THE SHOPHOUSE
Hong Kong, China
Along The Way
2023
Mak2's oil on canvas artwork ' Self Portrait 4’ (2021) is on view at THE SHOPHOUSE's newly launched group exhibition, 'Along The Way'. Featuring 7 Hong Kong artists, presented by THE SHOPHOUSE in Tai Hang, Hong Kong, the exhibition runs from 13th May to 18th June 2023.
Mak2's work' Self Portrait 4’ from the 'Home Sweet Home' series is showcased in the exhibition. The work captures Mak2 taking a celebrity-like self-portrait in front of an urban cityscape backdrop, the painting is divided into 3 canvases, showing the disillusion of the fantasy in life and the visual manipulation associated with mass media imagery often seen on social media.
DE SARTHE
Hong Kong, China
On-Going
2022
Mak2 was shown in exhibition 'On-Going' with other artists presented by DE SARTHE, which is an inaugural group show to announce DE SARTHE's new location. The show brings the audience on re-exploration of DE SARTHE featured artists’ significant evolvement through their artistic practices in the past 6 years.
《進行式》
2022
麥影彤二與其他由德薩畫廊代理的藝術家共同參展德薩畫廊新址的首展「進行式」。展覽帶領觀眾回顧並重新探索畫廊藝術家在過去六年的藝術發展與蛻變。
K11
Shanghai, China
Mirage or Reality
11 Nov 2021 - 5 Feb 2022
Mak 2's works displayed in the group exhibition - "Mirage or Reality" in Shanghai K11 Art Museum amongst 15 other Chinese contemporary artists to present a large-scale multi-media show at chi K11 Art Museum.
The exhibition is inspired by the online game “The Sims”, a role-playing program in which players can set up caricatures of themselves and experience situations in reality, on the virtual platform. The show not only hopes to invite the audience to explore the boundary between human perception and existence but to take a step into the new world of the K11 meta-universe.
麥影彤二與15位中國新銳藝術家的作品於上海K11購物藝術中心 -- chi K11美術館呈現《真實幻境MIRAGE OR REALITY》大型多媒介藝術展。展覽的靈感源於角色扮演遊戲《模擬人生》，玩家可以在遊戲中進行自我設定，在虛擬世界裡體驗與真實人生的情景。本展希望邀請觀眾們一同探索人類感知與存在的邊界，並且開啟K11元宇宙新篇章。
Inside-Out Art Museum
Beijing, China
The Principle of Hope
16 Oct 2021 - 27 Feb 2022
Mak 2's works are currently on display in a group exhibition named "The Principle of Hope" in the Inside-Out Museum in Beijing. Through showcasing the practices of Chinese and international artists/cultural creators, the exhibition urges the audience to regard the future as a space full of potential and calls for active individuals to face the present with courage and to look forward to what the future holds for them.
麥影彤二的作品正在北京中間美術館的群展《希望的原理》中展出。 通過展示來自中國與國際藝術家/文化創作者們的實踐，展品敦促觀眾們將未來作為一個充滿潛力的空間，召喚能動的個體，以展望未來的勇氣和熱忱面對當下。
Woaw Gallery
Hong Kong, China
Urban Whispers
2021
Urban Whispers, a two-chapter group exhibition presented by Woaw Gallery and Make Room Los Angeles. The first phase of the show will open at Woaw’s Queen's Road Central location in Hong Kong on 15 December. The second phase will open at Make Room’s Melrose Avenue location on 18 December.
In this exhibition, Mak2’s sculptural canvases take inspiration from e-commerce websites such as eBay and Taobao, raising questions of globalism within private space.
Current Plans
Hong Kong, China
Only A Joke Can Save Us
2021
Only A Joke Can Save Us is a group exhibition featuring nine international artists including Bo Choy, Hu Rui, Cyrus Hung, Kensuke Koike, Kieran Leach, Mak2, Yan Xinyue, Pow Martinez and Yu Cheng-ta.
《只有笑話能挽救我們》展出了九位國際藝術家：蔡寶賢、胡芮、洪正言、小池健 輔、Kieran Leach、麥影彤二、閆欣悅、Pow Martinez 和 FAMEME。
X Museum
Beijing, China
How Do We Begin?
30 May - 13 Sep 2020
Mak Ying Tung 2’s works are exhibited in the 1st Edition X Museum Triennial titled How Do We Begin?.
Her works are also on view on their new platform “X Virtual Museum”, which was introduced in response to the Covid-19 crisis.
Her works are also on view on their new platform “X Virtual Museum”, which was introduced in response to the Covid-19 crisis.
