Tiffany Chung

The Heart of Sharjah project 2025, 2012-2013
micro-pigment ink, gel ink and oil marker on vellum and paper
30 x 36 in. (75 x 91.5 cm)
The routes of W.G. Palgrave through the Gulf 1862-1863, 2012 - 2013
micro-pigment ink, gel ink and oil marker on vellum and paper
28 x 35 in. (71 x 88 cm)
Hazard Location Map of Afghanistan—active: 6452, transitional: 548, 2012
micro-pigment ink, gel ink and oil marker on paper
43 x 59 in. (110 x 150 cm)
Bosnia-Herzegovina, 1992–1995 Ethnic Cleansing Campaign & 1997 SFOR Troop Deployment, 2012
micro-pigment ink, gel ink and oil marker on vellum and paper
43 x 28 in. (110 x 70 cm)
Tangier 1943: the international zone, the French Capitulation in World War II, the Moroccan Communist Party, the Istiqlal Party and the call for independence of Morocco in 1944, 2012
micropigment ink, gel ink, oil and Copic marker on paper
43 ⅛ x 70 ¾ in. (110 x 180 cm)
Recovering Beirut: half-way between the imaginary and reality 1964-2016, 2012
micropigment ink, gel ink and oil maker on vellum and paper
29 ½ x 40 in. (75 x 100 cm)
The Growth of Cali—city boundaries: 1780, 1880, 1921, 1930, 1937, 1951 (pl. 204), 2012
micropigment ink, gel ink, and oil marker on paper
38 ½ × 53 ¼ in. (98 × 135 cm)
roaming with the dawn – snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012
4000 glass animals, wooden plinth
dimensions of animals variable, plinth approx. 400 x 275 x 25 inches (10 m. x 700 x 60 cm)
roaming with the dawn – snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012
4000 glass animals, wooden plinth
dimensions of animals variable, plinth approx. 400 x 275 x 25 inches (10 m. x 700 x 60 cm)
roaming with the dawn – snow drifts, rain falls, desert wind blows (detail). Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012
4000 glass animals, wooden plinth
dimensions of animals variable, plinth approx. 400 x 275 x 25 inches (10 m. x 700 x 60 cm)
roaming with the dawn – snow drifts, rain falls, desert wind blows (detail). Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012
4000 glass animals, wooden plinth
dimensions of animals variable, plinth approx. 400 x 275 x 25 inches (10 m. x 700 x 60 cm)
View of Tomorrow Isn't Here at Tyler Rollins Fine Art, September 6 - October 27, 2012
view of Tomorrow Isn't Here at Tyler Rollins Fine Art, September 6 - October 27, 2012
View of Tomorrow Isn't Here at Tyler Rollins Fine Art, September 6 - October 27, 2012
View of Tomorrow Isn't Here at Tyler Rollins Fine Art, September 6 - October 27, 2012
Enlarge
view of Tomorrow Isn't Here at Tyler Rollins Fine Art, September 6 - October 27, 2012, 2012
in between foraging sites, first raindrops and the BIg .50, 2012
hand-crafted glass bison figurines on plexiglass and MDF base
Base: 48 x 96 x 20 inches (121.9 x 243.8 x 50.8 cm)
Installation view of "in between foraging sites, first raindrops and the Big .50", 2012
hand crafted glass bison and base (Plexiglas, MDF)
48 x 96 x 20 in. (121.9 x 243.8 x 50.8 cm) bison: dimensions variable; approx 2 - 3 in. height
Installation view of "in between foraging sites, first raindrops and the Big .50", 2012
hand crafted glass bison and base (Plexiglas, MDF)
48 x 96 x 20 in. (121.9 x 243.8 x 50.8 cm) bison: dimensions variable; approx 2 - 3 in. height
thousands of years before and after, 2012
single channel video
9 minutes
the great simplicity, 2012
single channel video
9 minutes
Intallation view of "cell phone haiku, 19th century European farm equipment and SiO2 ", 2012
installation of 13 drawings and 2 embossed texts
16 ½ x 11 ¾ in. (41.9 x 29.7 cm) each
Enlarge
19th century European farm equipment and SiO2 #1, 2012
image transfer and micropigment ink on paper
16.5 x 11.7 inches 41.9 x 29.7 cm
the Pacific Decadal Oscillation index: 1900-2006, 2012
embroidery on canvas
26 x 48 inches 66 x 121.9 cm
the Atlantic Multi-decadal Oscillation Index: 1899-2002, 2012
embroidery on canvas
18 x 48 inches 45.7 x 121.9 cm
Wheat Price Plot: 1860-2000, 2012
