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https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188589117-UC3L83QIVAKPUVZFEJ2V/kr_chongwai-47.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188213211-T0DH0P6YYOUF9YIC0G3Q/kr_chongwai-41.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188667873-F6P77O1VH030R8VGKS9F/kr_chongwai-51.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188892799-30ADIBQZXBHD8L8BBPPS/kr_chongwai-58.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534189120286-HNVVTGLGX5A56AJJY8TJ/kr_chongwai-59.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202812175-0RIJ51X4DH9JN3HH51FA/kr_chongwai-67.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534723821172-S7754O4O6Z2RAV2M7E5S/kr_chongwai-31.jpg Solo at Kunstraum München, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534723914314-UEPRUTNHEAGSJKLZMLOO/IMG_0050_HR.jpg Solo at Kunstraum München, 2018 https://www.isaacchongwai.com/i-am-not-changing-the-color-of-history-the-sarajevo-white-roses-2014 daily 0.75 2021-02-15 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188003604-OSMGEGUSDHZZGZBVV1MI/tumblr_nau3hfrL3t1ropucio3_1280.jpg I am not Changing the Color of History - the Sarajevo White Roses, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517349403-BRPS93X4AW8779HRUBZL/tumblr_nau3hfrL3t1ropucio2_1280.png I am not Changing the Color of History - the Sarajevo White Roses, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517410761-37ZPN6OFPQS6AIUOH0ZE/tumblr_nau3hfrL3t1ropucio1_1280.jpg I am not Changing the Color of History - the Sarajevo White Roses, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536708567689-HEC6DRGS3Q8EQOIRISUC/tumblr_nau3hfrL3t1ropucio4_1280.png I am not Changing the Color of History - the Sarajevo White Roses, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536708529228-ROMKWHEVGW1H0KGV5MJR/tumblr_nau3hfrL3t1ropucio5_1280.png I am not Changing the Color of History - the Sarajevo White Roses, 2014 https://www.isaacchongwai.com/haribo-wall-gold-under-construction-20172019 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552936835900-JA7MG1MB3GW00BSOMYJZ/_DSC4043.jpg Haribo Wall - Gold (Under Construction), 2017-2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552936915886-G0U0KLWV4U25GT1MUCR2/Isaac+Chong+Wai_Haribo+Wall_Display+1_HR.jpg Haribo Wall - Gold (Under Construction), 2017-2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552936921203-X0IROPE1B3YCO7FHX1PS/Isaac+Chong+Wai_Haribo+Wall_Close+up_HR.jpg Haribo Wall - Gold (Under Construction), 2017-2019 https://www.isaacchongwai.com/in-varietate-concordia-2018 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534188995597-PLY5B8W6TXE0DSCXKVJ2/kr_chongwai-42.jpg In varietate concordia, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534189225488-VGND4Z059O2YZ02N3D50/kr_chongwai-43.jpg In varietate concordia, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534189381517-MSAA2T4VKWIQG17K2YL0/kr_chongwai-72.jpg In varietate concordia, 2018 https://www.isaacchongwai.com/i-made-a-boat-in-prison-a-drawing-of-sunlight-2015-and-2018 daily 0.75 2021-02-15 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534189626239-KOADCD0G910GQQH3SCKT/kr_chongwai-44.jpg I Made a Boat in Prison - A Drawing of Sunlight, 2015 and 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534189711157-DNPKPJF0FLVXNHWQHFZL/kr_chongwai-47.jpg I Made a Boat in Prison - A Drawing of Sunlight, 2015 and 2018 https://www.isaacchongwai.com/flakturm-and-the-white-flag-2016 daily 0.75 2020-03-30 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552339149858-NCI93EB684SMYL5GDBIS/tumblr_p7r3wdNPdd1ropucio8_1280.jpg Flakturm and the White Flag, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552339149858-NCI93EB684SMYL5GDBIS/tumblr_p7r3wdNPdd1ropucio8_1280.jpg Flakturm and the White Flag, 2016 https://www.isaacchongwai.com/the-silent-wall-2014 daily 0.75 2020-03-30 https://www.isaacchongwai.com/about daily 0.75 2026-01-03 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/fa169f4a-12f3-4ab6-810c-b40dc3ce085f/biennale2020_miaknoll-AY0I5945.jpeg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.isaacchongwai.com/promenade-du-poisson-rouge-2013 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745468394-2AZLFENP3SD2L09HT701/tumblr_mkdifxCjUU1ropucio1_1280.jpg Promenade du Poisson Rouge, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745499249-L5SYS5NEQKOZAA4LFBWC/tumblr_mkdifxCjUU1ropucio3_1280.png Promenade du Poisson Rouge, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745521648-F7KGEPNLJICK7Y4F8WOB/tumblr_mkdifxCjUU1ropucio4_1280.png Promenade du Poisson Rouge, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745661371-2W9MKSZO994CPDV304LJ/tumblr_mkdifxCjUU1ropucio5_1280.png Promenade du Poisson Rouge, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745702739-AZNP8C9QU9CM73SMTC6V/tumblr_mkdifxCjUU1ropucio6_1280.png Promenade du Poisson Rouge, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536745721494-2G20V4CRUKRN65MO0GXG/tumblr_mkdifxCjUU1ropucio7_1280.png Promenade du Poisson Rouge, 2013 https://www.isaacchongwai.com/equilibrium-no8-boundaries-2014 daily 0.75 2022-10-11 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553516689562-EJMXESJEKOV4FGDHF6NJ/works-on-paper-isaac-chong-%C2%A9-camille-blake-36.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517146426-USLHOUTG9OXWNU0OL1X3/works-on-paper-isaac-chong-%C2%A9-camille-blake-14.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517174156-716AYK1BJUF3FTIXBZ1K/works-on-paper-isaac-chong-%25C2%25A9-camille-blake-16.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534193213119-G66Z3I5R9OZWNITY9K4V/tumblr_n5i8x4Gp1N1s5dg1do2_1280.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534193212157-LG8VA2T1DQS8B5MHVJT4/tumblr_n5i8x4Gp1N1s5dg1do3_1280.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534193216271-5RF9V9LLY3ZG2VRA8I0J/tumblr_n5i8x4Gp1N1s5dg1do4_1280.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534193222950-QJ9686TQK9AC2C4WB5Z4/tumblr_n5i8x4Gp1N1s5dg1do7_1280.jpg Equilibrium No.8 - Boundaries, 2012 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517091140-OB9GVXCFBYGNHUGOS50Q/works-on-paper-isaac-chong-%C2%A9-camille-blake-35.jpg Equilibrium No.8 - Boundaries, 2012 https://www.isaacchongwai.com/i-dated-a-guy-in-buchenwald-2013 daily 0.75 2023-05-17 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552945946056-NFPAW0XEO7KHO6NEVZ6P/Isaac+Chong+Wai_Artist_I+Dated+a+Guy+in+Buchenwald_Artwork I Dated a Guy in Buchenwald, 2013 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552945946056-NFPAW0XEO7KHO6NEVZ6P/Isaac+Chong+Wai_Artist_I+Dated+a+Guy+in+Buchenwald_Artwork I Dated a Guy in Buchenwald, 2013 https://www.isaacchongwai.com/painting-a-moon-on-viehauktionshalle-2014 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534193893665-5VELEDT2CEQ69VJ6UNIG/tumblr_natia2DfEa1ropucio1_1280.jpg Painting a Moon on Viehauktionshalle, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1574184143873-EZNJMFLEPSSLM42ML80P/tumblr_nati48e9V81ropucio1_1280.jpg Painting a Moon on Viehauktionshalle, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536746595078-DBYVQQMOZEPD4RE1J0KN/tumblr_nati48e9V81ropucio2_1280.jpg Painting a Moon on Viehauktionshalle, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536746615619-AP1PLEE7O0VZXB6RVG3P/tumblr_nati48e9V81ropucio3_1280.png Painting a Moon on Viehauktionshalle, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1574184107252-J41U377A5H0F1CAXTMN5/tumblr_nati48e9V81ropucio4_1280.jpg Painting a Moon on Viehauktionshalle, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536746665626-6ZNQXRP652NWHHTUMB8M/tumblr_nati48e9V81ropucio5_1280.png Painting a Moon on Viehauktionshalle, 2014 https://www.isaacchongwai.com/the-horizo-we-can-never-touch-2014 daily 0.75 2025-03-12 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194998584-RYGLT3OKS8SQ1ZAZMB2E/DSC_0204.JPG The horizon we can never touch, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194777009-VDHQ82QEYIZ3TM3FTZDV/DSC_0214.JPG The horizon we can never touch, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194692228-5CGOJ5EFXGJOOQ1U3SDB/DSC_0236.JPG The horizon we can never touch, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194527977-ULUAJUGI1NCLVASCTSEM/DSC_0264.JPG The horizon we can never touch, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194620455-TL1HKU3HW9WKLB274JWE/DSC_0248.JPG The horizon we can never touch, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534194877064-N08JDKEHN8OYSHXHEPB6/DSC_0205.JPG The horizon we can never touch, 2014 https://www.isaacchongwai.com/neue-wache daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534195739384-HM1IM6W08L7568V61VYM/MVI_0756+%280.00.14.14%29+%280%3B00%3B20%3B01%29.jpg Neue Wache, 2015 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534195876342-CK5IJZG8Z66ATUMJOTVF/neue+wache_2.jpg Neue Wache, 2015 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534195875578-W68T0XPFTHLXNO7E7QUE/neue+wache_1.jpg Neue Wache, 2015 https://www.isaacchongwai.com/solo-exhibition-future-of-the-past-past-of-the-future-at-goethe-institut-hong-kong daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202508814-GPFJO3TOJSRZLGPZBJ4P/tumblr_p7r3wdNPdd1ropucio1_1280.jpg Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534197095299-1BX063B1JST0DJTXJO1D/DSCF3844.JPG Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534197276669-JW6E7V3S49XHEAT9AUUS/DSCF3853.jpg Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534197533483-MIUB72D7FUI1DLDN7YC5/DSCF3857.JPG Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202490962-92IHZ29I4SVX3U7EHIU4/tumblr_p7r3wdNPdd1ropucio3_1280.jpg Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202496168-URHX5BVBKY4JVR19DVBC/tumblr_p7r3wdNPdd1ropucio5_1280.jpg Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202498380-ZFJ0PR9AXPVBJZIYZ59G/tumblr_p7r3wdNPdd1ropucio6_1280.jpg Solo at Goethe-Institut Hong Kong, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534202502713-17XUBGUQIK5IQG9I0DHJ/tumblr_p7r3wdNPdd1ropucio4_1280.jpg Solo at Goethe-Institut Hong Kong, 2018 https://www.isaacchongwai.com/equilibrium-no6-distance-2012 daily 0.75 2023-05-17 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198453430-N1QBYYAY4B2FKT1VTIZT/tumblr_oq94ogqa2n1ropucio3_1280.png Equilibrium No.6 - Distance, 2012 - Isaac Chong Wai-Artist-Distance-Artwork This is a photography artwork about two lesbian women putting their eye close to each other. https://www.isaacchongwai.com/moscow-biennale-for-young-art-at-museum-of-moscow-2014 