All posts tagged: Caroline Ha Thuc

Angela Su

By Caroline Ha Thuc  Caroline Ha Thuc: You are well known for your ink drawings featuring strange creatures that combine human and animal elements. Do these creatures reflect your vision of contemporary humanity? Angela Su: Probably. I contemplate how human beings can exist alternatively. With contemporary science the imaginations of human beings are often reduced to numbers and scientific data, whereas in ancient times the understanding of the body was abstract, allegorical and instinctive; the spiritual was intertwined with the physical. Of course there was a lot of superstition and it was highly inaccurate from the perspective of contemporary western medicine, but I am attracted to the kind of imagination brought about by destabilising the accepted understanding of the body. CHT: Is there a philosophical idea behind this approach, such as perceiving the world as a whole? AS: There is no particular philosophical idea behind this approach. It was just based on my consciousness and empathy as a human being. We lost our connections to nature and all creatures when human instincts were suppressed for the sake …

Morgan Wong

An in-depth but casual conversation between Hong Kong artist Morgan Wong and art writer Caroline Ha Thuc   Caroline Ha Thuc: From the beginning of your career time has been at the core of your practice: how to visualise it, how to grasp it and even recently how to smell it. Where does this obsession come from? Morgan Wong: I have no clear-cut notion of when and where this obsession or interest came from. I always see my work Plus-Minus-Zero (2010) as one of my fundamental encounters with the subject of temporality. However, there are always threads connecting previous and future works, like Journey – Hong Kong (2007) and I Got Time (2013), and I think it is important that some traces stay hidden so that connections appear at the right moment, instead of everything being too logical in the first place. My latest project, KIGOJA Standard Time (KST) (2016), in which I deal with time zones as immaterial borders, could be seen as revisiting time difference as a subject, but it also connects with …