embroidery on canvas
27 x 56 inches 68.6 x 142.2 cm
Projected Precipitation Change by 2080s-2090s from 1960-1979 baseline, 2012
embroidery on canvas
26 x 28 inches 66 x 71.1 cm
falling blue sky, frozen raindrops, 2012
steel, tin roofing material, glass turtles
149.5 x 48 x 40 in. (380 x 122 x 102 cm)
falling blue sky, frozen raindrops, 2012
steel, tin roofing material
384.25 x 287.25 x 116.5 in. (976 x 707 x 296 cm)
"falling blue sky, frozen raindrops" Installation view at the Kuandu Museum of Fine art, Taipei
September 29 - December 16, 2012
"falling blue sky, frozen raindrops" Installation view at the Kuandu Museum of Fine art, Taipei
September 29 - December 16, 2012
"falling blue sky, frozen raindrops" Installation view at the Kuandu Museum of Fine art, Taipei
September 29 - December 16, 2012
"falling blue sky, frozen raindrops" Installation view at the Kuandu Museum of Fine art, Taipei
September 29 - December 16, 2012
"falling blue sky, frozen raindrops" Installation view at the Kuandu Museum of Fine art, Taipei
September 29 - December 16, 2012
Installation view of "thousands of years before and after" and "the great simplicity" at the Kuandu museum of fine arts, taipei
September 29 - December 16, 2012
Development Stages of Cluj from the 12th Century to 1957, 2012
micropigment ink, gel ink, and oil marker on paper
38.5 x 53.125 inches 97.8 x 134.9 cm
The Growth of Cali - city boundaries: 1780, 1880, 1921, 1930, 1937, 1951 (pl. 204), 2012
micropigment ink, gel ink and oil marker on paper
38.5 x 53.25 inches 97.8 x 135.3 cm
San Francisco, 1895 USGS map: distribution of apparent intensity based on Rossi-Forel scale, the known faults, and the routes examined , 2012
micropigment ink, gel ink, oil, and Copic marker on vellum and paper
37.75 x 24.5 inches 95.9 x 62.2 cm
San Francisco, 1907 USGS map: the burned district, the city, and the principle conduits in the water supply system (pl. 1), 2012
micropigment ink, gel ink, oil and Copic marker on vellum and paper
37.75 x 24.5 inches 95.9 x 62.2 cm (
Recovering Beirut: half-way between the imaginary and reality 1964-2016, 2012
micropigment ink, gel ink and oil marker on vellum and paper
29.5 x 40 inches 74.9 x 101.6 cm
Tangier 1943: the international zone, the French Capitulation in World War II, the Moroccan Communist Party, the Istiqlal Party and the call for independence of Morocco in 1944 , 2012
micropigment ink, gel ink, oil and Copic marker on vellum and paper
43.5 x 70.75 inches 110.5 x 179.7 cm
Enlarge
Installation view of Chung's work in "Six Lines of Flight", San Francisco Museum of Modern Art (September 15 - December 31, 2012)
one giant great flood 2050, 2010
micropigment ink, oil and alcohol-based marker on vellum and paper
43 x 27.5 in. (110 x 70 cm)
Flora and Fauna, 2010
MICROPIGMENT INK, OIL AND ALCOHOL-BASED MARKER ON VELLUM AND PAPER
43 X 27.5 IN. (110 X 70 CM)
Communes IE and ET organisms, 2010
micro pigment, oil, marker on vellum and paper
43 x 27.5 in. (109 x 70 cm)
communes, nature and ET organisms, 2010
micro pigment, oil, marker on vellum and paper
43 x 27.5 in. (109 x 70 cm)
Dubai 1973, 2010
micropigment ink, oil and alcohol-based marker on and paper
43 1/4 x 65 in. (110 x 165.5 cm)
Dubai 2020, 2010
micropigment ink, oil and alcohol-based marker on and paper
43 1/4 x 65 in. (110 x 165.5 cm)
Migration of the Ladybugs, 2009
Oil and alcohol-based markers on paper
31 1/2 x 43 1/4 in. (80 x 110 cm)
GoVap, 2008
Oil and alcohol-based markers on paper
55 x 36 in. (140 x 92 cm)
Twigs, Bones, Rocks, and the Giant Tortoise, 2012
Installation view, There Can Be No Better World
Museum of Contemporary Arts and Design, Manila
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm), Museum of Contemporary Art and Design, Manila
twigs, bones, rocks and the Giant Tortoise , 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise , 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise , 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtlec