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534197391605-C33LPDHZY10O0S31QOTI/2014-06-25+18.19.08.jpg Moscow Biennale for Young Art at Museum of Moscow, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534197458037-T4MRG7SEL9Q8J4WC3C0S/2014-06-25+14.59.43.jpg Moscow Biennale for Young Art at Museum of Moscow, 2014 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1537865053256-NUFREGDN5S5PE16X0F44/Screen+shot+2014-06-30+at+2.11.06+AM.png Moscow Biennale for Young Art at Museum of Moscow, 2014 https://www.isaacchongwai.com/solo-exhibition-at-bauhaus-museum daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198815127-48OZ38PX7435K2XLLYYX/Isaac+Chong_exhibition_3.JPG Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198205669-OLI8GXWS1QEEOACP0324/Isaac+Chong_exhibition_4.JPG Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198375258-1FOXBKUONL6PAKCWN5T5/Isaac+Chong_exhibition_5.jpg Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198443479-XPR5TWXKUTPCKRJV3R2R/Isaac+Chong_exhibition_6.jpg Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198490595-C6G31YXMBPZIXS0EYNVT/Isaac+Chong_exhibition_7.JPG Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198151203-BTBK5HNHS8D3U0XKD4J8/Isaac+Chong_exhibition_2.JPG Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198534438-BADH27IYC1RLON9BCFON/Isaac+Chong_exhibition_12.JPG Solo at Bauhaus Museum, 2016 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198735887-FIFEDUJQQUGYFC5AZLW8/Isaac+Chong_exhibition_10.JPG Solo at Bauhaus Museum, 2016 https://www.isaacchongwai.com/international-waters-2017 daily 0.75 2021-02-15 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198680603-GRIX3T689THG95O1BGXQ/IMG_2723_edited_L.jpg International Waters, 2017 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534198700215-MMH0UZS43P2AN5CCYVMR/IMG_2703_edited_L.jpg International Waters, 2017 https://www.isaacchongwai.com/performance-exhibition-transcultural-transience-at-acud-galerie daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615545613-2H5YEOYFA3IVV3JALWP9/ACUD_Isaac-2.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615566460-E7OT1AKM5JQ8YPAVDMRI/ACUD_Isaac-9.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615589293-KPYFQD5V7IFY79F1SX94/ACUD_Isaac-19.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615712769-W9X8SVKQZY4JB6XR8IE6/ACUD_Isaac-80.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615613508-M1YC8JNEQFDU7JKJ5O43/ACUD_Isaac-22.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534616030093-EGR6DTR67B9JNANRWE92/ACUD_Isaac-110.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534616066545-TNEJU9Z6I2JZDBZ8RZMH/ACUD_Isaac-112.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615774580-ZPHE4A9SSVM9VSZDPAU5/ACUD_Isaac-86.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534616092549-DD1DQGM2CXU59CQVIMV1/ACUD_Isaac-114.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615811174-37QNOV8DMZF6CEYE2K6U/ACUD_Isaac-88.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615871349-5YBG7H4XP68IZ6OK25VV/ACUD_Isaac-90.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615944588-WK34ZOUTXJA356UQVJAE/ACUD_Isaac-99.jpg Solo at ACUD Galerie, 2018 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615972168-2E5A0T9JPRFBBQUTQMTA/ACUD_Isaac-105.jpg Solo at ACUD Galerie, 2018 https://www.isaacchongwai.com/equilibrium-no5-distance-and-red-marks daily 0.75 2019-12-02 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1536746383117-SSXQXZGAL9K9CIS4812K/tumblr_oq94ogqa2n1ropucio4_1280.png Equilibrium No.5 - Distance and Red Marks https://www.isaacchongwai.com/solo-exhibition-is-the-world-your-friend-at-blindspot-gallery-2019 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319510522-3VSMADFYHS3XMBNEI0UV/_DSC3880.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553516289098-UMC2G1GEOM6N4BY36IPW/_DSC3900_edited2.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553516289987-P29YWFYSMLMO0ASI978F/_DSC3930+edited.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319557248-37VEGDNOS3O033J7Q4CP/_DSC4172+copy.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319565062-XI5WO74IT6LKK6KVC9K1/_DSC4181+copy.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319529532-EH7MMX9YUOFM8RKK9D9K/_DSC4033.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319553055-Z99S6I2KEO0BPFP2OX3S/_DSC4166.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319529340-3G9O2GN73OUHWFTWA5FX/_DSC4001.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319541026-IJS8KQF7EJK463RY6MW2/_DSC4111.jpg Solo at Blindspot Gallery, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552319565693-BM2698UYP2BFWHJNTCLO/_DSC4243.jpg Solo at Blindspot Gallery, 2019 https://www.isaacchongwai.com/self-portrait-the-evening-when-i-was-beaten-up-by-a-stranger-with-a-glass-bottle-2015 daily 0.75 2021-02-15 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552947667690-ZZM672W0RR4VHC1944BI/image-asset.jpeg Self Portrait: The evening when I was beaten up by a stranger with a glass bottle, 2015 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552947667690-ZZM672W0RR4VHC1944BI/image-asset.jpeg Self Portrait: The evening when I was beaten up by a stranger with a glass bottle, 2015 https://www.isaacchongwai.com/a-selfie-that-celebrated-a-murder-incident-in-the-no-mans-land-2019 daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552406923674-H4DAWGWV2LWPXEE53I9U/A+selfie+that+celebrated+a+murder+incident+in+the+no+man%E2%80%99s+land_Display+4_HR.jpg A selfie that celebrated a murder incident in the no man's land, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552406952416-VW7EVHD8E19JS9JAA8RQ/_DSC4243.jpg A selfie that celebrated a murder incident in the no man's land, 2019 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1552406981782-E7YLS42W5UUXX6R3NYDI/A+selfie+that+celebrated+a+murder+incident+in+the+no+man%E2%80%99s+land_Display+6_HR.jpg A selfie that celebrated a murder incident in the no man's land, 2019 https://www.isaacchongwai.com/articles daily 0.75 2023-06-18 https://www.isaacchongwai.com/lines-series-2018-2019 daily 0.75 2023-02-26 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1582128279620-RAZUIZY7F6KRTTTMH1PM/IMG_6146_copy1.jpg Lines Series, 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https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1632775260689-3R7HYBUFFN8Y65C15XTN/_DSC9881copy.jpg LEADERLESSLEADERLESSLEADERLESS, 2020 https://www.isaacchongwai.com/question-2-when-are-we-wrong-2021 daily 0.75 2022-04-11 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/4d5e30f5-4ef5-4dcc-986f-4a35dc804da2/CHR_6581web.jpg Question #2: When Are We Wrong?, 2021 - Make it stand out Left: Question #2: When Are We Wrong?, 2021 Right: Question #2: When Are We Right?, 2021 Isaac Chong Wai Acrylic on canvas 160 x 120cm each Courtesy of Bundeskunstsammlung (the Federal Collection of Contemporary Art) and Zilberman Photo by CHROMA Isaac Chong Wai’s two paintings When are we wrong? When are we right? present both these questions in colourful lettering on complementary monochrome backgrounds; acrylic lettering applied by hand in a sans serif font, as if done by machine. Observers are being addressed as a social collective and our power of judgement is being discussed. The binary opposition of true and false or right and wrong is supported by the complementary colours, which provide an optical illustration of the principle of bivalence. The work is asking about the conditions for truthful judgements or correct decisions. Does how we judge or decide depend on historical circumstances? Can something be wrong that was once right and vice versa? Is it possible to retrospectively assess whether a decision was right or wrong, or to lose sight of earlier judgement or decision-making criteria? Does a society’s understanding of history depend on a temporary selection of the events and developments being observed? Or are we being unnoticeably manipulated in our perception of reality? How does a story find its image in the press and later in historiography? https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/4d5e30f5-4ef5-4dcc-986f-4a35dc804da2/CHR_6581web.jpg Question #2: When Are We Wrong?, 2021 - Make it stand out Left: Question #2: When Are We Wrong?, 2021 Right: Question #2: When Are We Right?, 2021 Isaac Chong Wai Acrylic on canvas 160 x 120cm each Courtesy of Bundeskunstsammlung (the Federal Collection of Contemporary Art) and Zilberman Photo by CHROMA Isaac Chong Wai’s two paintings When are we wrong? When are we right? present both these questions in colourful lettering on complementary monochrome backgrounds; acrylic lettering applied by hand in a sans serif font, as if done by machine. Observers are being addressed as a social collective and our power of judgement is being discussed. The binary opposition of true and false or right and wrong is supported by the complementary colours, which provide an optical illustration of the principle of bivalence. The work is asking about the conditions for truthful judgements or correct decisions. Does how we judge or decide depend on historical circumstances? Can something be wrong that was once right and vice versa? Is it possible to retrospectively assess whether a decision was right or wrong, or to lose sight of earlier judgement or decision-making criteria? Does a society’s understanding of history depend on a temporary selection of the events and developments being observed? Or are we being unnoticeably manipulated in our perception of reality? 