Chris Chong Chan Fui
Malaysia
Anthropogenic Impact, Ecosystem, Environmental Politics, Plantation Economies
Chris Chong Chan Fui

Chris Chong Chan Fui, Endemic, 2015. Installation view. Latex, mechanics & wooden table, 400 x 180 x 180cm. Gwangju Biennale 2018, Imagined Borders. Image courtesy of Gwangju Biennale Foundation.

Artist

Region
Malaysia

Category
Biodiversity, Ecosystems and Livelihoods

Topics
Anthropogenic Impact, Ecosystem, Environmental Politics, Plantation Economies

Chris Chong Chan Fui

Projects

Endemic

2015

Chris Chong Chan Fui, Endemic, 2015. Installation view. Latex, mechanics & wooden table, 400 x 180 x 180cm. Gwangju Biennale 2018, Imagined Borders. Image courtesy of Gwangju Biennale Foundation.

Chris Chong Chan Fui, Endemic, 2015. Installation view. Latex, mechanics & wooden table, 400 x 180 x 180cm. Gwangju Biennale 2018, Imagined Borders. Image courtesy of Gwangju Biennale Foundation.

"Endemic is an installation of mechanized and manufactured copies of rare endemic orchids of Mount Kinabalu, Malaysian Borneo. This project looks at the definition of 'endemic' which can be defined as a species that only survives at a certain locale / climate / environment. Using two points of reference, (1) historical field research photographs and (2) published botanical illustrations, a fabricated clone with a single mechanized bloom are seen barely moving, haphazardly laid flat on a wooden table. A sharp light from one side acts as a beam of sunshine through a window onto this table of harvested latex orchids. Reflecting on the various definitions of the indigneous, the native, the origin, and the original; ENDEMIC moves an unmovable species whose only means of existance is through an artificial reproduction within a manufacturing process." [1]

[1] Chris Chong Chan Fui, “ENDEMIC - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/ENDEMIC.


Nocturnal Zodiac

2022

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Film still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Film still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Installation still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Installation still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Installation still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Monitor still, Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

Chris Chong Chan Fui, Nocturnal Zodiac, 2022. Dome projection mapping, color, sound, dimensions variable. Image courtesy of the artist.

"With the first deep field images revealed from the Webb telescope, the history of our universe can now be archived in more detail and with more frequency. Every point of captured light that travels through the universe becomes a collection of puzzle pieces that reveals our existence. Together, the light of 13.5 billion years forms a lantern of collected stories that shines a path on our cosmic births, relationships, and deaths. With new astronomical revelations comes new astrological explanations. A revised zodiac of nocturnal animals ties new celestial documents with contemporary human concerns. As the constellations become reconfigured, a new set of beliefs are required in hopes of guiding us towards the survival of our own failed planet.

Curated by Janine Marchessault. Commissioned by Archive/Counter-Archive and Nuit Blanche." [2]

[2] Chris Chong Chan Fui, “NOCTURNAL ZODIAC - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/NOCTURNAL-ZODIAC.


Shoebox / Temporary Animal Housing

2019
A golden shoebook with holes punctured into the side and top.

Chris Chong Chan Fui, Shoebox / Temporary Animal Housing, 2019. Hand-casted bronze, 14 x 29.5 x 19.5cm. Image courtesy of the artist.

"Based on research into the swiftlet bird's nest economy in Southeast Asia, cement three-story buildings are created atop rice fields to lure hundreds of birds to make their nests within.
A shoebox is used to carry or house an injured bird to the nearest veterinarian. Holes are punched through for ventilation. Cardboard is commonly used, not bronze." [3]

[3] Chris Chong Chan Fui, “Shoebox - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/Shoebox.


Bungalow Birdhouse Conversion

2019
A map of different floor plans.

Chris Chong Chan Fui, Bungalow Birdhouse Conversion, 2019. Tracing Paper, 84 x 119cm. Borneo Malaysia. In collaboration with Sabah-based architect Max Bisoni of Bisoni Architects. Image courtesy of the artist.

A map of different floor maps.

Chris Chong Chan Fui, Bungalow Birdhouse Conversion, 2019. Tracing Paper, 84 x 119cm. China. In collaboration with Shanghai-based architect Darren Zhou of SKEW Collaborative. Image courtesy of the artist.

From the curator's notes for the solo exhibition Devices, of which Bungalow Birdhouse Conversion is featured, Curator Hori notes:

"Devices connect the dots to construct and define an aspect of Chris Chong’s artistic practice. Consis- tently echoing artificial mimicries and calculated capital gains achieved through exploitative harnessing of ecological and human assets, the artist contemplates how this mechanization of nature reflects upon our own integrity...Devices sees the artist dive deeper to unearth the systematic human management and motivation in the effective regulation and doctoring of the natural.The distillation and hastening of a natural process with an objective to maximize output and profit is an occurrence that takes place every day. Each one of us might unconsciously and involuntarily be a player within them. These processes could also be seen as models, ways or devices towards efficiency and productivity that are accepted by living communities everywhere keeping our participation in the cycles of demand and supply alive.While we mostly associate “device” with describing gadgets or utilitarian contraptions, we could also look at it as an adjective used to insinuate crafty maneuvers. After all, “device” is believed to have originated from the old French word “devis”, which primarily refers to division, separation and desire." [4]

[4] Chris Chong Chan Fui, “Bungalow Birdhouse Conversion - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/Bungalow-Birdhouse-Conversion.