527 x 429 x 69 in (1338 x 1090 x 176 cm)
twigs, bones, rocks and the Giant Tortoise, 2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
527 x 429 x 69 in (1338 x 1090 x 176 cm)
stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
Stored in a Jar: Monsoon, Drowning Fish, Color of Water, and The Floating World, 2011
Mixed media installation (plexi-glass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)
Dimensions of installation: 236¼ x 141¾ in. (600 x 360 cm); houseboat dimensions variable
View of installation at National Museum of Singapore
view of installation from below at National Museum of Singapore
view of installation from below at National Museum of Singapore
view of installation from below at National Museum of Singapore
view of installation from below at National Museum of Singapore
view of installation from below at National Museum of Singapore
up and down the mekong - migration of the fish, 2010
embroidery, beads, painted metal grommets, and buttons on canvas
42.5 x 33 in. (108 x 83 cm)
one giant great flood 2050, 2010
micropigment ink, oil and alcohol-based marker on vellum and paper
43 x 27.5 in. (110 x 70 cm)
Flora and Fauna, 2010
MICROPIGMENT INK, OIL AND ALCOHOL-BASED MARKER ON VELLUM AND PAPER
43 X 27.5 IN. (110 X 70 CM)
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
Chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
chronicles of a soundless dream, 2011
A contemporary dance & theater work written and directed by Tiffany Chung.
35 minutes
Fukagawa Dining Room, 2011
Installation View
Fukagawa Tokyo Modan Kan, Tokyo, Japan
Fukagawa Dining Room, 2011
Installation View
Fukagawa Tokyo Modan Kan, Tokyo, Japan
Fukagawa Dining Room, 2011
Installation View
Fukagawa Tokyo Modan Kan, Tokyo, Japan
Fukagawa Dining Room, 2011
Installation View
Fukagawa Tokyo Modan Kan, Tokyo, Japan
Edo Tokyo, 2011
MICROPIGMENT INK AND OIL ON VELLUM AND PAPER, 110 x 70 cm
From "Fukagawa Dining Room" Installation, FUKAGAWA TOKYO MODAN KAN, TOKYO, JAPAN
Tokyo Urban Planning Map after 1923 Great Kanto Earthquake, 2011
miCROPIGMENT INK AND OIL ON VELLUM AND PAPER, 100 x 63 cm
From "Fukagawa Dining Room" Installation, FUKAGAWA TOKYO MODAN KAN, TOKYO, JAPAN
US Strategic Bombing Survey of Tokyo 1944‐1945, 2011
MICROPIGMENT INK AND OIL ON VELLUM AND PAPER, 90 x 64 cm
From "Fukagawa Dining Room" Installation, FUKAGAWA TOKYO MODAN KAN, TOKYO, JAPAN
DMZ - 17th Parallel, 2010
embroidery, beads, and metal grommets on canvas
25½ x 43 in. (70 x 109 cm)
Hiroshima, 2010
Embroidery, metal grommets, and buttons on canvas
43¼ x 32¼ in. (110 x 82 cm)
Nagasaki, 2010
embroidery, beads, metal grommets, and buttons on canvas
43¾ x 33 in. (111 x 84 cm)
Kaesong Armistice Conference Site 1951, 2010
embroidery, beads, metal grommets, and buttons on canvas
44 x 34 IN. (112 x 86.5 CM)
Crossing the Boundary at the Pass of Kel 1908 - Preah Vihear, 2010
embroidery, beads, metal grommets, and buttons on canvas
24 x 24 in. (61 x 61 cm)
The Push Back of Cambodian Refugees Memorial Park - Preah Vihear, 2010
embroidery, 3D fabric paint, metal grommets, and buttons on canvas
24 x 24 in. (61 x 61 cm)
Cold War Europe, 2010
embroidery, beads, metal grommets, and buttons on canvas
33½ x 43½ in. (85 x 110.5 cm)
Berlin Wall, 2010
Embroidery, painted metal grommets, and buttons on canvas
33 x 44¼ in. (84 x 112.5 cm)
Iraqi State Railways after Anglo-Iraqi Treaty 1930 & current Pipelines, 2010
Micropigment ink and oil on vellum and paper
39¼ x 24½ IN. (100 x 63 CM)
top: Frontier of Tibet as claimed by Tibetans in 1914; bottom: Frontier of Tibet as claimed by Nationalist Chinese in 1914, 2010
Micropigment ink and oil on vellum and paper
39¼ x 24½ IN. (100 x 63 CM)
top: Frontier of Tibet as proposed at the Tripartie Simla Conference in 1914; bottom: Territories under the control of the Dalai Lama's Government (1918-1950), 2010
micropigment ink and oil on vellum and paper
39¼ x 24½ IN. (100 x 63 CM)