Ox Warehouse
Macau, China
Hot Flows: Pearl River Delta Arts Retrospective
23 Aug - 13 Oct 2019
Mak Ying Tung 2 with her artist collective "Come Inside" is participating in a group show "Hot Flows: Pearl River Delta Arts Retrospective" in Macau. The exhibition revolves around Pearl River Delta's meteoric progress of urbanization and its cultural phenomena developed in a considerable dualism.
麥影彤二攜其藝術家組合“Come Inside”參加《熱煙流——2019珠三角藝術單位觀察展澳門站》。展覽關注珠三角這片鮮活而飽含矛盾性的土地上的藝術。
Goethe Institut
Beijing, China
Beijing, China
Whatever Works, Whatever It Takes
20 Jul - 18 Aug, 2019
In Out of Body Experience (2018), Mak Ying Tung ridicules cyberspace with its instant, with its low-end 5-RMB order through Taobao, the world's largest e-commerce platform, ridiculing all the high-performance "magic" Communication across all physical distances attributes an equalizing, globalizing power. By sending her mind to Los Angeles, the artist is tampering with the irresolvable promise of global mobility: thanks to this magic, she rhetorically frees herself from the claim of the art world to be constantly present around the world.
參展作品中，麥影彤的《靈魂出竅》（Out of Body Experience, 2018），以其在全球最大電商平臺上購得的5塊錢低端巫術，諷刺了超越物理距離的即時通信和承諾平等化、全球化的網絡技術的高端魔術。通過把靈魂送到洛杉磯來克服無法負擔的全球流動，這個巫術隱喻地將藝術家從藝術界對全球在場的渴望和對巡回差旅的要求中解脫出來（巧合或不巧的是，本展覽也沒有預算把她飛來北京開幕）。
Pedro Cera
Lisbon, Portugal
We Didn’t Mean to Break It (But It’s Ok, We Can Fix It)
2019
“We Didn’t Mean To Break It, (But It’s Ok, We Can Fix It)” gathers works by five artists living in Asia whose practices are oblique but incisive responses to the observations they make of their social, cultural, and/or political environments.
Club Pro Los Angeles
Los Angeles, California, USA
Mak2, Out of Body Experience, 2018
Beckoning the Mutation
2018
Beyond fiction, mutation could be considered a genetic hiccup. Additional limbs, biomorphic smiles, the sweet tension of violence—mutation gets a bad rap— altering species’ formal makeup and genetic lineages at large, for better or for worse. Facilitated by manifold environmental factors, both organic and synthetic, our sense of uniformity is melting, and its melting is a harbinger of great change.
Including works by Andrew Luk, Ko Sin Tung, Mak2, and Trevor Yeung, all based out of Hong Kong, Beckoning the Mutation explores some of the mutant states symptomatic of our changing environment. Their works in tandem render a space in flux, an indeterminate evolution of interface.
除了小說之外，突變可以被認為是一種遺傳性打嗝。額外的肢體，生物形態的微笑，暴力帶來的快感－導致對變種物種的誤解和 改變了物種正式的構做和遺傳譜系，無論好壞。在有機和合成的多種環境因素的促進下，我們的均勻感正在融化，其融化是巨大變化的預兆。
作品包括香港的陸浩明，Ko Sin Tung，麥影彤二 和 Trevor Yeung的作品。Beckoning the Mutation 探討了一些突變狀態，這些狀態是我們環境不斷變化的症狀。他們的作品串聯起來，形成了一個不斷變化的界面，一個不確定的界面演變。
K11 Art Foundation (KAF) and MoMA PS1
Shanghai, China
.com/.cn
9 Nov 2017 - 25 Feb 2018
How is art changing in the digital era? Technology has provided new tools for the production, distribution and reception of art while also enabling rapid advancements in global trade and information exchange. Described as a “network” or a “cloud”, the infrastructure that facilitates this digital ecosystem is often assumed to exist as a universal system unencumbered by territory, language, law or national culture. Yet, very different forms of the internet have developed throughout the world, conditioning different social behaviors, economies and modes of thought. These variations are perhaps most evident when comparing the use of the internet in China and in the West, which reflect broader competing political and economic systems. How might these different technological environments express themselves in the contemporary art being made “locally”?
