including perception, geopolitics, and science. Two neon works written in brushstrokes by the artist “Time Is Our Border” and “Time Isn’t Our Border” (2017), although not paired, reveal his confusion about the idea of time as a boundary. This idea is not limited to the concept, but more lies in its personal emotional involvement. Other works, including “Dash” series (2016) and “The Proposed Boundary” (2017), extend the theme to time and boundary change.
A poetry reading and music program on immigration, borders and identity will be held at the Goethe Gallery on March 22, 2019 (Friday). The exhibition will last until March 22, 2019.
TIME ISN’T OUR BORDER Exhibition views. Courtesy of artist and Goethe-Institut Hong Kong.
Morgan Wong, Time Isn’t Our Border, 2017, Neon texts, 28x150x5cm
Morgan Wong, Time Is Our Border, 2017, Neon texts, 28x150x5cm
In Morgan Wong’s works created in 2017 “Time Is Our Border” and “Time Isn’t Our Border”,the neon text comes from the artist’s writing. From the perspective of concept and personal relationship, the work continues the artist’s thinking on the topic of time and the dilemma of border.
Morgan Wong, The Proposed Boundary,2017, Single channel video, 4K, color, stereo, 6’39”,Video still
The work “Proposed Boundary” reflects the history of the political geography of Hong Kong during the colonial period in the 19th century through the exploration of the boundary issues. The dotted lines on the map as boundaries have become bamboo hedges by time, and now become the indicator line on the road. These lines, which represent the edges, are then intertwined in the virtual and the reality and presented through the medium of video.
Morgan Wong, Dash-1, 2016, Oil on linen, 150x150cm
In the 2016 series “Dash”, each piece has a sharp black line with a slight bend, which stands out from the blank canvas. In the behavior of the artist’s drawing, the line segments are repeatedly copied, and the individual’s perception of time and micro-narratives are circumvented in the context of different social changes in history.
Morgan Wong, Tai Tam-1, 2016, Digital print, 60x60cm. Edition of 5
The series of “Tai Tam“, which is a black-and-white digital print, is a seemingly calm water surface from a satellite bird’s-eye view, but overlaps with an unidentified plane graph. The artist revisited the conference hall for the “1992 Consensus” held in Hong Kong in 1992. He also consulted Hong Kong government documents to observe the appearance of the Taitam Reservoir in the past years and tried to make a ruthless objective comparison of the different reprensentation of the Taitam.
Huang Weikai was born in Guangzhou and studied Chinese painting since he was ten years old. In 1995, he graduated from the Chinese Art Department of the Guangzhou Academy of Fine Arts. Thereafter, he worked as a cinema promoter, screenwriter and cinematographer. Since 2002, he has been making independent films and has received numerous awards. In 2010, he was awarded Asian Cultural Council/Jackie Chan Foundation Fellowship and invited to be a visiting scholar in the Cinema Studies Department at Tisch School of the Arts of New York University. In 2011, his feature-length project, Now is the Future of the Past, was selected for L’Atelier at the 64th Cannes Film Festival. In 2014, his work Disorder was selected in a list of “the 100 Best Films Ever Made in Mainland China” publicized by Time Out. His selected group exhibitions include “THE STREET. Where the world is made” (MAXXI, Rome, 2018) , “The D-Tale, Video Art from the Pearl River Delta” (Times Art Center Berlin, Berlin, 2018), “Bi-City Biennale of Urbanism\Architecture” (Nantou Old Town, Shenzhen, 2017), “Re/Sentiment” (A+ Contemporary, Shanghai, 2016), “Documentary fornight 2011” (Museum of Modern Art, New York, 2011).