Installation view of Scratching the Walls of Memory at Tyler Rollins Fine Art
November 4, 2010 - January 8, 2011
Installation view of Scratching the Walls of Memory at Tyler Rollins Fine Art
November 4, 2010 - January 8, 2011
Installation view of Scratching the Walls of Memory at Tyler Rollins Fine Art, 2010
November 4, 2010 - January 8, 2011
The River Project Installation, Campbelltown Arts Centre, Sydney, Australia, 2010
The River Project Installation, Campbelltown Arts Centre, Sydney, Australia, 2010
up and down the mekong - migration of the fish, from "The River Project," Campbelltown Arts Centre, Sydney, Australia, 2010
embroidery, beads, painted metal grommets, and buttons on canvas
42.5 x 33 in. (108 x 83 cm)
one giant great flood 2050, 2010
micropigment ink, oil and alcohol-based marker on vellum and paper
43 x 27.5 in. (110 x 70 cm)
Flora and Fauna, 2010
MICROPIGMENT INK, OIL AND ALCOHOL-BASED MARKER ON VELLUM AND PAPER
43 X 27.5 IN. (110 X 70 CM)
"run, run, river that runs backwards" (green/blue 3D map) & "dying overflowed greatest monster" (black/blue 3D map), 2010
plexi-glass, wood
92 x 92 x 9cm/ea (dimension of 3D map box)
dying overflowed greatest monster, from "The River Project," Sydney, Australia, 2010
plexi-glass, wood
36 x 36 x 3.5 in. (92 x 92 x 9 cm)
D-City: where sidewalk cafes meet the stars, from "Atopia: Art And City In The 21st Century," Centro De Cultura Contemporania de Barcelona, Barcelona, Spain, 2010
plexi-glass, MDF, polystyrene, decorative tape, thermoplastic adhesive
79 x 265 in. (200 x 600 cm) base, dimensions of buildings variable
Detail of D-City: Where Sidewalk Cafes Meet the Stars
From "ATOPIA: ART AND CITY IN THE 21ST CENTURY, " BARCELONA, SPAIN, 2010
Installation View
Finding Galapagos: Fish, Pigs, Youngsters, Old Folks, Men, Women and the Black Canals (Not in Any Particular Order)
Solo Exhibition, Berlin, Germany, 2009
Installation view
Finding Galapagos: Fish, Pigs, Youngsters, Old Folks, Men, Women and the Black Canals (Not in Any Particular Order)
Solo Exhibition, Berlin, Germany, 2009
Signs-Sites-Sights-Sighs, from "Finding Galapagos..." Berlin, Germany., 2009
31 signs on 13 poles: MDF, PVC, plexi-glass
Dimensions Variable
Coniferberry Tree- Share the Wonder and Find Yourself Here
Finding Galapagos: Fish, Pigs, Youngsters, Old Folks, Men, Women and the Black Canals (Not in Any Particular Order)
Solo Exhibition, Berlin, Germany, 2009
Play Tough Aim High, 2008
digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Get Them All, 2008
Digital C-Print
59 X 39 IN. (149 9/10 X 99 1/10 CM), Edition of 5
We Rock, 2008
Digital C-Print
59 X 39 IN. (149 9/10 X 99 1/10 CM), Edition of 5
Be There or Be Square, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Be Cool Be Playful, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Be Loud Make Sound, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
All Work All Play, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Bubble Shooter and Friends, 2008
DIgital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Here We Go, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Bubble Shooter in a Different World, 2008
Digital C-Print
39 X 59 IN. (99 1/10 X 149 9/10 CM), Edition of 5
Morning Glory, Glorious Mornings, 2008
PVC, MDF, Polyester fiber filler, plush fabric, felt
height 104 IN. (262 1/10 CM)
From Morning Merci Exercise to Techno Beat Promotion Dance, 2008
Bamboo, Wire, Paper-Mache, Pompoms
40 X 68 IN. (101 3/5 X 172 7/10 CM)
Installation View
"Play" exhibition at Tyler Rollins Fine Art, 2008
Installation View
"Play" exhibition at Tyler Rollins Fine Art, 2008
Another Day Another World
Blue Lightning and OJ Guys
Blue Lightning Time Traveling to Another World
Enokiberry Creators in the Lab, 2008
Digital C-Print
Enokiberry Creators, 2008
digital C-Print
OJ Guys
Bubble Shooter in the Wonderland
Enokiberry Tree and Bubble Shooter
Enokiberry Tree and NhucNhich
Enokiberry Tree in the Wonderland