Bringing together a selection of artists from China and the West, this exhibition inquires the distinctions between the two. The digital space recurs as a utopian world, modeling alternative landscapes in virtual, augmented and analog forms. Certain works engage the cultural aspirations both encouraged and limited by the Chinese digital ecosystem, alongside its permeability to Western content. Painters propose new abstract spaces that combine historical Chinese and Western vocabularies with contemporary pictorial schematic devices. Surveillance technologies mingles with apps and devices that invite participation. Real geographies are set against technological representations and imaginary terrains, evoking the challenges in facing the liberal ideals of globalization in an age of nationalist retrenchment. The exhibition is complemented by a group of works from the Adrian Cheng Collection selected by K11 Art Foundation that offer several perspectives of moving and photographic images made in China, extending from the recent pre-internet era through to the “post-internet” condition of the present.
Paticipating artists: Darren Bader, Trisha Baga, Cao Fei, Heather Dewey-Hagborg, Aleksandra Domanović, Gregory Edwards, Li Ming, Liang Wei, Lin Ke, Mak Ying Tung 2, Miao Ying, Jon Rafman, Martine Syms, Wang Xin.
在如今的數字時代，藝術呈現著怎樣的變化？科技發展日新月異，除了帶來許多創作、傳播和認識藝術的新方式，還促使全球貿易和信息交換快速發展。數字生態系統由“網絡”或“雲端”等基礎建設構建而成，在許多人眼中，它接通整個世界，超越了國界、語言、法律乃至民族文化的限制。但事實上，互聯網是由不同的網絡組成，由於每個國家都有特定的國情，各個網絡形態千差萬別，影響著社會行為、經濟體系和思考模式。若我們對比中國和西方的互聯網生態，這些分別尤其明顯，反映出中西方南轅北轍的政經系統。那麼，當藝術家在“本地”環境中進行創作時，他們的作品如何呈現中西方網絡語境的差異呢？
本次展覽匯集來自中國和西方國家的藝術家，藉著他們的作品，探討以上種種差異。數字空間以烏托邦形象再現，通過虛擬實境、增強實境和模擬等數字手段，構造出另類景觀。部分作品反映因中國網絡生態使致或為其所限的文化願景，以及西方內容的滲透程度。藝術家亦利用新興的數字繪圖裝置，創造出包涵歷史上中西文化語彙的全新抽象空間。作品中監控技術與app應用和各種裝置結合，加強與觀者之間的互動。科技再現的情景和虛擬國度與現實世界相互對比，在民族主義緊縮的時代語境下，挑戰全球化所提出的自由理念。 參與藝術家：Darren Bader、Trisha Baga、曹斐、Heather Dewey-Hagborg、Aleksandra Domanović、Gregory Edwards、李明、梁偉、林科、麥影彤、苗穎、Jon Rafman、Martine Syms、王欣。
The Crow Collection of Art
Dallas, USA
Invisible Cities
29 Sep 2017 - 17 Dec 2017
The art collective COMEINSIDE, formed by Hong Kong based artists Mak Ying Tung 2 and Wong Ka Ying, presented a performance titled ffff in “Invisible Cities” an exhibition co-organized by The Crow Collection of Asian Art, Dallas Contemporary, and the Moving Image Archive for Contemporary Art: MIACA (Hong Kong).
Using COMEINSIDE and their pseudopop group personas, Mak and Wong comment on the social norms and in Hong Kong while discussing the influence of consumer culture on gendered merchandise. The pair uses adolescent visuals to parody hyper-feminine culture, manipulating stereotypes to their advantage. the objectification of woman has become vernacular on the internet. Even the most common activities, like sports, advocate the absolute standard for a desired woman: healthy, sporty, energetic, and young, with a tanned and tight body. The artists’ awkward poses and body movements keeps the thread taut between the rackets, such that the ball continues to slide.
Unhealthy Wind was inspired by the photoshoots of girls commonly posted on Instagram. The work addresses the fashion elements used in representing stereotypical gender roles, and the deliberate use at props and body language in exaggerating and glorifying everyday scenes. In the performance the artists put on typical tennis outfits, short skirts and head-bands. The rackets are connected by a thread, along which a tennis ball slides from one end to the other.