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https://www.isaacchongwai.com/crying-streetlight-2022 daily 0.75 2023-03-09 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387899821-ZUWSOO7R6MR8PMGSN710/_DSC0577.jpg Crying Streetlight, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387941853-8KPFLRCDJP505DNJIB1X/_DSC0625.jpg Crying Streetlight, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387940896-8XSCSFDRHZ6F0JG1U2DG/_DSC0623.jpg Crying Streetlight, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387913347-JX5VEKTEWEPDTPQ177O8/_DSC0587.jpg Crying Streetlight, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387960643-O27I93MNFL62JKA2LGVB/_DSC0631.jpg Crying Streetlight, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387958884-LOVVNE6D2LND55QBCT7L/_DSC0628.jpg Crying Streetlight, 2022 https://www.isaacchongwai.com/crying-people-2022 daily 0.75 2023-10-01 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198597311-K4ZEFLXD4TGRQS2N5GF7/Fourteen+Crying+People+in+North+Korea+1994.jpg Crying People, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198628893-32SIKH3YVLT2S89ZD4I2/Three+Crying+People+in+China+1976.jpg Crying People, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198618923-HO9F3OAHYO48NSKDZF4P/Thirteen+Crying+People+in+North+Korea+2011.jpg Crying People, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198612034-KZUJ3LV6FHF9MZXX4RIW/Sixty+one+Crying+People+in+North+Korea+2011.jpg Crying People, 2022 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198573286-37PUIP2YPIUI8KL5YEFL/Eleven+Crying+People+in+China+1976.jpg Crying People, 2022 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Breath Marks: Portrait of Käthe Kollwitz, 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198160518-PG71EI8EGASGS68YAHHC/230915_Bruecke_0001.jpg Breath Marks: Portrait of Käthe Kollwitz, 2023 https://www.isaacchongwai.com/breath-marks-a-crouching-man-homage-to-felix-nussbaum-2023 daily 0.75 2023-10-01 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197344420-ZZAUCS5U3WX7F6BGKGW1/230918_Schinkel_0090_HQ_HR.jpg Breath Marks: A Crouching Man (Homage to Felix Nussbaum), 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197316150-UTB7IFC681LT6CZIYJ5X/230918_Schinkel_0080.jpg Breath Marks: A Crouching Man (Homage to Felix Nussbaum), 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197316163-U468GCQL76ECLIS3F9Q4/230918_Schinkel_0083.jpg Breath Marks: A Crouching Man (Homage to Felix Nussbaum), 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197357829-A6XYTNADW0DO11KB8SL1/230918_Schinkel_0094.jpg Breath Marks: A Crouching Man (Homage to Felix Nussbaum), 2023 https://www.isaacchongwai.com/breath-marks-queen-elizabeth-ii-and-crying-hong-kong-girl-2023 daily 0.75 2023-10-01 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197234934-0AOXUN4FUOTX2MLPW0VM/Screenshot+2023-10-01+at+11.49.17+PM.png Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696196856527-CU89FZKK9JL8TVV0TMU5/Breathmarks+breath+queen+elizabeth+II.jpg Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696196733785-ZF1GJVPA3VPY87D7MMDE/Screenshot+2023-06-06+at+11.25.56+PM.png Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696196761104-6EIGL2FLJ74UMRK8R6HI/Screenshot+2023-06-06+at+11.26.09+PM.png Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 https://www.isaacchongwai.com/press daily 0.75 2025-11-23 https://www.isaacchongwai.com/imprint daily 0.75 2024-12-14 https://www.isaacchongwai.com/breath-marks-photo daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990662553-H4FRLUOE2BA8CSXDEBTO/Breathmarks%2Bbreath%2Bqueen%2Belizabeth%2BII.jpeg Breath Marks (Photo) Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 Isaac Chong Wai Archival pigment print 162 x 122 cm (print size) © Isaac Chong Wai https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990675247-MM0YCN3WRCEKO1IWACRT/image-asset+%281%29.jpeg Breath Marks (Photo) Mother with Her Dead Son, 2022 Isaac Chong Wai Archival pigment print 162 x 122 cm (print size) © Isaac Chong Wai https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990678296-A4854H7Z1OGO2ES906C0/Breath%2BMarks%2BSelf%2BPortrait_1_low.jpeg Breath Marks (Photo) Breath Marks: Portrait of Käthe Kollwitz, 2023 Archival Print 60 x 45cm © Isaac Chong Wai https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990748532-QP2YEMDJZTOPHHLTJH5Q/Free+Transform.jpg Breath Marks (Photo) Breath Marks: Portrait of Charlotte Salomon, 2023 Archival Print 60 x 45cm © Isaac Chong Wai https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990681633-GURY4QCWNNPF2H4OJHSE/Breath%2BMarks%2BFelix%2BNussmann_web.jpeg Breath Marks (Photo) Breath Marks: a Crouching Man (Homage to Felix Nussbaum), 2023 Isaac Chong Wai Archival pigment print 160 x 120 cm © Isaac Chong Wai https://www.isaacchongwai.com/falling-carefully daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1648920644065-357NIN2TL18CQCGQP66F/Isaac%2BChong%2BWai_Falling%2BCarefully_2_1.jpeg Falling Carefully Isaac Chong Wai presents a body of work including sculpture, video, drawings and ready-made objects. In Falling Carefully, the action of falling is frozen volatility, duplicating the artist’s body into different positions during a fall. Each position supports other positions within a structure that allows the sculptures to stay intact. Chong attempts to radically transform the feeling of powerlessness during a fall – a condition most of us believe we cannot escape the inevitability and impossibility – into an imaginary, collective and supportive foundation. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613309419355-L5KVA86WCUC8NT1EJELE/Isaac+Chong+Wai_Falling+Carefully_3_1.jpg Falling Carefully Falling Carefully, 2020
 Isaac Chong Wai Silicon, polylactide, wood, resin,fabric, shoes, human hair ca. 70 x 100 x 100cm
 Courtesy of Asia Society, Blindspot Gallery and Zilberman https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706184743293-IK27V7TMYOPU8516SLX9/_DSC8107.jpg Falling Carefully Photo credits: Photo 1 and 2: Asia Society, photos by South Ho Photo 3: Zilberman, photos by Kayhan Kaygusuz https://www.isaacchongwai.com/neue-wache-1 daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534195876342-CK5IJZG8Z66ATUMJOTVF/neue+wache_2.jpg Neue Wache Neue Wache (2015) is an earlier video work which shows Chong in front of a grand window that overlooks the rear façade of Neue Wache memorial (Berlin’s national monument since 1993 for victims of war and tyranny). Chong repeatedly breathes onto the glass window until the view of Neue Wache is entirely obscured by breath marks. Stills from the video are extracted and turned into a series of intimate prints, inviting the viewer into quiet contemplation with the breathing artist. The clouded image of the national memorial spotlights the politics of memories and the malleability of state-sanctioned historical truths, pointing to the question of who gets to be commemorated and who is remembered as the perpetrator? https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534195875578-W68T0XPFTHLXNO7E7QUE/neue+wache_1.jpg Neue Wache Neue Wache (English: The New Guard), 2015 Isaac Chong Wai HD Video 10:52min https://www.isaacchongwai.com/shangai daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287870936-ZW3MDAOXTDCVWAZ9SXCF/30_BA2022_Isaac+Chong+Wai_Castiglione+di+Sicilia_Ph+Luca+Guarnieri.jpg Shangai With different cultural misunderstandings, the Italian name of the game has become Shangai which is a city in China. Juxtaposing all these misunderstandings together in a playful way discusses the chaotic formulation of myths, the clashes of cultures and how global discourse intervenes. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706186253104-ZC6U9IKNUIAYQ7NB4MV2/33_BA2022_Isaac+Chong+Wai_Castiglione+di+Sicilia_Ph+Luca+Guarnieri.jpg Shangai “Post-Myth”: Since there is no demand for spears in the current market, Cyclops decided to make Shangai (the Italian name of Mikado Game) instead. From time to time, he throws the sticks made of lava stone from Etna to Castglione di Sicilia. He wishes to play with visitors when he gets a day-off. And, he wants people to know that he has become knowledgeable about foreign cultures. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1664709882142-SM59U3TGCJQ7X5AGGW72/3_MG_9858.jpg Shangai Shangai (2022) Lava stone Installation size: 240 x 300cm
 Each piece: 120 x 5cm, 41 pieces
 Photos by Luca Guarnieri https://www.isaacchongwai.com/twolegged-stool daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706238084486-5RD7Z9K0JOQ7HUBJQE66/00_esea+contemporary_Practise+Till+We+Meet_Isaac+Chong+Wai_Jules+Lister_2023_webres_5587.jpg Two-Legged Stool The piece is inspired by how, in 1984, the then Chinese leader, Deng Xiaoping, stated that negotiations on Hong Kong’s future were not some kind of “three-legged stool” – between Beijing, London and Hong Kong – but a two-legged one, with Hong Kong having no place in them. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706238104708-D0DN1Y5VO9RPX8857RTM/esea+contemporary_Practise+Till+We+Meet_Isaac+Chong+Wai_Jules+Lister_2023_webres_5562.jpg Two-Legged Stool Two-Legged Stool, 2023 Isaac Chong Wai Perspex Glass, two-sided mirror and wood 90 x 70 x 120 cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706238122457-JKFD5IYNQ5F6F978CQZS/esea+contemporary_Practise+Till+We+Meet_Isaac+Chong+Wai_Jules+Lister_2023_webres_5591.jpg Two-Legged Stool Photo credits: esea contemporary, photos by Jules Lister Special thanks to esea contemporary https://www.isaacchongwai.com/rehearsal-of-the-futures daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612620245336-P7MVLQSOA0Y8ZDO1JG9F/L_DSC9851.jpg Rehearsal of the Futures By remodeling the mechanism of political campaigns and questioning the perception of the leaders’ bodies, the work rewrites the body by means of obscurity, reciprocity, and transnationality: Faces portraying power are blurred; speeches of leaders are uttered collectively. In this context, individualism is re-discussed in a collective form: How does the homogenization of identity (a collective body) become a new shelter—a collective “leader”? https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612620236562-O2STAW2PO3W41KRAIAV9/L_DSC9706.jpg Rehearsal of the Futures Rehearsal of the Futures: Leaderless, 2020 Isaac Chong Wai Commissioned by Kulturakademie Tarabya and Zilberman Camera Operator: Kayhan Kaygusuz Production Coordinator: Gizem Demircelik Performers: Meltem Gürlevik, Su Güzey, İsmet Köroğlu, Can Özmen and Verda Zincirkıra https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1605639952798-G8EAW3KFW9SWPJNHKPY5/_DSC5200+%282%29.jpg Rehearsal of the Futures Isaac Chong Wai studies the exercises conducted in police academies around the world. He envisions artistic training methods for police and choreographs the movements of uniformed officers in tortuously slow motion, imbuing the violence with a paradoxical gentleness. By slowing down the collision of bodies, the posturing and movements oscillate between touching and hitting. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553518031575-9KXE58ATLCWUAHQ0RMSA/_DSC3956+copy.jpg Rehearsal of the Futures Rehearsal of the Futures: Police Training Exercises, 2018 Isaac Chong Wai Performance and Video Commissioned by M+ Museum for M+ Live Art: Audience as Performer Documented at Blindspot Gallery, Hong Kong Photo/Video by CPAK Studio Sound: Nobutaka Shomura Performers: Marah Arcilla, Sylvie Cox, Calvin Tak Chi Ngan, Ong Tze Shen, Sarah Xiao Cheng Yong https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613306159672-YNDHL9LBLVHCVPOGVW1B/ACUD_Isaac-90.jpg Rehearsal of the Futures By researching the repetitive body postures, gestures and movements of protestors throughout the history of protests globally, the performance rehearses and edits how we normally perceive the body. Carrying each other in turn until the holder is shaking and exhausted; transforming a fight in slow motion, the subtle movements compel us to read closely the vocabulary of protests. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534615944588-WK34ZOUTXJA356UQVJAE/ACUD_Isaac-99.jpg Rehearsal of the Futures Rehearsal of the Futures: Is the World Your Friend? 2018 Isaac Chong Wai Performance, Set of 13 Drawing (30x40 each with frame) Exhibited at ACUD Galerie curated by Pauline Doutreluingne and Petra Suzie Poelzl Performers: Katherine Leung, Manuel Lindner, Imola Nagy, Nobutaka Shomura. Photo: Tobias Koenig https://www.isaacchongwai.com/collective-individual-exercises daily 0.75 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613239142098-24X1YPZ1EFY58YC38SUT/tumblr_oj7vznuxbX1ropucio1_1280.jpg Collective Individual Exercises One Sound of the Futures, 2016 Isaac Chong Wai 3 Channel Video, HD loop: 7:13 min Performance at Kai Tak Runway Park in Hong Kong, Democracy Square in Gwangju in South Korea, K11 Artist Village in Wuhan in China at the 5th Large-Scale Public Media Arts Exhibition - “Human Vibrations” curated by Caroline Ha Thuc “One Sound of the Futures” is a performance involving people from Hong Kong, South Korea and Wuhan in China. Standing like living sculptures, the participants were asked to simultaneously formulate the sound of the futures from Kai Tak Runway Park in Hong Kong, Democracy Square in Gwangju and from K11 Artist Village in Wuhan. Lined up in a stringent formation they expressed how they imagined their own and personal future. By mixing all these different voices of the futures, diverse times interwove to become a unique moment when the time that has not yet come is addressed. This ultimate, intangible time resounded in a spoken yet indefinable noise created by hundreds of individual voices heard from different cities and countries. Presented by: Hong Kong Arts Development Council Organizer: Hong Kong Arts Development Council Venue Partners: K11 Art Foundation, Leisure and Cultural Services Department, Hong Kong & Wuhan K11 Artist Village Exhibition Partners: Burger Collection & Gwangju Cultural Foundation https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613239567138-24JNCZETKC0POUKF4XOK/tumblr_nvghul1oJM1ropucio1_1280.jpg Collective Individual Exercises One Sound of the Histories, 2015 Isaac Chong Wai Performance, HD Video 15:43min with Subtitles Weimarplatz, Weimar, Germany Photo: Ana Cayuela & Iva Kirova Numerous people were invited to line up in a stringent formation while telling the stories of their life at the same time at Weimarplatz. All participants, as living sculptures, stood and searched for their own memories and told their stories in diverse times in the past. By telling personal memories the present and the past of this particular place interweave to become a unique moment in history, resounding in a spoken noise created by people’s voices. This project is realized within the framework of ACTING SPACE - BAUHAUS GOES KUNSTFEST 2015 under the direction of Prof. Danica Dakić and Anke Hannemann. Coordinated by Jirka Reichmann. A collaboration between the MFA program “Public Art and New Artistic Strategies” at the Bauhaus Universität Weimar and Kunstfest Weimar 2015 with generous support from Burger COLLECTION, Landesverwaltungsamt, Ordnungsamt and Atrium Weimar. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613302836742-E4HWAB63PJ66NYPPE6BB/_DSC4282.jpg Collective Individual Exercises Swimming Back to Our Destination, 2019 Isaac Chong Wai Performance and Video Performed by Yannis Mitsos, Imola Nagy, Nobutala Shomura Courtesy of Zilberman Gallery The performance Swimming Back to Our Destination, 2019, embodies the imageries of human mobility through thinking about the struggles, strengths and substitutes of bodies. The swimmers learning to swim the same way a boat does, in a collective way, highlight our yearning for an alternative, an ideal mode for mobility – in solidarity. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1613302858186-OV7LGOZE8NFE33XJHTE1/DSC_0204.jpg Collective Individual Exercises The horizon where we can never touch, 2014 Isaac Chong Wai Performance Bremen, Germany Seven participants were invited to perform in Bremen at the Immigration Office Gallery. They were asked to adjust their height in order to get “a line” above their heads. Every participant took turns to pose as the model according to whom the other participants adjusted their height. This work highlights the subjectivity of norms and standards and how easily it is subject to change: who is leading the game? Who shall we all copy to meet so-called standards? https://www.isaacchongwai.com/full-cv daily 0.75 2025-11-23 https://www.isaacchongwai.com/works daily 1.0 2026-01-03 https://www.isaacchongwai.com/works/equilibrium-no8boundaries monthly 0.5 2025-12-06 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553516689562-EJMXESJEKOV4FGDHF6NJ/works-on-paper-isaac-chong-%C2%A9-camille-blake-36.jpg https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1553517174156-716AYK1BJUF3FTIXBZ1K/works-on-paper-isaac-chong-%25C2%25A9-camille-blake-16.jpg https://www.isaacchongwai.com/works/taipei-biennial monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/fda446cf-e6b2-4bc4-a41b-1aed32b7334b/20251115-s452.jpg https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/02382037-9bd3-465c-a908-61d066ebf364/20251115-s470.jpg https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/2d01e65b-7c51-4db4-81ea-6a21e17ee32e/IMG_5638.jpg https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/a3f95558-22dd-490b-978a-7aa127bd1892/20251115-s471.jpg https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/bae4c59c-b3a0-4676-963a-43333e06ad6b/IMG_5789.jpg https://www.isaacchongwai.com/works/postmythical-accidents-s5pmc monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1664709882142-SM59U3TGCJQ7X5AGGW72/3_MG_9858.jpg Works - Elpis Foundation + Galleria Continua ISAAC CHONG WAI: Post-Mythical Accidents Commissioned by Fondazione Elpis and in collaboration with Galleria Continua 26 Jun till 18 Sept 2022 Castiglione di Sicilia The third edition of Una Boccata d’Artebegins from 25th June to 18th September 2022 - a widespread contemporary art project by Fondazione Elpis, in collaboration with Galleria Continuaand with the participation of Threes Productions, takes place throughout Italy and promotes a coming together of contemporary art with the country’s artistic and scenic heritage through art installations, exhibitions and performances by 20 artists in 20 villages, one for each region. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1661162553262-MEF8SAPM5668LEH7B38M/10_BA2022_Isaac+Chong+Wai_Castiglione+di+Sicilia_Ph+Luca+Guarnieri.jpg Works - Elpis Foundation + Galleria Continua The village of Castiglione di Sicilia (CT) in Sicily will welcome Post-Mythical Accidents by the artist Isaac Chong Wai, a site-specific intervention inspired by the history and the identity of the village, conceived after a short residency period. Post-Mythical Accidents is a widespread project of five installations that intertwine reality, myth, religion and magic. Isaac Chong Wai: “Nature, religions, myths and beliefs can never be explained without the desires and needs of man. If I delve into the history of Castiglione di Sicilia, I see the trace of religion and mythology. The country's culture, history and religion intersect with its geographical location at the foot of Mount Etna, a living volcano that threatens potential disasters and accidents. On the basis of local myths, for each work of art I have created post-myths that connect religious or architectural objects, designed to satisfy people's spiritual, physical and political desires, with the stories of the mythological characters of Etna such as Vulcan, Cyclops, Typhon, Odysseus and Zeus. When our supposed world of reality is explained through myths whose character contains something irrational, it is as if an accident is generated. Reflecting on the creation of myths and the power of narratives integrated into a religious, cultural or political context, I am interested in underlining the absurdity of an anthropocentric approach, committed to the attempt to control nature and the immanence that instead distinguishes the indomitable essence of nature itself". https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659288158416-6HN88CENC5CNWU2BB9K7/1_MG_0254.jpg Works - Elpis Foundation + Galleria Continua Text by Giulia Pollicita Post-Mythical Accidents is a widespread public work by Berlin-based artist Isaac Chong Wai who investigates the layered complexity inscribed in the landscape of eastern Sicily. Intertwining reality, myth, religion and magic, Chong's intervention unfolds in a series of installations scattered around the village of Castiglione di Sicilia. Observing the wonder and constant fear of living at the foot of Mount Etna - source of life and constant threat of uncertain benevolence at the same time - the artist reflects on how the uncontrollable force of nature shapes a sense of immanence in human thought and behavior. Taking refuge in myth, faith or superstition, we try to scoff at fate and explore the mystery of nature. By forcing the unexplainable into the creation of myths and narratives, human beings pigeonhole what they cannot foresee within an anthropocentric vision. The installations Accidental Confessional and Lightless Chandelier investigate the persistence of myth and religion, intertwining traces of Homer with the Christian tradition. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287895286-CHUJCB0UAYUTF24V0VZQ/26_BA2022_Isaac+Chong+Wai_Castiglione+di+Sicilia_Ph+Luca+Guarnieri.jpg Works - Elpis Foundation + Galleria Continua Accidental Lava Stone hits a Facist Ornament connect with the Mediterranean legend of Ulysses and Polyphemus and the myth of the Faraglioni from Acitrezza, interacting with the surrounding area and recent history. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287870936-ZW3MDAOXTDCVWAZ9SXCF/30_BA2022_Isaac+Chong+Wai_Castiglione+di+Sicilia_Ph+Luca+Guarnieri.jpg Works - Elpis Foundation + Galleria Continua Shangai (2022), well-known as Mikado game in Italy, represents the scene in which mystification, exoticism and different cultures alternate without rules, depending on an order set by the real and the unreal, history and myth, religion and the primitive instinct of survival. In this context, the "post-mythical" represents a hybrid area where the rules of reality are suspended and a new order is established by narrative, fiction, fantasy and magic. Acknowledgments Marina Nissim, Bruno Barsanti, Maurizio Rigillo, the staff of Fondazione Elpis and Galleria Continua, Serena Guarino, Elisabetta Negroni, Antonio Camarda - Mayor of Castiglione di Sicilia, Michele La Rosa, Don Orazio Greco, Moiz Zilberman, Zilberman Gallery, Renato Leotta, Istituto Sicilia, Paolo Fontana, Lotte Laub, Gizem Demirçelik, Leo Gerstberger, Isidoro Mazza and Anna Mignosa, Mariavittoria Capodicasa, Annalaura Capodicasa and Sergio Pollicita. Photo taken by: Luca Guarnieri Una Boccata d’Arte Fondazione Elpis Galleria Continua https://www.isaacchongwai.com/works/paintings monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994545161-ELGRB1KENKUPYQ0E5QXF/image-asset+%282%29.jpeg Works - Paintings 672 lines in silver, 2019 Isaac Chong Wai Silver leaf and acrylic on canvas 200 x 150 x 3cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994617979-KM89R41IV5VT0XA5WWZQ/Isaac+Chong+Wai_II+2020_Kesselhaus+25.jpg Works - Paintings Installation view at Innsbruck Biennale 2020 Isaac Chong Wai’s paintings depicting fences with coloured lines respiring contexture to the idea of incarceration. The malfunction of a missing part of the fence here collides with an ambiguous abstraction. Both in political or metaphorical senses, these works tackle the inevitable ways in which representations evolve, retrograde and interweave. The lines, which appear intact, in reality, barely touch each other: the concept of a bordering fence remains fragile, impotent and even permeable. © Innsbruck International/ WEST.Fotostudio https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994659317-HUYDDMZU76JMPGOOUJOD/lines+series_112+lines+in+blue_2020.jpg Works - Paintings 112 lines in blue, 2020 Isaac Chong Wai Acrylic on canvas 60 x 50cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994705819-1VU1XQ7KJRV8DV6L5JZK/lines+series_314+lines+in+blue.jpg Works - Paintings 314 lines in blue, 2019 Isaac Chong Wai Acrylic on canvas
 80 x 120cm
 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994669083-DO3MXORSCDMHICCX3SII/lines+series_113+lines+in+blue_2019.jpg Works - Paintings 113 lines in blue, 2019 Isaac Chong Wai Acrylic on canvas 60 x 50cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994696319-O0C13N6E4MA9G9HAZR58/lines+series_115+lines+in+blue_2020.jpg Works - Paintings 115 lines in blue, 2020 Isaac Chong Wai Acrylic on canvas 60 x 50cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720994682752-T3E1KNAPC6NMQBLAJR28/lines+series_114+lines+in+blue_2020.jpg Works - Paintings 114 lines in blue, 2020 Isaac Chong Wai Acrylic on canvas 60 x 50cm https://www.isaacchongwai.com/works/leaderless-5d6ph monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618766272-EMIOMKF6MYME0SVX0T3A/_DSC9936.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618738506-QI2A87DJIFKVJPIIZDV2/_DSC9896.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618780026-1ISQX3S3LEXUHSE7JA5O/_DSC9997.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1643878217412-YY5K3O76LP20E3KCVK2Z/_DSC9882bw.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618801567-MFG04FVXS8F0G3RRYC2V/_DSC9902.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618928009-3W611P87HCATXA3T4AA5/_DSC1613.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618788320-BFY4GMFIQYBUI4OJCZDO/_DSC0006.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612619006132-B5R2GTEHD2LVO7WZNTA8/_DSC1501.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618780938-M9WVWOFNVPTF5VWE932M/_DSC9989.jpg Works - Leaderless https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1612618728407-C4VAQU9Q7LQTKG5CGVIO/_DSC0003.jpg Works - Leaderless Photo credit: Zilberman, photo by Kayhan Kaygusuz https://www.isaacchongwai.com/works/i-made-a-boat-in-prison-ndw2j monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706185753198-7X0SLL3AIGEWXZNIMLJE/I+made+a+boat+in+prison+%281%29.jpg Works - I Made a Boat in Prison I Made a Boat in Prison - A Journey to the Shore, 2015 Isaac Chong Wai JVA Weimar, a former prison in Weimar in Germany Wire fence cut from JVA Weimar Prison, Metal 300cm x 100cm x 250cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1534186719557-I3YVTL3GG78JS3DQAC1S/kr_chongwai-65.jpg Works - I Made a Boat in Prison I Made a Boat in Prison - the Golden Lens, 2018 Isaac Chong Wai 24K Gold on Fence mounted on Velour, Frame Left: 52,5 x 72,5 cm Right: 52,5 x 62,5 cm Photo Credit: Isaac Chong Wai, Kapitel B: An Artistic Archive of Borders, © Kunstraum München https://www.isaacchongwai.com/works/traces-55ghm monthly 0.5 2025-12-06 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098719003-1MF8D7HEODG7TKSJUXUK/Isaac+Chong+Wai_Traces+Pillbox+in+Hong+Kong+22%C2%B015_39.7_N+114%C2%B011%E2%80%9942.4%E2%80%9DE_2025+framed+HR.jpg Works - Traces https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098716913-84SS6YNX5LO2YNO0DOBB/Isaac+Chong+Wai_Traces+HSBC+Lion+Stephen+in+Hong+Kong+22%C2%B016_49.9_N+114%C2%B009_35.0%E2%80%9DE+Claw+%232_2025+framed+HR.jpg Works - Traces https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098717567-MIKEWORBUT6SXLPS21JY/Isaac+Chong+Wai_Traces+HSBC+Lion+Stephen+in+Hong+Kong+22%C2%B016_49.9_N+114%C2%B009%E2%80%9935.1%E2%80%9DE+Claw+%231_2025+framed+HR.jpg Works - Traces https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759099032116-M4JQGBU3S3UXEZIKYMKM/Isaac+Chong+Wai_Traces+HSBC+Lion+Stephen+in+Hong+Kong+22%C2%B016_49.9_N+114%C2%B009_34.9_E+Shoulder+%231_2025+framed+HR.jpg Works - Traces https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098715106-KMKS3YS1JYIGQGA9999H/Isaac+Chong+Wai_Traces+Ammunition+Stores+in+Hong+Kong+22%C2%B015%E2%80%9929.9_N+114%C2%B011%E2%80%9951.5%E2%80%9DE_2025+framed+HR.jpg Works - Traces https://www.isaacchongwai.com/works/traces-in-silence-3s74b monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706188981177-0IP0885QX0VVH3O8Y4LH/image-asset.jpeg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189045635-UZDDJCMKQ1C7E1GIA159/GfG-HomelandInTransit_14117web.jpg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189049001-FJT1Z4JXFQZ0DE7J6XOR/GfG-HomelandInTransit_14168web.jpg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189053703-31UUTP5DWOKPE28W1SW7/GfG-HomelandInTransit_14177web.jpg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189061043-2ML5Z6TXA5UO9HUI7G3X/GfG-HomelandInTransit_14228web.jpg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189065451-DDTLM2LIUOR452XKWGWZ/GfG-HomelandInTransit_14248web.jpg Works - Traces in Silence https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706189071175-ORLPI7HJGE948WU5VJGW/GfG-HomelandInTransit_14306web.jpg Works - Traces in Silence Photo credit: GG-EWERK, photos Marc Doradzillo © Special thanks to Heidi Brunnschweiler and Angelika Li https://www.isaacchongwai.com/works/missing-space-tmahh monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/03e561ee-9c43-4417-aff3-7f0efc0cde43/DSC00344+HR-2.jpg Works - Missing Space Isaac Chong Wai’s fragile amorphous glass sculptures Missing Space—with GPS numbers mounted on to find the locations—are the casts of bullet holes, dragging a hidden past into now. The display recalls the ideas of temporality, randomness, illusion of instability, danger and susceptibleness, because of their material, because of the way they are still but unstable. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/2b52730a-7148-46f1-8948-03da9eaee3ff/DSC09348+s.jpg Works - Missing Space https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1573580406314-UV7KCGINI95I61T3F1AN/CHR_3767_HR.jpg Works - Missing Space https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/addcd5ac-2b68-4508-8055-35b898747b96/DSC09352+HR.jpg Works - Missing Space https://www.isaacchongwai.com/works/the-end-of-growth-in-dialogue-with-joseph-beuys-4sdjp monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706187870220-GZKC0KZV7HSAFE7ZNU27/image-asset.jpeg Works - The End of Growth in Dialogue with Joseph Beuys The End of Growth, 2023 Isaac Chong Wai Archival pigment print A set of 5; each 180 x 120cm Commissioned by Museum Schloss Moyland “The End of Growth” features the artist adjusting his height alongside a large natural stone that resembles a human figure. In Joseph Beuys’s statement regarding his iconic work “7000 Oaks,” in which he viewed the stone as a monument to the tree, as the tree would grow but the stone wouldn’t. In “The End of Growth” the artist shifts the focus from the idea of constant-growing to the human body, which will shrink or degenerate after a certain height is reached in one’s life. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706187976324-FI1K646R9A7L5E2NFYPV/image-asset.jpeg Works - The End of Growth in Dialogue with Joseph Beuys https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706188047641-IQT7JIQD83DIQIPRP84A/Credit_Isaac+Chong+Wai_1.jpg Works - The End of Growth in Dialogue with Joseph Beuys There will be no fire, 2021 Isaac Chong Wai A series of 5 silk prints 30 x 40 cm each https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706188071939-Q2TF4WGFHHCO3J03MDV8/Credit_Photo+by+Sam+van+Rooij.jpeg Works - The End of Growth in Dialogue with Joseph Beuys https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706188579825-P5OKXLVY2AMMH14XFI1M/%C2%A9+Stiftung+Museum+Schloss+Moyland-Maurice+Dorren_ICW_2989_low.jpg Works - The End of Growth in Dialogue with Joseph Beuys Photo credits: Photo 1 and 5: © Stiftung Museum Schloss Moyland/Maurice Dorren Photo 2 and 3: © Isaac Chong Wai Photo 4: © Sam van Rooij Special thanks to Dr. Antje Britt Mählmann and Zilberman https://www.isaacchongwai.com/works/the-mothers-te3c6 monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659306730192-ZU1QTHS9RAMZDL7MCD4L/9961_c_Victoria_Tomaschko.jpg Works - The Mothers Referencing Käthe Kollwitz's woodcut “Die Mütter” (1922/23), Isaac Chong Wai has developed a 2 channel video, installed back-to-back on a metal pole, commissioned by ifa-Galerie Berlin. The performers move in a circle and sing lines from songs, including dirges and lullabies in various languages directed by musician Dagmar Aigner, who has been working with mourners for over 10 years in Munich. Revolving around the ideas of death, birth and motherhood, the work, named after Kollwitz’s woodcut, responds to the rhythm of histories marked by wartime experiences and places the grief engendered by Kollwitz into a transnational discourse. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659306734130-F0USK75QUHL2K0IMYJWT/9967_c_Victoria_Tomaschko.jpg Works - The Mothers Die Mütter, 2022 Isaac Chong Wai 2 channel video Commissioned by ifa-Galerie Berlin Music Director: Dagmar Aigner Camera Operator: Lana Immelman Sound: Nobutaka Shomura Singers: Dagmar Aigner, Paola Eleonora Bascon, Isaac Chong Wai, Zaki Hagins, Alena Magdalena, Sarai Baranco Merodio, Karin Mühlhoff, Eva Robayo, Nobutaka Shomura, Leela Tinelli, Winifred Wong Photo by Victoria Tomaschko https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659306749470-JI3LWFPEIPDDSTD20EX1/9974_c_Victoria_Tomaschko.jpg Works - The Mothers https://www.isaacchongwai.com/works/crying-people-tm5c2 monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198597311-K4ZEFLXD4TGRQS2N5GF7/Fourteen+Crying+People+in+North+Korea+1994.jpg Works - Crying People Pondering the fine line between the dramatic and the over-exaggeration in his series of silk prints Crying People (2022), Chong drops artificial tears on the faces of the people by using retrieved images captured in the state funerals in China and North Korea. He prints their excessive expressions and the animated-like tears on paper, partially veiled by a floating curtain https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198628893-32SIKH3YVLT2S89ZD4I2/Three+Crying+People+in+China+1976.jpg Works - Crying People In the colossal funerals of totalitarian leaders, numerous people manifested patriotism through the act of mourning: weeping, wailing, screaming, and hitting the ground. Hysterical demonstrations of grievances in the funerals contagiously spread among mourners captured by international media for staging the myth making of grief, meticulously narrated by the state. Pondering the fine line between the dramatic and the over-exaggeration in his series of silk prints, Chong drops artificial tears on the faces of the mourners by using retrieved images from the internet. He prints their excessive expressions and the animated-like tears on paper, partially veiled by a floating curtain made of cable chain. The cable chains, looking like a line of teardrops, create a curtain which unveils and hides simultaneously the images, wandering between private and public. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198618923-HO9F3OAHYO48NSKDZF4P/Thirteen+Crying+People+in+North+Korea+2011.jpg Works - Crying People With the technique of Serigraphy, which uses dots to create an image on paper, the texture of the print is sharped by numerous “drops” running through a screen and the light. The mix of explicit artificial tears and crying faces, being simultaneously personal and impersonal, struggles between the exhaustion of emotional labor and the emotions of the state. Since it is impossible to verify the authenticity of the tears, Chong rather takes an interest in the representations of grief and the rupture among narratives, expressions, and one’s states of mind and titles the work Crying People (2022), instead of “mourning people.” https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198604567-JJ6YKMSSK3T854U8LEMK/Nine+Crying+People+in+North+Korea+2011.jpg Works - Crying People Crying People, 2022 Isaac Chong Wai Serigraphy on fine art paper, framed by cable chain and metal bar 56.5 x 75.5 cm (print size)
 63 x 80 cm (framed)
 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696198612034-KZUJ3LV6FHF9MZXX4RIW/Sixty+one+Crying+People+in+North+Korea+2011.jpg Works - Crying People https://www.isaacchongwai.com/works/zilberman-istanbul-solo monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1664710005808-HB1H0IS0K7TXMHJERRYI/image-asset.jpeg Works - Zilberman Istanbul Solo Zilberman Istanbul is pleased to present Isaac Chong Wai’s third solo exhibition If we keep crying, we will go blind. in the new venue, Zilberman Selected at Piyalepaşa from May 17 to July 30, 2022. The solo presentation features an entirely new body of work, including a large-scale installation, a 2-channel video, a series of silk prints, a lightbox, and a performance. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287407365-5MGMUVKJMM0MIG7Y3EKA/_DSC0608.jpg Works - Zilberman Istanbul Solo The conceptual, political, and performative qualities of Isaac Chong Wai’s practice are incorporated by an interdisciplinary approach, processing the exigency of societal shifts and global phenomena. His subtle, poetic, and yet critical works infiltrate the systems of meanings, inviting viewers to reexamine his edited representations of the body, powerlessness, violence, collectivism, leaderlessness, and mourning—among other themes. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706238989140-T2HABG5B7L3BYBUENB6Y/H70cm_Dilan.jpg Works - Zilberman Istanbul Solo In his current exhibition, the artist delves into the death of leaders and the instrumentalized personal feelings of those in mourning, revolving around the topics of controlled emotions, state funerals, and public mourning. If we keep crying, we will go blind., as an advice to prevent us from disregarding what forces us to cry, addresses the hazard of self-blinding when individual expression of grief is politicized. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387899821-ZUWSOO7R6MR8PMGSN710/_DSC0577.jpg Works - Zilberman Istanbul Solo Chong’s motive to bring public space into the gallery is embodied by his large-scale installation Crying Streetlight (2022) in the heart of the exhibition. The hollow metal street lamps “cry”—as conceptualized by the artist—and evoke the perceptions of emptiness and transparency, referencing the public lights in the squares of the mausoleums in Tiananmen in Beijing, China, and the Kumsusan Palace of the Sun in Pyongyang, North Korea. Standing as silent witnesses of historical events and public mournings, the lamps are incapable of weeping for the public or the deceased. Conjuring up a crying street lamp, Chong affixes cable chain necklaces onto the installation in which every delicate ring of the chain resembles a teardrop. As if the chains attempt to hold and trace every single drop of tears that evaporates in time leaving no mark behind, the contours of the “tears” remerge on the structure of the monumental lamps. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287396149-6KPAVKGGFN9M7RY9TJSM/_DSC0589.jpg Works - Zilberman Istanbul Solo Hysterical demonstrations of grievances in the funerals contagiously spread among mourners captured by international media for staging the mythmaking of grief, meticulously narrated by the state. Pondering the fine line between the dramatic and the over-exaggeration in his series of silk prints, Chong drops artificial tears on the faces of the mourners by using retrieved images from the internet. He prints their excessive expressions and the animated-like tears on paper, partially veiled by a floating curtain made of cable chain. The mix of explicit artificial tears and crying faces, being simultaneously personal and impersonal, struggles between the exhaustion of emotional labor and the emotions of the state. Since it is impossible to verify the authenticity of the tears, Chong rather takes an interest in the representations of grief and the rupture among narratives, expressions, and one’s states of mind and titles the work Crying People (2022), instead of “mourning people.” The cable chain, artificial tears, crying, and grief, which appear as the prominent parts of the exhibition, come together in the two-channel video Controllable/ Uncontrollable Tears (2022). The double screens, installed vertically, juxtapose comparable expressions: crying unemotionally, sobbing without tears, or wailing with eye drops, along with the decorative chains descending bit by bit from the eyes just as though a passage is paved for the teardrops. The segmented emotions embodied by acting, feelings, thoughts, and expressions infer the dialectical sorrow between the controllable and uncontrollable and the liminal state of performing and authenticity. Corresponding to the video, Chong developed a performance staging the invariable expressions in repetition and imitations of emotions among the performers. In the live performance, the performers enact their lamentation and gaze at the audience where genuine and fictitious feelings contend with personal experiences in everyone’s mind. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1666315167566-L5KKLRN4DT07WWWDRKPM/H70cm_Leo.jpg Works - Zilberman Istanbul Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387913347-JX5VEKTEWEPDTPQ177O8/_DSC0587.jpg Works - Zilberman Istanbul Solo A mirror lightbox with illuminated words If we keep crying, we will go blind., except the word “blind” painted in black, is installed at the eye level, interrupting the passerby’s reflections and questioning the individuals in collective mourning and the contingency of losing one’s sight. Reevaluating the historical events and reading them from their unseen sides in the exhibition, the public streetlights and nameless people push their limits to overplay the sorrow that the authorities demand. The trajectory of history alters with emotions, while the undefinable spheres of thoughts and expressions might shift us away from collective blindness. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287417735-INCSGNII3OAHAVB8IM17/_DSC0611.jpg Works - Zilberman Istanbul Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1659287400134-RPNY776NO1KM9R4KX800/_DSC0594.jpg Works - Zilberman Istanbul Solo Photo credit: Zilberman, photo by Kayhan Kaygusuz https://www.isaacchongwai.com/works/crying-streetlight-94ed3 monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387960643-O27I93MNFL62JKA2LGVB/_DSC0631.jpg Works - Crying Streetlight In his large-scale installation Crying Streetlight (2022), the hollow metal street lamps “cry”—as conceptualized by the artist, referencing the public lights in the squares of the mausoleums in Tiananmen in Beijing, China, and the Kumsusan Palace of the Sun in Pyongyang, North Korea. Standing as silent witnesses of historical events and public mournings, the lamps are incapable of weeping for the public or the deceased. Conjuring up a crying street lamp, Chong affixes cable chain necklaces onto the installation in which every ring of the chain resembles a teardrop. As if the chains attempt to hold and trace every single drop of tears that evaporates in time leaving no mark behind, the contours of the “tears” remerge on the structure of the monumental lamps. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387940896-8XSCSFDRHZ6F0JG1U2DG/_DSC0623.jpg Works - Crying Streetlight Crying Streetlight in Tiananmen Square, 2022 Isaac Chong Wai Metal and cable chains ca. 310 x 200 x 200cm Photo credit: Zilberman, photo by Kayhan Kaygusuz https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387958884-LOVVNE6D2LND55QBCT7L/_DSC0628.jpg Works - Crying Streetlight Crying Streetlight in Kumsusan Palace of the Sun, 2022 Isaac Chong Wai Metal and cable chains ca. 310 x 330 x 330cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1678387941853-8KPFLRCDJP505DNJIB1X/_DSC0625.jpg Works - Crying Streetlight https://www.isaacchongwai.com/works/if-we-keep-crying-we-will-go-blind-1-dc3ge monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1713223129274-45JQLUUV6YV4P3S8IW28/_DSC0632.jpg Works - If we keep crying, we will go blind. If we keep crying, we will go blind, 2022 
