The paintings and the three-dimensionality of local artist James Wong Cheng Pou, have been chosen to represent Macau at the 57th Venice Biennale. The works, still in the process of being created, will mirror elements of the artist’s life in light of the reality of the territory and will be presented in the Macau Pavilion in Giardini di Castello.
From the approxiately 40 local artists considered, Wong’s works were selected according to their characteristics, style and taking into account the correlation between the evolution of his artistic expression and the development of the territory.
Wong will present about two dozen works at the event, of which the overwhelming majority will probably be sculptures and three-dimensional pieces. Paintings will also be featured, with the artist assuring that he will reveal more details about his works next month.
According to Ng Fong Chao, Curator of the Macau Museum of Art (MAM) who served on the selection committee, the Chinese characteristics of Wong’s work are an asset to the artist, as they allow audiences to consider how the relationship between East and West can support artistic production.
James Wong was born in Macau in 1960 and has been recognized as one of the top 30 artists in Asia. Currently President of the Printmaking Research Centre of Macau and Chief Curator of the Macau Printmaking Triennial, he is seen as one of the artists who has most contributed to the development of modern art education in Macau.
Regarding his participation in the international event, to take place between May 30 and November 26, 2017, Wong explains: “The reason why the Venice Biennale is important for artists is because the whole world looks at this exhibition. It is a pleasure for me to have been invited to represent Macau”.
The Biennale currently involves more than eight dozen countries and regions.
The concept that transcends Wong’s artistic works conveys to the public the idea of Macau’s development: “It is like a brief description of what I have felt throughout these 20 years of changes in Macau,” the artist exlains.
The strategy, however, is to show “something indirectly”. For example, one of his works is a bonsai garden that seeks to represent the “opposite idea” to the reality of the territory.
“What I feel is the same as everyone who lives here feels. [Macau] is getting more and more crowded and we are always blocked by something: space, people walking down the street and even difficulties in reserving a table in a restaurant,” Wong says.
Despite seeing himself as “an artist who doesn’t consider social politics much,” he admits that it is hard to get away from this particular subject.
“People occupy your space when you are supposed to have enough. I think it’s the price we have to pay if we want to make money through tourists; we probably have to face these situations,” he says, however questioning: “Is this a temporary phenomenon or is it going to last forever?”