Ming Wong Born in Singapore in 1971. Using video, installation, and performance techniques, he re-narrates world cinema and popular culture, building up several layers of film language, social structure, identity, and reflection. Recent exhibitions include the Asia Art Biennale (Taichung, 2019), Busan Biennale (South Korea, 2018), Dakar Biennale (Senegal, 2018), Dhaka Art Summit (Bangladesh, 2018) and SAVVY Contemporary (Berlin, 2018). Major solo exhibitions include UCCA Ullens Center for Contemporary Art (Beijing, 2015), Shiseido Gallery (Tokyo, 2013), REDCAT (Los Angeles, 2012) and Hara Museum of Contemporary Art (Tokyo, 2011). He has also participated in the Biennale of Sydney (2010, 2016), Asia Pacific Triennial (2015), Shanghai Biennale (2014), Lyon Biennale (2013), Liverpool Biennale (2012), Gwangju Biennale (2010), Paforma 11 ( New York, 2010), etc. In 2009, he was selected to represent the Singapore Pavilion at the 53rd Venice Biennale and received a special jury commendation for his solo exhibition 'Life of Imitation'."
“Fake Daughter’s Secret Room of Shame” (2019)
By re-enacting classic films from various periods and places, Ming Wong has been incisively investigating issues of language and national identity. Inspired by adult films from the 1970s directed by the young Tatsumi Kumashiro and others, the film bridges the gap between the Internet's proliferation of the fake daughters (Wei-niang), and male daughters (Otoko) widespread on the Internet, and the eradication of popular culture by the development of technology. It can also be said to present a variety of values by violating and deviating from male-centered attention.
※Because this work contains sexual content, prior consent is required for admission. Those under the age of 18 are not allowed to view the film.