Tiffany Chung is one of Vietnam’s most prominent and internationally active contemporary artists. Based in Saigon (Ho Chi Minh City), she is noted for her cartographic drawings, sculptures, videos, photographs, and theater performances that explore spatial and sociopolitical transformations interwoven with the lingering resonances of historical trauma. Chung will be a featured artist in the upcoming California Pacific Triennial, Orange County Museum of Art, Newport Beach, CA (June 30 – November 17, 2013). Chung was a participating artist in the recent Sharjah Biennial, Sharjah, UAE (March 13 – May 13, 2013), where she received the 2013 Sharjah Biennial Prize, awarded for exceptional contribution to the biennial. Her work was also included in two group exhibitions at US Museums: Six Lines of Flight at the San Francisco Museum of Modern Art, San Francisco, CA (2012), featuring a group of six new works commissioned by the museum, including those now in the museum’s permanent collection; and The Map as Art at the Kemper Museum of Contemporary Art, Kansas City, MO (2012-2013), where the artist presented a group of nine new map works. Last year, Chung presented her third solo exhibition at Tyler Rollins Fine Art, entitled TOMORROW ISN’T HERE.

Tiffany Chung’s cartographic and installation works examine urban development in relation to history and cultural memories, exploring the recovery and growth of specific cities that were war-torn or heavily damaged by natural disasters. Drawn to the process of transformation, not only in the physical destruction and reconstruction of the city but also the psychological realm of its inhabitants, Chung’s early colorful photographic work fabricates fictive scenarios with multilayered narratives where the psychosis of contemporary culture is playfully provoked. Her recent theater performances take on a much darker tone in reflecting human loneliness, struggle, and endurance when society drastically transforms itself. Through the exploration of the porous contours of psycho-geographies, Chung’s work interweaves specific historical events with spatial and sociopolitical changes to reflect the multi-layered relationship between site, map and memory. Her research on the decline of towns and cities due to human destruction, deindustrialization, and demographic changes investigates the complexity of urban progress and population aging in post-industrial societies. Blurring the distinction between art, anthropology and sociology, Chung’s most recent videos and large-scale installations create allegorical fantasies that imagine our world at the end of the human race and examine the aftermath of colonization and modernization.