藝術家組合COMEINSIDE由香港本土藝術家麥影彤二和黃嘉瀛組成，共同在展覽《Invisible Cities》中進行名為“Unhealthy Wind”的行為藝術表演。展覽由Crow Collection of Asian Art、達拉斯當代藝術團以及當代藝術移動圖像檔案：MIACA（香港）共同舉辦。COMEINSIDE的新表演受到社交媒體上擺拍的女孩照片啟發。作品探討主體是如何通過定型穿著在日常生活中扮演特定的“女孩”角色，以及如何運用道具和誇張的肢體語言營造荒誕而日常的場景，並鼓勵觀眾拍照評論。在表演中她們穿著典型的網球服裝、短裙和頭帶，分別拿著網球拍。一條線把兩個球拍連在一起，網球從一側滑到另一側。女孩笨拙的姿勢和身體動作唯一的目的是保持球拍之間的線拉緊，讓球繼續滑動。
麥影彤二和黃嘉瀛共同運用偽造的“COMEINSIDE”品牌和流行組合形像以挑戰香港的社會規範和性別建構，以及消費文化對性別化商品的影響。組合通過少女的視覺呈現影射過度女性化的文化，借用這種刻板印像以轉化為推翻規範的力量。物化女性的現象現今在互聯網隨處可見；即使最為普通的活動，例如體育運動被用於倡導一種完美的、被慾望的單一女性標準：健康並且擅長體育運動的，充滿活力的年輕女性，有著黝黑皮膚和緊緻身體。
DE SARTHE
Hong Kong, China
Reversal Ritual
2017
Reversal Ritual is a group exhibition organized by gallery directors Willem Molesworth and Vincent de Sarthe to inaugurate the new Hong Kong space. It includes work by Liang Ban, Mak2, Tong Kunniao, Wang Xin and Xin Yunpeng. The show addresses the concept of “carnivalesque” developed by 20th century literary critic Mikhail Bakhtin as it pertains to artwork created by an emerging generation of young Chinese artists today. In reference to the comically festive events depicted by 16th century novelist François Rabelais, Bakhtin asserts that the carnival was an expression of an alternative world liberated from the social, political, cultural and religious structures of the time. His concept, often considered as a utopian antidote to repressive forms of power, serves as a celebration of the possibility for change, however transitory in nature. The exhibition aims to highlight how several young Chinese artists have begun to express themselves through similar means in reaction to the newly established order of Chinese society. The show features multiple site specific installations as well as participatory artwork.
由德薩畫廊兩位總監Willem Molesworth與Vincent de Sarthe聯手策劃的群展《儀式逆轉》將為全新的藝術空間揭開序幕，展出分別由五位中港新晉藝術家梁半、麥影彤、童昆鳥、王欣、辛雲鵬各自創作的場域特定藝術和創意互動作品。本次展覽參照了二十世紀俄國文學評論家Mikhail Bakhtin受到十六世紀法國小說家弗朗索瓦・拉伯雷（François Rabelais）筆下趣怪節日活動啟發而發揚光大的「狂歡荒誕」（carnivalesque）概念，認為充滿著幽默，諷刺、怪誕的嘉年華在傳統上代表了一個從當時的社會、政治、文化、宗教權力結構中解脫，繼而短暫建構出來的「另類世界」（alternative world） 。這次參與《儀式逆轉》展覽的藝術家將會以米哈伊爾・巴赫金（Mikhail Bakhtin）這個帶點烏托邦思想的論述作為基礎，透過同樣荒誕的手法回應正在急速發展成形中的新中國社會秩序。
Long March
Beijing, China
Marching in Circles
2017
Long March Space’s first exhibition of 2017, “Marching in Circles”, curated by Robin Peckham, featuring new work by Asian Dope Boys, COME INSIDE (Mak Ying-tung & Wong Ka-ying), Gao Ludi, John Gerrard, Liu Wei, Maria Taniguchi, Matt Hope, Mountain River Jump! (Huang Shan & Huang He), Yu Honglei, Zhang Xinjun, Zhao Gang, with a curated book stand by Closing Ceremony, the exhibition looks to offer an imagined alternative to the rapidly increasing consumerist culture that exists in the (art) world where the members of the global (art) economy, in one way or another, can be seen as culprits.
長征空間舉辦由岳鴻飛策劃的“原地前進”，作2017年首展，參展藝術家包郵Asian Dope Boys、COME INSIDE（麥影彤+黃）嘉瀛）、高露迪、約翰·傑勒德、劉韡、谷口瑪麗亞、麥特·侯普、山河跳！（黃山+黃河）、尉洪磊、張新軍、趙剛，以及閉幕式將在展覽中發現一個特別策劃的書攤。本次展覽試圖提供一種想像中的替代方案——在某種程度上人人皆為共謀，而消費主義文化日益劇的背景下，全球（藝術）生態，或者說（藝術）世界將有更多的選擇。
Whitechapel Gallery
London, United Kingdom
Artists’ Film International
2016
A selection of international artists’ film exploring the potential of repetition.
In Disarming (2013) Mak2 records the intriguingly disturbing act of plucking out the spines of a cactus, thereby questioning issues of perception and social behaviour.
