chin chong is ching chong hehe

Result #1

chin chong is ching chong hehe sheng, hait ho hehe hai i-SiIi-Esi-Cang (Here is how I am calling him), 2012. In a bold move, the filmmaker simply drew the half-length penciled line from a tracing paper and traced the outline of the portrait through the tracing of its subject. The last work, Untitled, 2012, whose title evokes the subject of the title, was made by cutting out a cell-like form on canvas and applying it to a canvas. The surfaces of the canvases were painted so that the crisscrossing lines of the tracing paper were blurred by the paints applied to it; the resulting work looked like a composite of the surface features of two canvases of the same size. As an effect, it gave the impression that the painting was painting on canvas, but that the trace of paint had been shifted around the paint so that the figure had been erased altogether. In this way, Chong was able to focus on the details, i.e., the traces of the artists hand and handprints, and to merge them with the continuous paint stroke. Its not a coincidence that the subject of the title, with the size of the canvas, should stand in contrast to the one of the drawing.These two works introduce the idea of spatiality and to an extent a notion of density, but Chong does not attempt to express or to prevent these qualities from being detected. Rather, he offers them up as a means of understanding the works on view. Just as spatiality is registered by a line or trace, so is density by a layer of paint. But Chong doesnt offer his paintings a final solution—no, spatiality and density are not meant to be continuous but rather constantly changing. The second work, despite its title, is not an installation but an architectural model, a complete object that contains its entire history, and so is part of an overall system.

Result #2

, a 13th-century Chinese print. In another case, there is a 13th-century Chinese portrait by the Qing emperor Huánong, but the composition is hung on the walls like a simple label. As a result, the paintings sections are almost entirely bare. In this, they recall collages. An engrossing study of early Chinese painting, the exhibition offers not just a glimpse of the evolution of the Chinese tradition but a close look at the twentieth century, which included a large number of early Chinese masters.

Result #3

chin chong is ching chong hehe hehe, a bawdy phrase for whos good with it, this such a smart, worldly guy. It serves as a tagline for a long-running production of the character of Meg (played by women, most often actors with distinctive personalities), played by Peacock (who was not onscreen) and Myung Jung, and whose characters are often interwoven with such sensitive political undertones as Bin Chinas arrest and imprisonment at Siah Byeong-jung prison in the early 1980s and the U.S.s invasion of Central America.While many of the performances that were on view were in Korean, the exhibition included a wide range of Spanish-speaking works, most of them set in Spain, such as Pujada, 2015, in which two figures from a far-flung political, social, and cultural era inhabit the same abstract space in the style of W. Eugene Smith. The exhibition also included more than one hundred photographs, including many from 2008–2010, the period during which Peacock had become famous as the star of the giant mural he painted in the urban center of Madrid, alongside several other artists and activists. These are the first photographic studies of the artist in the U.S. since 2003, a period during which he was imprisoned in federal penitentiary. The photographs are a wry reflection of the subjects he drew, in which Peacock observes that his writing is inspired by his own experience in prison, perhaps most effectively in the book Lúciosa (A Prison Song), 1995, an autobiographical collection of essays that he published in 2001. In the former, the artist describes his solitary confinement in solitary confinement, in which he wrote daily in a notebook of smuggled letters, although he does not use the word penitentiary in the title. The poems of his childhood were also discovered by Peacock and published in prison, along with other ephemera.

Result #4

chin chong is ching chong hehe, with its loose, ballooning, distended structure, and abstract cartoonlike gestures. At the other end of the gallery was a small gallery with another collection of paintings, and several sculptures. Although all of these collections were scattered about, some were represented by a single painting. The paintings in the last room were typical of the wide variety of techniques employed in the show. In one, a boxer was similarly depicted in various poses. In another, the naked body of an eye was evoked in a manner typical of early 20th-century depictions of Georges Rouault: the painting shown here is based on a gouache drawing from 1982 and is titled Rose and a Sleeper (all works 1996). The artists in this exhibition, while all being participants in some kind of mass activity, were also interested in something very personal. It was the relationship between their bodies, perhaps a mere reflex, that was most interesting. The work shown here involved an art of patience and restraint. In the paintings, that patience and restraint were focused on the final moments of creation, when the body is stretched and manipulated to produce an image. That final moment, the life force, was present in all the works. The body, too, was an image, an active part of the surface of the work, an image that was also a manifest element in the composition.The title of one of the works, Untitled (Dogs), a sculpture made of molded rubber and covered in hot-glued paint, is a phrase that Sumimoto has used before in the past. The title also suggests the essence of both forms of creativity, the bodily and the artistic, and the bodies of people often are first discussed in relation to art. A similar concept is at work in Untitled (Shoes), a sculpture made of cast rubber. Here, as in other works, the body is the creative element.

Result #5

—a cheerful, Chinese character for female purity—spreading out of the large, pointed nose.A series of collages that feature copious amounts of ink on the paper, Hand, 1997–2004, includes flower shapes and complicated, anticoncious tapestries, while many of the works in the show are performed on chalkboard. Here, the words in heady expressions—I love, love to, to hate—rehashed their messy, goth-era associations and were embraced as different parts of a larger whole. The artist was delighted to discover that such renditions of old texts could revive an emotional effect by conjuring the spirit of the past. In this way, Hand also engaged a long-term ambivalence about selfhood, the sacred, and the material world. Hands paintings share a common sensibility, and are universal in their focus on the potential of images, both organic and mechanical, to be affected and shaped by an active viewer. Thats the power of Hands work. He has spent years organizing the story of his life. He has been through some of the most great things in his life—the love of his mother and his father. But this big, beautiful painting—which made up a collage—does not explore these themes, and, when viewed as a whole, seems more about the act of creation than the measurement of beauty.I imagine a time when we may not be aware of our connection with our past, the shows organizers wrote in the show's introduction. But what was that time in our lives, beyond the joy of making love, where you find the, you have no heart?—N.D.