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October 25, 2021

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Wong Ping’s Digital Interest with Digital Life

Wong Ping's Digital Interest with Digital Life
Wong Ping, Desire of the Jungle, 2015 (still). Single channel video, sound, color 6:50 min Courtesy artist Edward Malangio Gallery, Hong Kong / Shanghai And Tanya Bonacdar Gallery, New York / Los Angeles.

Hong Kong. After the day’s work, Wong Ping went back to his apartment and did strange things, not very technically sophisticated animation. For friends and maybe a few other whimsical, erotic neurotics on the internet. Suppressed political statements? Of course not, but not when no one was paying attention. Ten years of brutal curse of proto-animals and various parts of the body, and Ping has emerged as a legitimate artist with international status. New Museum “Wong Ping: Your silent neighbor., ” (Which closed yesterday) Collected six videos and a work on vinyl for the artist’s first “American Survey”.

The forest of desire. (2015) describes the journey of a traveling husband, his dissatisfied wife, a sex worker and a corrupt police officer who hires him. An emo nose. (2015) describes a separate nose / falls in pursuit of his adventures. on the other hand (2015) explores the artist’s ambiguity about not leaving Hong Kong’s mercy. Who is daddy (2019), Pathological Memory, relates to the story of a dating app’s relationship, a blindfolded heel with a high heel, and the adoption of an abortion fetus. Stories 2. (2019), which is as follows. Stories 1. (Shown at the New Museum Triennial in 2018), lengthens two more animal stories of urban alienation. At thirteen minutes, Sorry for the late reply (2021), set to be exhibited at the New Museum, is the group’s longest single video, and a wide-ranging story of Tone Sykes and varicose veins.

Ping videos – cheating, strobing, airless es are inevitably personal. As spectators, we wander through the colors of the candy shop and blink with the revelation – like we’re in some hallway under fluorescent lights – that this horror is happening. Ping describes himself as a comedian, and he’s funny – a tilted nail inside your body. And he has likened himself to a pop singer who has to maintain a “state of love” to create – and one proof that Ping’s creations are the pits of Poke’s love. But the love / humor of Ping’s work is deeply ingrained – in the bubble of a private technical hell. “I live on the Internet,” Ping said. Frozen“So I work there.” If there is, as the artist argues, something “hot” about the boundaries and harmony of the dystopian Hong Kong, then the loss of personal identity and individual space is almost total loss. As Ping explained. The forest of desire.“The city doesn’t want you to stop. People make bad things to bother you. If you fall asleep in the park, people wake you up too. As if resting is a sin. ”

Ping’s characters give the impression that he has nothing to do with himself. They are the passive passengers of fate. Desire, fetishism – these are not just the results of the Internet, these are the problems that bring us to the Internet, that fuel the Internet. Maybe this construction will show my partner, maybe this kink will take me away. The Internet is oppressive and obscene. To feel hope or passion, we will test it.

Internet = self = state. There is no separation, and there is no possibility of crossing the equation. Who is daddy Ping’s video concludes with the character saying that his adopted fetus (given to him as a gift of guilt) “forces his father to kiss passionately.” The only way to interpret the video is to call the security services a political metaphor. (Some misguided parents bring their children. Your silent neighbor, And then quietly drive them out.) Ping, the state’s unpopular, undead ward, is also the father, the state itself. The admonition to “kiss your father passionately” begins with a Chinese story that has gone completely wrong in the 21st century. In ping Stories Series, similes are open. I The tree, From Stories 1.He sees a bus tree with a cockroach crawling on the elephant, unable to tell the elephant about the roach, and finally goes to the upper deck of the car and resigns to avoid the situation altogether. Consistency in the process. I Very rich cowGuy proved his worth, “Happiness is only real when shared,” in a particularly dynamic setting, from slow cooking to death. Sorry for the late replyA chameleon constantly changes color to avoid being the target of racist remarks, and as a result dies of exhaustion.

Assigning effects to Ping is interestingly offensive: Modern and focused on me. Ping’s videos are historic. AI is the result of an AI-powered moment after all, when all past Google searches became the ever-present, only current, geo-present result. But, making useless processions: ping shapes, palettes and compositions is a creepista modernity. On mondrian acid and, perhaps, ketamine. A few decades of fast-paced and boring geometric world of ping-60 animation is in vitro: Chuck Jones Dot and line. (From Norman Juster’s book) Proceed again: liquid light displays and ancient animation (sometimes cartoons, sometimes video filters and sometimes the beginnings of computer graphics), say, pink floats or thankful dead shows. Next, the “classic” video games. Flat and colorful and full of anxiety. Super Mario Bros. At the same moment in the 1980s, we predicted Ping’s brush colors in the center of New York’s East Village Center: Club 57 and The Art Gallery. But Ping’s work is not as much a reference to sources as it is to other references. The echo is not of the mandarin, but of the second echo of the mandarin. Ping’s aesthetic is retro of retro. No memory. Finding cause and effect in underground comics and manga is fascinating – but a strong lineage doesn’t yet exist.

Ping has expressed our party existence. Teen raw Nervous Ominous? Everyone is very familiar? As Ping told Cura Magazine in 2019:

“If you take a look at the different behaviors on the internet, you will see that our hidden beauty is being exposed at the same time. It is not that society is going backwards, but that humanity has always been ancient. Is.

To convince. Yes. But Ping’s allegorical constructions are not really ethical, not really diagnostic with some intention of improvement. A consequence of our own Edwardian death, as presented by Lisa Yusakovich or John Crane, is ready. Ping as a collective death wish syrup pleasure. But if Ping’s videos are automatically in their desecration, then there is also the feeling that we are being acted upon, that something is happening to us, something is being done to us. There may be an anniversary somewhere, but the imaginary ideas and best hopes for the lives of Ping’s apologetic creatures are forcibly pushed into his small perspective and even small apartments. Um tape measure, please.

Wong Ping's work reflects ancient passion, the Internet and desire.