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Tung-lu_Hung-Evangelion:

Evangelion:
Ajanami Rei
2001
  Tung-lu_Hung-Lynn Minmay

Lynn Minmay
2001
  Tung-lu_Hung-Pretty Soldier:

Pretty Soldier:
Sailor Moon
2001
Tung-lu_Hung-Street Fighter:

Street Fighter:
Chun Li
2001
     
 
In the world of Hung's writing and art, artificial commodities become immediate reality and Nature myth. Plastic dummies, mass-produced religious icons, artificial flowers, and electrical lighting dominate Hung Tung-Lus visual vocabulary. In his work, he shows how objects have become the new religious icons of Consumerism and how traditional beliefs have been corrupted and stripped of all religious value. In the world of increasing globalization, Hung proposes the loss of cultural identity. While Hungs native Taiwan is absent from his work, there remains an interesting confrontation between East and West. In this manner, an international media-capitalism pervades his work.


DUMMIES ARE REAL!

Dummies. Dummies are real. Dummies are objects. Dummies cannot represent themselves; they must be represented. The dummies in Tung- Lu Hungs work are taken from popular Japanese cartoon series and video games. Through "cosplay," dramatic cosmetic transformation, these heroines are transformed into super-human figures.

Christian Icons. In his backgrounds, Tung-Lu Hung uses Christian imagery from lesser-known Italian masters of the 14th and 15th centuries, such as Paolo Veneziano, Vittore Carpaccio and Michele Giambono. Tung-Lu Hung familiarized himself with these artists using print material. He never studied them in the flesh. Torn from books, the Christian images that Hung uses are deliberately altered during the re- photography process. The iconic images are appropriated at will. Frequently they seem to be chosen for merely aesthetic purposes as Hung only has a vague understanding of their iconographic importance.

Flowers. The oversize flowers in Hungs work are 100% artificial. Simple plastic copies, they too are dummies.

Aura. The stage is set, reminiscent of an altar. A cropped Christian image is pinned up in the background. Artificial flowers cover the foreground. Through careful manipulation, light appears to flood from the holy image behind and bestows an aura - a sacred atmosphere - on the plastic dummy.

Cult. A new icon indicates a new cult. And Hungs icon suggests a dubious nature. On one hand, the image resembles a promotion gimmick in a display window of a boutique or department store. On the other, the dummy, as the new icon, has metaphorically replaced traditional religious beliefs and values. The Christian image, out of focus and remote, has been pushed into the background. Literally speaking, consumer logic takes over and subculture assumes prominence. Commerce becomes religion and religion becomes commercialized. The new cult is about the apotheosis of "false" gods. As shown in Hungs works, cartoon and video stars become these gods.

Reality. Plastic dummies, mass-printed religious icons, artificial flowers and electrical lighting are all real. Nature is becoming obsolete, if not already a myth. Synthetic commodities are now first-hand reality. Loaded with commercial ideological values, consumer products dominate and rule.

Boundary. Consumer logic transcends international boundaries. The idea of an emerging globalization is a direct result of what Fredric Jameson has called "late capitalism" "multinational capitalism," and "media capitalism." Globalization, in this sense, has been a creation of Western discourse. Through globalization, Western (i.e. Europe and United States centered) mentality and identity pervade. Since the majority of non-Western countries, excluding Japan, lack the economic, cultural, and media enterprises of the West, they are losing ground in terms of subjectivity, suffering post-colonial conditions, and threatened by the loss of cultural identity. In his work, Hung uses Japanese dummy icons and Christian images of late Medieval and Renaissance Italy. In this post-modern encounter between East and West, the identity of Taiwan (Hungs native country and current residence) is strikingly absent. This absence, however, represents its peripheral state in global politics. It is in this light that Hungs work imparts a tantalizing aura of sentimental decadence, spiritual fatigue, and cultural pessimism, which some may be inclined to interpret as typical of a fin-de-sicle syndrome.

Chia Chi Jason Wang
 
 
 
Tung-lu Hung - Selected Group Exhibitions
 

2008

Dual Reality, The 5th Seoul International Media Art , Seoul (South Korea)
  Footprintsinto the Future, Kaohsiung Museum of Fine Art, Kaohsiung (Taiwan)
  Accelerate. Chinese Contemporary Art, Singapore Art Museum, Singapore (Singapore)
  Home. Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung (Taiwan)
  Hung Tunglu, Huang Zhiyang art exhibition, Hanart TZ Gallery, Hong Kong (China)
  Float, Hong-Gah Museum, Taipei (Taiwan)

2007

Styles of radical Will, Soka art center, Seoul (Korea)
  Art(verona, LipanjePuntin artecontemporanea, Verona (Italy)
  Supermodels II: Real vs Unreal, LipanjePuntin artecontemporanea, Roma (Italy)
  Tracce nel futuro, PAN-Palazzo delle Arti Roccella, Napoli (Italy)
  Parody, Dimensions Art Center, Beijing (China)
  Beyong Language, Soka Contemporary Space, Beijing (China)
  Spin, Tang Contemporary Art, Beijing (China)

2006

Tusciaelecta, Palazzo Malaspina, San Donato in Poggio (Italy)
  Fiction@Love, MOCA Shanghai, Shanghai (China)
  Chi ha paura della Cina?, Palazzo Pino Pascali, Polignano, Bari (Italy)

2005

How to become a star, Palazzo Squarzi, Vicenza (Italy)
  Shanghai Cool. A New Summit of Asian Innovation, Shanghai Duolun Museum of Modern Art, Shanghai (China)
  Sticker Night - One Night Show, Andrea Arte Contemporanea, Vicenza (Italy)

2002

Busan Biennal 2002, The Busan Biennal, Busan (South Korea)

2000

The Sky is the Limit, Taipei Biennal, Taipei (Taiwan)

1999

48th Venice Biennale, La Biennale di Venezia, Venezia (Italy)
 
 
Tung-lu Hung - Selected Solo Exhibitions
 

2008

Android: Hung Tunglu, IT Park Gallery & Photo Studio, Taipei (Taiwan)

2006

Homng Tunglu, China Art Seasons Gallery, Beijing (China)
  Hong Tunglu, Gallery 75 Faubourg & Hanart TZ Gallery, Paris (France)

2004

Karma, Lin & Ken Gallery, Taipei (Taiwan)

2002

Mangas and Contemporary Art, University of Quebec, Montreal, Quebec (Canada)
  Hung Tunglu, Marco Noire Contemporary Art Gallery, San Sebastiano (Italy)
  @ May Cyberspace, Taipei (Taiwan)
  Nirvana, Taipei Fine Arts Museum, Taipei (Taiwan)

2001

Hung Tunglu, Gallery 456, New York (USA)

1997

Barging into Heaven, Shin Leh Yuan Art Space, Taipei (Taiwan)
 
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