Trapped python with 18k Gold Hook

2019
Close up of a golden hook in a snake's skin.

Chris Chong Chan Fui, Trapped Python with 18k Gold Hook, 2019. Fiberglass, 18 carat gold, 245 x 30 x 30cm. Image courtesy of the artist.

A python hanging by a golden hook.

Chris Chong Chan Fui, Trapped Python with 18k Gold Hook, 2019. Fiberglass, 18 carat gold, 245 x 30 x 30cm. Image courtesy of the artist.

"Based on research into the swiftlet bird's nest economy in Southeast Asia, predators by air and by ground were subject to fatal traps that protect the nests inside the cement birdhouses that cultivates them. The dangling egg lures the python upwards, subsequently swallowing the hook; unable to reverse back down. Hung. Stranded. The 18 carat gold, the same type of golf used for common human jewelry, shimmers as it pierces out from the python's gut.

This research was part of the NTU Centre for Contemporary Arts, Singapore Residency" [5]

Read more about the work here

[5] Chris Chong Chan Fui, “Python - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/Python.


Egg with 18k Gold hook

2019

Chris Chong Chan Fui, Egg with 18k Gold Hook, 2019. Resin, 18 carat gold, 5x2cm. Image courtesy of the artist.

Chris Chong Chan Fui, Egg with 18k Gold Hook, 2019. Resin, 18 carat gold, 5x2cm. Image courtesy of the artist.

"Based on research into the swiftlet bird's nest economy in Southeast Asia, predators by air and by ground were subject to fatal traps that protect the nests inside the cement birdhouses that cultivates them. The dangling egg lures the python upwards, subsequently swallowing the hook; unable to reverse back down. Hung. Stranded. The 18 carat gold, the same type of golf used for common human jewelry, shimmers as it pierces out from the python's gut.

This research was part of the NTU Centre for Contemporary Arts, Singapore Residency" [6]

Read more about the work here

[6] Chris Chong Chan Fui, “Egg with 18K Gold Hook - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/Egg-with-18K-Gold-Hook.


Camera Trap

2019
Nocturnal view of two owls.

Chris Chong Chan Fui, Camera Trap, 2019. Black, white and colur with sound, 9:40 minutes, square dimension, scale minimum 200x200cm. Image courtesy of the artist.

Nocturnal view of an owl.

Chris Chong Chan Fui, Camera Trap, 2019. Black, white and colur with sound, 9:40 minutes, square dimension, scale minimum 200x200cm. Image courtesy of the artist.

Nocturnal view of a deer.

Chris Chong Chan Fui, Camera Trap, 2019. Black, white and colur with sound, 9:40 minutes, square dimension, scale minimum 200x200cm. Image courtesy of the artist.

"Camera Trap is a comparative installation using moving images a hundred years apart. The first half of the work looks at Muybridge as both animal and landscape photographer, compared with the second half which works with current animal camera/video traps from the rainforests of Sabah (Malaysian Borneo). A visual and aural comparison of domesticated versus wild animals. Staged shooting versus remote capture. Caged sounds from the zoo versus field recordings from the rainforests.

How does the way we use camera equipment on documenting animals then and now, tell us about what we are looking for through the lens?" [7]
[7] Chris Chong Chan Fui, “Camera Trap - CHRIS CHONG CHAN FUI,” chongchanfui.com, accessed April 2, 2024, https://chongchanfui.com/Camera-Trap.


Biography

Chris Chong Chan Fui (b. 1972, Kota Kinabalu, Malaysia) is a filmmaker and artist who works between Southeast Asia and Canada. From digital and analog moving images to fabricated and organic objects, Chong works to reveal unfamiliar narratives. His work layers the social and natural sciences with transnational circuits of globalization and manufactured cultures and landscapes. With a rigorous research methodology and a formalist aesthetic, he uses structure and constraints as a creative path toward expressive innovation. Chong has exhibited at such venues as the Hirshhorn Museum & Sculpture Garden, Palais de Tokyo, EYE Film Institute Netherlands, and the Gwangju Biennale, while premiering films at the Cannes Film Festival's Directors’ Fortnight, BFI London, and TIFF’s Wavelengths, where he won back-to-back awards for Best Canadian Short Film. He is a Smithsonian Institute fellow (National Museum of Natural History), a Ford Foundation fellow, and a Rockefeller Foundation's Bellagio Arts Fellow. Chong holds an MFA (film) from York University and is the Assistant Professor (film) at Simon Fraser University’s School for the Contemporary Arts on the unceded territories of the Sḵwx̱wú7mesh Úxwumixw (Squamish), səl̓ilw̓ətaʔɬ (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations.

 

Selected Exhibitions


Selected Group Exhibitions

2018 Endemic, Gwangju Biennale, Gwangju, Korea
2018 Ties of History, Manila, Philippines (presenting KOAM/POOL, BOTANIC, and PERCY'S FLOWERS)
2016 Assembridge Nagoya, Minatomachi Art Table, Nagoya, Japan
2016 Garden in Movement, Tokyo Metropolitan Museum of Photography, Tokyo, Japan
2015 After Utopia: Revisiting the Ideal in Asian Contemporary Art, Singapore Art Museum, Singapore

Selected Residencies


2017 NTU Centre for Contemporary Arts Singapore, Singapore
2016 Cité internationale des arts, Paris, France
2009 Koganecho Bazaar, Yokohama, Japan