Her 2012 exhibition at Tyler Rollins Fine Art, TOMORROW ISN’T HERE, was part of a new series of works called The Galápagos Project, which derived from her research on various processes of transformation in towns and cities in several post-industrial countries. The series explored deindustrialization, demographic changes, global economic crises, natural disasters, extreme climate impact and human destruction. The exhibition referenced the Great Plains and Dust Bowl of the 1930s to epitomize the decline of an extensive flatland region due to natural disaster and human destruction. Included in the show was a group of new embroidered charts on canvas, works on paper, an installation of blown glass bison, along with two recent videos, thousands of years before and after and the great simplicity.

For her 2010 exhibition at the gallery, scratching the walls of memory, Chung presented a new body of work inspired by maps of urban regions, featuring embroidery and appliqué works on canvas. Delving deeper into the historical record, the exhibition explored the topographic after-images of some of the past century’s most traumatic conflicts and includes maps of the Berlin Wall, the Korean DMZ, and the atomic bomb blast zones in Hiroshima and Nagasaki. The surfaces of her canvas maps are encrusted with beads and rhinestones, layered with embroidery, and punctured with metal grommets, creating richly textured, three dimensional landscapes whose beauty contrasts starkly with the somber historical realities they chart out. Another major preoccupation of Chung’s work is the exploration of popular youth culture in Vietnam, in particular cosplay and other Japanese influences. These interests informed her 2008 exhibition at Tyler Rollins Fine Art, Play, which combined a cosplay aesthetic with imagery from Vietnamese communist propaganda billboards.

Chung has participated in numerous museum exhibitions and biennials around the world, including: the Asia Pacific Triennial in Brisbane, Australia (2012-2013); the Kuandu Biennale, Kuandu Museum of Fine Arts, Taipei, Taiwan (2012); There Can Be No Better World, Museum of Contemporary Art & Design at De La Salle College of Saint Benilde, Manila, Philippines (2012); Facing West/Looking East, Oceanside Museum of Art, Oceanside, CA (2012-2013); Singapore Biennale (2011); Roving Eye, Sorlandets Kunstmuseum, Norway (2011); Atopia: Art and City in the 21st Century, Centre de Cultura Conteporània de Barcelona, Spain (2010); The River Project, Campbelltown Arts Centre, Australia (2010); Incheon International Women Artists’ Biennale, Korea (2009); Fukuoka Triennale, Japan (2005). Chung’s recent solo exhibitions include: TOMORROW ISN’T HERE, Tyler Rollins Fine Art, New York (2012); Fukagawa Shokudo (with performance by Off-Nibroll), Fukagawa Tokyo Modan Kan, Tokyo (2011); scratching the walls of memory, Tyler Rollins Fine Art, New York, USA (2010); Finding Galapagos: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order), Galerie Christian Hosp, Berlin (2009).

INTERVIEW
Please click here to read an interview with Asia Art Archive.

EXHIBITION CATALOGUES
Please click here to view the PLAY exhibition catalogue essay.

Please click here to view the scratching the walls of memory exhibition essay.

Please click here to view the TOMORROW ISN’T HERE exhibition catalogue.

works

additional information