Lightbox, paint, mirror 
 ø 100 x 2.5 cm 
 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1713223144156-VL8YSDAW3RZQK5PY47LP/_DSC0638.jpg Works - If we keep crying, we will go blind. https://www.isaacchongwai.com/works/blindspotgallery-hongkong-solo monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352642704-LCNMAGY2AEI0QDU3ZN0M/Blindspot-01091.JPG Works - Blindspot Gallery Solo Isaac Chong Wai: carefully 16 Sep 2025 - 01 Nov 2025 Blindspot Gallery is pleased to present Isaac Chong Wai’s second solo exhibition, “carefully”, from 13 September to 1 November 2025. Chong explores the human condition through the lens of movement, time, and the traces they bear. He delves into the performative qualities of materials, showing their relationship with the body and their potential for world-making. “carefully” acknowledges precarity while embodying a gesture of care. It proposes solidarity as a way to heal and to move forward from traumas. The new works featured in the exhibition continue themes Chong explored in his video installation and performance, Falling Reversely (2021/2024), presented at the 60th Venice Biennale, reflecting upon the fragility and resistance of the body in the face of systemic violence. In “carefully”, Chong probes our attentiveness to the past by drawing from his upbringing in colonial Hong Kong, contemplating what we choose to remember and its influence on identity and the present. Through neon lights, glass sculptures, drawings, prints and video, the exhibition invites us to reflect upon our shared humanity converging temporalities, and to imagine an alternative microcosm of human relationality through mutual support and understanding. Press Release https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352648364-0FN6VL2IOI5Z7IEM6NUI/Blindspot-02042+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352645518-FZ59M1X1GNOB43QROXMU/Blindspot-01912+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352645741-HWT6P1BWL21NHHWPB3HM/Blindspot-01840+s2.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352640748-WO79V4HX7UGN7Z8ZYNGD/Blindspot-01702+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352642923-O74FOHFL66WVR6QFYOUV/Blindspot-01725+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352648530-W7VPFOY42RS5JHZ4X9KU/Blindspot-02015+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352651252-LOVZ0UAW4ZLMP03Z3HBB/RAY01943+s.jpg Works - Blindspot Gallery Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1758352652545-JPOP0XV3AQGJUA5V5TLA/RAY01991+s2.jpg Works - Blindspot Gallery Solo Installation view of “Isaac Chong Wai: carefully”, 2025, Blindspot Gallery, Hong Kong. Images courtesy of artist and Blindspot Gallery. https://www.isaacchongwai.com/works/zilberman-berlin-solo monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1726438638285-LS26ZXMUPLK2XE5RKQ4K/CHR_5764+web.jpg Works - Zilberman Berlin Solo https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1726438666646-ZAOQCATVNB1FOVN4Y37W/CHR_5772+copy.jpg Works - Zilberman Berlin Solo Isaac Chong Wai Falling Carefully Opening: Saturday, 07 September, 6–8.30 p.m. 10 September–16 November 2024 Performances:Falling Exercise and Help! Help? Help. Saturday, 07 September, 6.30 & 7.30 p.m. Saturday, 14 September, 4 & 5.30 p.m. w/ Isaac Chong Wai, Selina Shida Hack, Hoyoung Im, Katherine Leung, Tzu-Yin Liao, Ryota Maeda, Marjolein van der Meer, Soyeon Shin, Alena Trapp, Po-Nien Wang Zilberman | Berlin is delighted to announce the solo exhibition Falling Carefully by Isaac Chong Wai. Drawing upon his practice of performative art works, Isaac Chong Wai presents in Falling Carefully works in a painterly or sculptural medium, in which he investigates the processes of image generation that arise in movement and choreographic structures. For this exhibition, Chong created a new series of works entitled Rehearsed, Mirrored, in which he has etched bodies in motion on mirrors and glass panels. Moreover, we present a video installation of his performances Falling Exercise and Help! Help? Help. (both from 2016). At Venice Biennale 2024, Foreigners Everywhere, Chong’s performance and large-format, 7-channel video installation Falling Reversely is being shown in a space extending over 300 square meters of the Arsenale. In that work, Chong employs a choreography of falling to investigate collective forms of resistance to racially motivated aggression and institutional violence. In the exhibition Falling Carefully at the Zilberman, as well, Chong portrays the falling movements of individuals who are caught by the careful intervention of sympathetic by-standers. In this way, Chong turns the feeling of powerlessness into a feeling of trust in the help of others, by decelerating the falling movement or embedding the falling body in the supporting structure of a collective. Chong portrays the act of falling as a recurrent process intimately tied to human existence. He mitigates the negative connotations of falling by allowing the falling body to be supported by others in a gentle counter-motion. The empathy of others, who come to help and enable him to stand up again, relieves the falling person of the terrible feeling that something irreversible is happening. In the series of works entitled Rehearsed, Mirrored(2024), Chong etches traces of movement in mirrors and glass panels. His process recalls the movement studies of Eadweard Muybridge, where every phase of a movement is captured in a momentary photographic image, or the futuristic sculptures of Umberto Boccioni. The lines Chong etches on mirror and glass reproduce the blurriness caused by motion or the successive stages of a movement process. He shows bodies in movements that reveal their emotional interconnectedness: they hug each other, dance together, help each other, support and protect one another. Chong lays over a mirror painted with a body in motion a glass panel showing a body performing a similar movement, but in mirror image to the first. As in an act of restitution, he thus stabilizes the underlying form. In dance class and rehearsals, the mirror is there to let dancers precisely observe, assess, and correct their own body movements. Chong’s life-size quadriptych, again from the series Rehearsed, Mirrored, creates a connection between the etched traces of dancing bodies on two levels – the mirror and glass overlying it. But we, too, as observers, compare our own movements with those which Chong presents, or those which have passed before us. Through this temporality, Chong conveys the impression of an incessant flow of movement, of a cycle in which falling, standing up, supporting, and helping merge into a unified image, a choreography. Using an aesthetic of cut-out figures, Chong paints arms holding a body aloft that, owing to their dense and overlapping lines, appear almost abstract. Like dance notation scores, they thus elude tangibility. This impression is reinforced by the incident light, which alters the visibility of the engravings. The stacked forms oscillate between the recognizably figurative and the abstract. Mirror and glass are recurring materials in Isaac Chong Wai’s artistic practice. Most recently, he used them in the series Breath Marks, in Missing Spaces, and in various light boxes made of mirrors, in which lettering is embedded. In the works presented in the exhibition Falling Carefully, as well, mirror and glass constitute both material and motif. Mirror and glass can serve the purpose of supervision no less than of transparency. A window both divides and connects us. A mirror can serve to reassure the self, to call for a change of perspective, to discover the truth; but it can do the opposite, too. It also stands for illusion and deceit, for instance for a person’s misreading of how he appears to others. Mirror and glass convey ambivalent feelings such as vulnerability, and also resilience. But note that Isaac Chong Wai, in his work, treats vulnerability as a sign not only dependency, but also of receptivity – as a source of empathy. Text: Lotte Laub, translated by Darrell Wilkins Isaac Chong Wai (b. 1990) is a participating artist in the 60th Venice Biennale, Foreigners Everywhere, curated by Adriano Pedrosa. Also in 2024, Chong received the Art Prize of the City of Nordhorn 2024, a prize awarded since 1979 to artists who have attracted attention with a fresh and nationally significant body of work. Chong's recent exhibitions include the Bangkok Art Biennale, Bangkok 2024 and the Biennale Sesc_Videobrasil, São Paolo 2023. His works have been exhibited at prestigious venues including the Bundeskunsthalle Bonn, the MMCA in Seoul, IFFR in Rotterdam, MOCA in Taipei, and M+ in Hong Kong. His works are represented in renowned collections, including the Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, where the works were included in the Museum’s revised permanent exhibition, which opened in 2023; in Germany’s Bundeskunstsammlung; in Kadist, Paris and San Francisco; and in the Burger Collection, Hong Kong. He was awarded the New York Désirée & Hans Michael Jebsen Fellowship from the Asian Cultural Council and was a fellow of the Tarabya Cultural Academy. In 2024, the Tagesspiegel named Chong one of the TOP 100 personalities in Berlin’s culture scene. Isaac Chong Wai studied Fine Arts at the Hong Kong Baptist University and Art in Public Space and New Artistic Strategies at the Bauhaus University in Weimar. He lives and works in Berlin and Hong Kong. A catalog will be published to accompany the exhibition. For further information, please contact the gallery at: berlin@zilbermangallery.com https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1726438673425-BOL77M3M1D1LKTEM3IG9/CHR_5786+web.jpg Works - Zilberman Berlin Solo Photo by CHROMA