Ming Wong

Wong deals with Alain Resnais' film L’Année dernière à Marienbad (1961). The Nouvelle Vague icon is characterized by ambiguity in the narrative and innovative visual language—both elements that Wong exaggerates in his work. In L’Année dernière à Marienbad, we never learn the specific location where the action takes place—a circumstance that Wong exploits when he shoots his version in the Marienbad Café and Fuxing Park, both in Shanghai and marked by colonial influences. The overlapping of cultural codes creates moments of irritation, as does Wong's embodiment of both male and female protagonists – familiar attributions are broken down.

In this work, sixteen Bloody Marys are woven together, mostly from amateur and high school musical productions found on the internet and interlaced with the artist’s own rendition and the original Bloody Mary from Rogers and Hammerstein’s stage musical South Pacific.

'In 2007 just before moving to Berlin, I made Lerne Deutsch mit Petra von Kant / Learn German with Petra von Kant in which I tried to learn to speak and act like a German by closely emulating the actress Margit Carstensen in the role of fashion designer Petra von Kant, suffering a mid-life-career-crisis in Rainer Werner Fassbinder´s 1972 film Die bitteren Tränen der Petra von Kant (The Bitter Tears of Petra von Kant). I invited ten of my students to make this work with me to commemorate ten (mostly) productive years of German integration. A broad spectrum of young artists in Berlin, some of whom were as new to the city as I had been in 2007, collectively transformed into this new and restlessly changing figure of Petra von Kant of the new millenium.' (Ming Wong)

Exploration of the Chinese-Senegalese relationship, featuring the Museum of Black Civilisations, recently built by China and conceived as a symbol of decolonisation.

Originally commissioned for the 53rd Venice Biennale for the artist’s solo exhibitioin Life of Imitation at the Singapore Pavilion, this work is inspired by a scene from the classic Hollywood melodrama by Douglas Sirk, Imitation of Life (1959) where a black mother meets her mixed-race daughter who has been running away from her true ‘identity’. This version features 3 male actors from the 3 main ethnic groups in Singapore (Chinese, Malay and Indian) taking turns to play the black mother and her ‘white’ daughter. The identity of the actor for each role constantly changes with each shot.

This work was developed by the artist as part of a personal, self-designed German language and cultural immersion programme, while he was preparing to relocate to Berlin in August 2007. Believing that one of the best ways to get insight into a foreign culture is through the films of that country, the artist has adopted one of his favourite German films as his guide, The Bitter Tears of Petra von Kant (1972) by Rainer Werner Fassbinder, about a successful but arrogant fashion designer in her mid-thirties, who falls into despair when she loses the woman she loves. Putting himself in the mould of German actress Margit Carstensen as Petra Von Kant – a role for which she won several awards – the artist attempts to articulate himself through as wide a range of emotions as displayed by the actress in the climactic scene from the film, where our tragic lovesick anti-heroine goes through a hysterical disintegration.

The artist Ming Wong re-enacts scenes from Fassbinder's film "Angst Essen Seele Auf" ("Ali: Fear Eats the Soul") (1973) playing 14 different characters, in German.