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1 _Tiong Ang _archive in random images _ _Pavilion of Distance II: Cross Roads and Hazy Maze, production still installation shots exhibtion views secondary footage video stills research imagery old paintings inspiring new animations etc..
2 _Trapped / Lost, 2002 multimedia installation Cemeti Art House, Yogyakarta
3 _Shuttle (from North to South), 2002 video, min. A badminton shuttlecock is mounted in front of the lens of the camera. A ride through the city of Yogyakarta is simply recorded from the back of a motorbike, creating a sensation of flying behind the shuttle, that dominates the centre of the image. The urban landscape passes by in the periphery of the frame. The ride takes us from the north of Yogyakarta to the city s south, through the historical quarter of the Kraton. This simple, hypnotic image and its title refer to the game of badminton as a carrier of a complex national identity of a nation struggling with its global positioning, and at the same time alluding to the ambivalent situation of the first-world artist in which he confronts himself with a wider audience. Produced during a residency in Yogyakarta (Indonesia) and shown at the exhibition GRID at Cemeti Art House, Yogyakarta (November 2002) and Erasmushuis, Jakarta (March 2003)
4 _School, _School, video installation on modified screen video 49th installation Venice Biennale, on modified 2001 screen 49th Stedelijk Venice Museum, Biennale, 2001 Amsterdam, 2002 Herzliya Museum of Contemporary Art, 2001 Stedelijk Museum, Amsterdam, 2002
5 _Pavilion of Distance: A Greek Tragedy, 2012 mulitimedia installation 1st Tbilisi Triennial, CCA / Georgian National Museum
6 _As The Academy Turns, 2010 A telenovela - video installation Manifesta 8, Murcia
7 _Insides, 1993 installation behind veiled screen Van Abbemuseum, Eindhoven, 1993
8 _Mockery (Projections), 2002 featuring Atone Niane video installation, min. As an overseas Chinese -born in Indonesia, educated and living in the Netherlands- Tiong Ang was aware of his ambivalent relationship with China, its people and its rapidly developing art world. To avoid the quagmire of false associations connected to this situation, he chose to remain silent about this topic and invite someone else to address the Chinese audience. This person is the African storyteller Atone Niane, who was invited to speak about the artist s undertaking to show his work in China for the first time. In the video two men enter an empty room, an African man and a Chinese man (the artist himself), both wearing suits and sunglasses. The artist in the background remains silent and shows slides in a slide projector, of which the lens is directed straight into the lens of the recording camera. The African man s monologue in front of the image is upfront, confrontational, expressive. His story unfolds the dilemma of the artist, entering the Chinese art market, acknowledging a diasporic position but refusing the limitations of such a label. Gradually the storyteller mixes the artist s story with his own position as an overseas African emigré, creating a verbal and unparalleled complexity about the global discrepancies between north and south and between east and west. When the African man starts to speak in a trance, he is guided away by the artist. They leave the room together. The Third Space in the Fourth World, Eastlink Gallery, Shanghai, 2002 Public / Private, Auckland Triennial, Auckland Art Museum, 2004
9 _Timeline Underworld, channel video installation Blue Moon -The Unprecedented City, Groningen _Traffic, 2001 video still _Dark Road, 2001 video still
10 _Geheugenspel (Memory Game) 2004 ( with Roy Villevoye ) _In three videos a girl and two boys (about ten years old) pose as old people. They wear masks with wrinkles and white hair and speak with trembling voices. Individually or in pairs they pretend to recount memories from their childhood long ago, events which actually have just happened in their lives. In a fourth video an elderly man wearing a child s mask is bringing up memories of his childhood. In the installation the four videos were played on seperate monitors. Spotlighted by theatre lamps, the masks of old men and women were displayed on two tables. The public was invited to try the masks on in front of a mirror and to join in the memory game. de kleine biennale, Utrecht, 2004 MUHKA Antwerp, 2004
11 _As The Academy Turns, 2010 A telenovela - video still Manifesta 8, Murcia _Old Gun, 2001 video still Underworld series
12 _Settlements, 2011 installation, performance, video Museum Beelden aan Zee, The Hague _Like a Zombie, 1997 video, performance, installation Het Torentje, Almelo
13 _Cut Close Ups on Matriarchy, channel video installation on modified screens De Appel, Amsterdam
14 _Geschwistergespräche, 2000 A project for Neues Leben video, performance Galerie für Zeitgenössische Kunst, Leipzig _School Pictures, 1997 (with Roy Villevoye) video, billboards, installation, performance Festival aan de Werf, Utrecht
15 _Prisoners, channel video installation Florence Lynch Gallery, New York _Three Men, 2001 video still _Wounded, 2004 video still