CAFA Art Museum
Beijing, China
Beijing, China
CAFAM-Future
23 May - 5 July 2015
23 May - 5 July 2015
18 years on from Hong Kong’s reunification with China and under “One Country, Two Systems”, the sense of dissociation and distance between the Special Administrative Region and the Mainland continues to increase. The CAFAM Future exhibition series seeks to investigate the cultural production of China in its entirety, including the regions of Hong Kong and Taiwan. Addressing continued progressions in China, the exhibition documents the contemporary art scene of the nation. One that is moving towards a dominating curatorial course, and the effects this has for art makers.
The exhibition was originally shown in Beijing in January 2015, in its second reiteration to be launched in Hong Kong, CAFAM Future responds to the specificities of location, pursuing an exploration of the cultural differences that lie between the city and the Mainland. Of the 95 artists’ works shown in Beijing, the pieces by 33 artists were exhibited in Hong Kong, in pursuance to the directions of leading Chinese institutions.
Themed around OBSERVER – CREATOR, CAFAM Future features the works of an emerging generation of artists and the development of new art forms.
Produced in a breadth of mediums including; painting, installation, video, mixed media and more, the interdisplinary practices involve critical themes such as lighting, religion and philosophy. Each youthful artistic voice intensifies and reveals the profundity of culture in China.
「CAFAM未來展：創客，創客」針對全國各地藝術文化進行調查，並以香港、臺灣等地的調查結果策劃是次展覽。從策展過程至展覽現場，從構思展覽主題到闡述創客文化，展覽見證了當代中國新興藝術，討論創客文化對青年藝術家的影響。
首次於2015年1月在北京開幕的「CAFAM未來展」展出了95位藝術家的作品，而是次香港巡展則有33位藝術家，他們均由多間藝術機構推薦，其作品媒介包括繪畫、裝置、錄影、跨媒體等，題目涵蓋光、宗教和心理等跨學科之研究。新興藝術和年輕人，是這個展覽的主體。隨著展覽巡迴至不同地區展出，將透過「創客」主題持續討論，深入揭示該地區文化之深度，並構成展覽巡迴之經緯。
StarProjects,
Hong Kong, China
Glossy! Shiny! Fertility!
2015
“Glossy! Shiny! Fertility!” is the first group exhibition of starprojects. The exhibition is an introduction to a trilogy, presenting 6 emerging Hong Kong and mainland artists, including: Man Chan, Huang He, Liu Yin, Ma On Yee, Mak Ying Tung and Eason Tsang.
Emerging arts are actively appealizing and technicalizing themselves. They connive with fashion and its fascination, and collude with luxury and its luster. Art is rapidly dermarized, like how our city is materialized. The apparent glossiness, shininess and activeness is enough to prove how favourable and healthful it is to live in our society. The capitalized aesthetics (Glossy! Shiny! Fertility!) manifested through the works of the artists suggested the absent of a kind of intrinsic suffering. Art, in its presented form, no longer makes its observation with reference to the history of thought. Their interplay with vanity affirmed their value, and their worth is set in concrete under the monetized system and the globalized market. The rendering to shallow pompousness is the reality that we witness. Through refreshing themselves, artists actively construct their own world, allowing their art to speak for their delusion. All the world's future is becoming better. Living within the faultless world, our origin of suffering become obscured. Pain is indeed an imagination. Art reaches to ensnare us with its proliferation. A painless world is maintained under the perpetual production of contemporary art.
“光滑！明亮！繽紛！”為藝術空間 starprojects 的首個群展。展覽是開幕三段展的首個展覽，展出六位香港及內地年輕藝術家，包括：陳正文、黃河、劉茵、馬安兒、麥影彤、曾家偉。
當代藝術越來越漂亮化和技術化，越來越像奢侈品和時尚產品。藝術急速的“皮膚化”，如同我們城市的面貌。只要表面夠光滑、繽紛、明亮且積極便足以體現和證明在這樣一個社會中生活的美好與健康。這種形式上呈現的資本悅目（光滑！繽紛！明亮！）提示了一種精神性痛苦的缺失。我們不懷疑當代藝術所缺少的內在討論、所缺乏的精神史視野，因為藝術的價值在資本化的制度和全球化的市場體系下得以自我實現。當代藝術的形式下只剩下膚淺的奢華。藝術家透過不斷的刷新自己，積極的構建個體的世界，以作品代理他們的妄想。全世界的未來變得更美好了。生活在這樣一個美好的表象下，痛苦的根源變得模糊，痛楚都變成想像。繽紛不單指向色彩，也指向多產。我們做的這些藝術這麼漂亮，這麼誘人，在永續生產中維護了這個痛楚缺失的世界。