顔常慶(カオ・ツネヨシ)
Gan Siong King

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Gan Siong King, All Watched Over by Machines of Loving Grace, -2019, multi-channel video installation, dimension variable, A+ Works of Art, photo by Wee Seng.

1975年マレーシア、セガマト生まれ。1990年代前半に油絵の教育を受けたが、2010年代は絵画とともに映像作品を制作。変わり続ける彼の実践は領域横断的であり、「見ること」や「存在すること」の多様なあり方を想像し、提案し、考察するための方法として、芸術と社会の正統なるものを紐解く。近年は「展覧会を作る」ことを探求し、媒体として発展していく展覧会に強い関心を向ける。「All Watched Over by Machines of Loving Grace」展(2019年、A+ Works of Art、クアラ・ルンプール)、「Biennale Jogja XV Equator #5」(2019年、ジョグジャカルタ国立博物館、ジョグジャカルタ)、「Meeting People is Easy」展(2017年、自身のスタジオ、クアラ・ルンプール)、「@yarimoriya」(2016年、Instagram/アーカス・プロジェクト、守谷)、「The Horror, The Horror」展(2015年、APW、クアラ・ルンプール)などに参加。

Born in Segamat, Malyasia, 1975. Siong King was formally trained as an oil painter in the early 90s' in Malaysia. But for the past decade he makes paintings and video-based works. Siong King's evolving practice include multi-disciplinary forms and revolves around unpacking orthodoxies in art and social structures as a way to question, reflect and imagine different ways of seeing and being. He is currently exploring ideas about "exhibition-making", particularly on developing exhibition as a medium in itself. All Watched Over by Machines of Loving Grace (2019, A+ Works of Art, Kuala Lumpur), Biennale Jogja XV Equator #5 (2019, Jogja National Museum, Yogyakarta), Meeting People is Easy (2017, Artist's Studio, Kuala Lumpur), @yarimoriya (2016, Instagram/ARCUS Project, Moriya), and The Horror, The Horror (2015, APW, Kuala Lumpur).

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