16 _Pavilion of Distance: Cross Roads and Hazy Maze, channel video installation, performance Rezan Has Museum, Istanbul 80WSE New York University Art Gallery
17 _Models for (the) People, 2008 multimedia installation 7th Shanghai Biennale / Shanghai Art Museum
18 _Pavilion of Distance: A Greek Tragedy, 2012 production still 1st Tbilisi Triennial, CCA / Georgian National Museum
19 _Broken Circle, 2008 video stills _My Name is Pencil (Potlot! Pensil! Potlood!), channel video and multimedia installation XII Jogja Biennial / Yogyakarta Art Museum
20 Tiong Ang _NOTES (_instructions_ snapshots_rehearsals tryouts_billboards) _My Name is Pencil (Potlot! Pensil! Potlood!) 2009 wall paper design / installation Centraal Museum, Utrecht
21 _Video Shop, 2000 (with Abrie Fourie) multimedia installation De Bagagehal, Amsterdam The Escape, painting, 2009
22 _House of Shyness, 2014 video, installation, performance, production Taipei Fine Arts Museum
23 _Eighth Chapter, 2013 video installation, banners Museum Van Loon, Amsterdam
24 Tiong Ang _experimental aesthetics (_solitude_relationships_crew_ team_performance) _School II (11.53 AM), 2004 video still
25 _Universality - Decorum of Thought and Desire, channel video installation, posters, objects in vitrine, architecture, performance 5th Guangzhou Triennial / Guangdong Museum of Art, Guangzhou
26 _Models for (the) People, production still, 7th Shanghai Biennale _Interiors, 1995 installation 4th Istanbul Biennale
27 _Ketoprak (Projections), 2014 (with André Kruysen, featuring Mark Kremer) video still CODA Museum, Apeldoorn _Bombay Rushes, 1998 (with Roy Villevoye) production still De Gele Rijder, Arnhem
28 _Settlements, 2011 installation, performance Museum Beelden aan Zee, The Hague
29 Tiong Ang NOTES (_anthropology_politics _journalism_spatiality) _A Greek Tragedy, 2012 production still
30 Tiong Ang _early work (_painting_collection_video_installation) _Ray of Light, channel video installation Van Abbemuseum, Eindhoven
31 _Initiation, 1994 veiled paintings on modified screens, veiled windows De Appel, Amsterdam
32 _Swing, 2000 (with Abrie Fourie) multi media installation Castle of Good Hope, Capetown _Models for (the) People, 2008 (featuring Atone Niane) production still 7th Shanghai Biennale Tiong Tiong Ang Ang Tio _notes Ang _notes (_texts_nego (_texts_smir tions_horses _NO laughs_broad lebrities_pla (_tic casts_oceans es_la casts 1998
33 ng tiaks ceces) TES s_sketch- - ughs_broad- _oceans) ) _Timeline Underworld, channel video installation Blue Moon - The Unprecedented City, Groningen
34 _FINAL (Mixed Doubles), 2002 with Joned Suryatmoko and Uung Qadriatin (actors) video, 14 min., colour / sound / Bahasa Indonesia A man and a woman in sports outfits enter the space, a dressing room. They are badminton players preparing for an important match (see title). It remains unclear whether they represent their country, a club or just themselves. After a short warm up the two players reflect upon their thoughts and emotions regarding the coming match and the tensed relationship they ve established with each other. Occasionally, a mysterious Chinese man in black appears (the artist), without saying a word. Is he their patron, their coach or the referee perhaps? The behaviour of the players, their conversations and individual monologues in front of the mirror (being the lens of the camera) unveil a deep sense of distrust and anxiety, only set aside by a mutual ambition to win the game. The match itself remains unseen, but two different possible results are shown; losing and winning. In the end, in a moment of violent euphoria, the couple beat up the man in black, leaving the dressing room in utter chaos. This video must be regarded as a video performance. It was taped in one morning session, in a series of shortly instructed but improvised scenes. There were no script, no rehearsals, no translations. The spoken language is Indonesian (which the artist doesn t speak himself). The camera was placed in one single position. GRID, Cemeti Art House, Yogyakarta GRID, Erasmushuis, Dutch Cultural Centre, Jakarta Shared History, Art & Amicitiae, Amsterdam
35 Tiong Ang _portrayals (_gestures_behaviours_modifications_postures poses) _House of Shyness, 2014 video- installation, performance, production Taipei Fine Arts Museum
36 _Immune Sequences, channel video installation 5th Shanghai Biennale / Shanghai Art Museum _Studio, 2000 multimedia installation Lumen Travo, Amsterdam
37 _From North to South, 2006 multimedia installation Florence Lynch Gallery, New York
38 Tiong Ang _NOTES (_coops_smirks_ laughs_broadcasts_oceans) _How To Act, 2013 installation, performance, video Lumen Travo, Amsterdam
39 _Painted Strokes (Sitcom), 1995 (with Carter Kustera) installation, performance, video proton ICA, Amsterdam Thread Waxing Space, New York Tiong Ang _practice (_studio_colab_ teevee_et al-)
40 _Still Life, 2015 (Universality series) video still _Ghosts (Woman and Objects), 2015 (Universality series, featuring Heekyung Ryu) video still _(C) TIONG ANG 2015
_archive in random order
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