Istanbul/ Zilberman https://www.isaacchongwai.com/works/rehearsed-mirrored-1-lh2ct monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/c9606f51-cda3-42c8-b7c9-f3801e5f54f3/Isaac_Opening_26.jpg Works - Rehearsed, Mirrored https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1738259657382-MBTI00PEH242HLKQG7WE/ISC_177+Large.jpeg Works - Rehearsed, Mirrored Rehearsed, Mirrored (2024) is a series of hand-etched glass and mirror works by Chong, developed from rehearsal materials for his performance Falling Reversely, commissioned for the 60th Venice Biennale. In this series, Chong meticulously etches traces of bodily movement onto two separate acrylic glass sheets—one later flipped and layered over the other—creating an uncanny sense of mirrored balance. Recalling the movement studies of Eadweard Muybridge and the dynamic forms of Umberto Boccioni, Chong’s etched lines capture the blur and rhythm of motion, translating temporal movement into static form. The overlapping glass and mirror panels depict figures in reciprocal gestures—embracing, dancing, supporting, and protecting one another—revealing an emotional interconnectedness within motion. By layering mirrored counterparts of the same movement, Chong performs an act of visual restitution, stabilizing and reuniting fragmented gestures into a resonant whole. appear almost abstract. Like dance notation scores, they thus elude tangibility. This impression is reinforced by the incident light, which alters the visibility of the engravings. The stacked forms oscillate between the recognizably figurative and the abstract. Left 1: Rehearsed, Mirrored: Dance of Falling #1 (2024) Isaac Chong Wai Acrylic glass and mirror 180 × 240cm unique Left 2: Rehearsed, Mirrored: Falling #1 (2024) Isaac Chong Wai Acrylic glass and mirror 40 × 30cm unique Right: Rehearsed, Mirrored: Dancing #1 (2024) Isaac Chong Wai Acrylic glass and mirror 40 × 30cm unique Photos by Luka Naujoks https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/097ace15-57da-4d91-b636-cd67e79e798f/Isaac_full.jpg Works - Rehearsed, Mirrored https://www.isaacchongwai.com/works/venice-biennale monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1733141551359-TD08DWIKOSVYO6E6YGQ5/_1061799_edited.jpg Works - Venice Biennale On the occasion of the 60th la Biennale di Venezia, Berlin-Hong Kong artist Isaac Chong Wai reinterprets movement as a powerful form of resistance. Venice, Italy — 17 April, 2024 — Berlin-Hong Kong artist Isaac Chong Wai opens an exhibition imagining forms of collective response to systemic and institutional violence. Originally conceived in 2021, “Falling Reversely” (2021/2024) is a multifaceted project, now presented through a new large-scale video installation and performance. The exhibition takes place in a 3,000 sq. ft./300m2 space in the Arsenale at the Venice Biennale 2024 and reverses the familiar movements of falling as a thought-provoking response to anti-Asian racism. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/834c1d63-d77f-4639-97d8-fc4620b4f28e/01_Credits_+Photo+by+Atsushi+Kakefuda_+Falling+Reversely+%282021_2024%29+by+Isaac+Chong+Wai_2.jpg Works - Venice Biennale https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1721002889191-Y50PUA1KK8H8BLC3LBQE/1037388.jpg Works - Venice Biennale As it unfolds before viewers, “Falling Reversely” confronts its audience with questions of autonomy and power. In conceptualizing this work, Chong visualized how marginalized communities might reclaim their bodies for themselves. In both public and private spaces, attacks against perceived “others” often take place when the aggressors believe they have an inherent right to impose power on a “lesser” group or individual. Cognizant of how marginalized individuals must move through everyday spaces in fear, Chong imagined an alternate future: where those who are marginalized integrate linked movements in their falling, reversing moments of attack and transforming them into new avenues of protest. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720990021419-ZKDE9BD9ON0ZP5KEL5RJ/logo-venice-biennale-supporters-falling-reversely-grey-website-background+copy.png Works - Venice Biennale Isaac Chong Wai’s “Falling Reversely” in the Venice Biennale 2024 is supported by: Culture, Sports and Tourism Bureau Government of Hong Kong Special Administrative Region; Hong Kong Economic and Trade Office in Brussels; Hong Kong Arts Development Council; Burger Collection and the TOY family;Sunpride Foundation; Ammodo; Blindspot Gallery, Hong Kong | Zilberman, Istanbul, Berlin and Miami; Yenn and Alan Lo Foundation; Berlin Senate Department for Culture and Social Cohesion; Pure Art Foundation; ifa Institut für Auslandsbeziehungen. Special Thanks to: La Biennale di Venezia, Adriano Pedrosa, Amanda Carneiro, Juliana Ziebell, Joern Brandmeyer, Massimiliano Bigarello, Ilaria Zanella, Stefania Fabris, Max and Monique Burger, Patrick Sun, Mimi Chun and Moiz Zilberman, Alan Lo, Inka Gressel, Alan Lau, Xi Bei and Johannes Kühn, Catherine Nichols, Sam Bardaouil, Michael Elmgreen and Young-jun Tak, Kwok Ying, Annie Loong, Susanne Weiß, Philipp Lachenmann, Karen Cheung, Nazli Yayla, Lotte Laub, Ece Ateş, Gizem Bengisu Erenler, Marjolein van der Meer, Lusin Reinsch, Lesley Kwok, Mathilde Weh, Lena Alpozan, Sarah Y. Wu, Stefanie Beyer, Karen Ka Wan Cheung, Stefano Ferlito, Cosmin Costinas and Inti Guerrero, Ming Wong, Nick Yu, Ayşe Erkmen, Eidotech, Müge Yılmaz, Leo Gerstberger, Ka Shuk Fong, Chong Ka Wing, Gerhard Gerstberger, Dagmar Aigner, Zehra Gercek, and Eline Koopman. https://www.fallingreversely.com/ https://www.isaacchongwai.com/works/breath-marks-glass-l2j5d monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759099226068-1OD515KUVZHW5D8VSRG3/DSC09732+s-2.jpg Works - Breath Marks (Glass) Breath Marks: Princess Diana and the Walking Stick 2025 Isaac Chong Wai Etching on glasses, 14 panels, wooden base 43 x 30 x 43 cm Image by Blindspot Gallery https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696196733785-ZF1GJVPA3VPY87D7MMDE/Screenshot+2023-06-06+at+11.25.56+PM.png Works - Breath Marks (Glass) Breath Marks: Queen Elizabeth II and Crying Hong Kong Girl, 2023 Isaac Chong Wai Etching on glasses, 14 panels, wooden base 43 x 30 x 43 cm Glass: 40 x 30 x 1 cm each Wooden base: 43 x 30 x 3 cm Photo credits: Blindspot Gallery, photo by CHROMA, Istanbul https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1696197611062-OBJWVVGWRHD8TD729L8G/Mother+with+her+dead+son.jpg Works - Breath Marks (Glass) Breath Marks: Mother with Her Dead Son, 2022 Isaac Chong Wai Etching on glasses, 14 panels, wooden base 43 x 30 x 43 cm Glass: 40 x 30 x 1 cm each Wooden base: 43 x 30 x 3 cm Photo credits: Blindspot Gallery, photo by CHROMA, Istanbul https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1720991020082-R2WUYRW6QGPB9YY6FNPC/230915_Bruecke_0003_HQ_only+work.jpg Works - Breath Marks (Glass) Breath Marks: Portrait of Käthe Kollwitz, 2023 Isaac Chong Wai Etching on glasses, 9 panels, wooden base 30 x 22.5 x 33 cm Glass: 30 x 22.5 x 1 cm each Wooden base: 33 x 22.5 x 3 cm Photo credits: Brücke Museum/ Frank Sperling https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1706237678882-P31J7X98FH7L3WB2ZEZD/230918_Schinkel_0083.jpg Works - Breath Marks (Glass) Breath Marks: a Crouching Man (Homage to Felix Nussbaum), 2023 Isaac Chong Wai Etching on glasses, 14 panels, wooden base 43 x 30 x 43 cmGlass: 40 x 30 x 1 cm each Wooden base: 43 x 30 x 3 cm © Schinkel Pavillon/ Photo by Frank Sperling https://www.isaacchongwai.com/works/touched-rouge monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098145815-68MOX0ZNHBYJV9NKK2GJ/_DSF0015+s2+edited2.jpg Works - Touched: Rouge Isaac Chong Wai Touched: Rouge 2025 Etching on glass, tinted acrylic, mirror, aluminum frame 60.5 x 50.5 x 3 cm Chong debuts Touched: Rouge (2025), a series in which he uses body imprints to outline the contours of Fleur and Chen-bong from the classic Hong Kong film Rouge (1987). The ethereal marks are etched onto glass panels mounted onto colored acrylic and mirror. In the film, Fleur is a courtesan who falls for wealthy heir Chen-bong in 1930s Hong Kong, before their love is thwarted due to disapproval, resulting in the two attempting suicide through opium. Fleur’s spirit returned to humanity five decades later in search of Chen who had survived the attempt, only to find a city transformed. The film is adapted from the eponymous novel by Lilian Lee, written shortly after the signing of the Sino-British Joint Declaration. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098095729-K4EMO6ARY6SXWMTBZO5J/DSC09685+s2.jpg Works - Touched: Rouge Touched: Rouge—Opium 2025 Etching on glass mirror aluminum frame 60.5 x 50.5 x 3 cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098340247-TABOVLWQ1TVHFGAN6N5S/DSC09707+3+edited.jpg Works - Touched: Rouge Touched: Rouge—Fluttering Fan 2025 Etching on glass, tinted acrylic, mirror, aluminum frame 60.5 x 50.5 x 3 cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098080283-TRG8E5Q46ASWHKJR7E3T/DSC09692+s2+edited.jpg Works - Touched: Rouge Touched: Rouge—Embrace 2025 Etching on glass, tinted acrylic, mirror, aluminum frame 60.5 x 50.5 x 3 cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098043356-4CUAEHWIODSHALEEAVHD/Blindspot-01912+s.jpg Works - Touched: Rouge Installation view of “Isaac Chong Wai: carefully”, 2025, Blindspot Gallery, Hong Kong. Images courtesy of artist and Blindspot Gallery. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098117849-04ZIT6C7TPJBIDJBD8T4/_DSF0070+s2.jpg Works - Touched: Rouge Touched: Rouge—Crossdress 2025 Etching on glass, tinted acrylic, mirror, aluminum frame 60.5 x 50.5 x 3 cm https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/1759098120908-FV4V1A16VC7XNGTG56AD/_DSF0066+s+edited.jpg Works - Touched: Rouge Installation view of “Isaac Chong Wai: carefully”, 2025, Blindspot Gallery, Hong Kong. Images courtesy of artist and Blindspot Gallery. https://www.isaacchongwai.com/works/neue-nationalgalerie-berlin monthly 0.5 2025-11-25 https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/11853355-2799-4338-9241-becdce0412cc/IVER4592.jpg Works - Neue Nationalgalerie Berlin Nearly a hundred performers came together to form a line above their head by matching their heights. Isaac Chong Wai presented his performance The horizon we can never touch along the 50-meter façade of the Neue Nationalgalerie. Facing each other across the window, participants adjusted their height to align with a shifting horizon—asking: Who leads, and who follows when norms and standards are at play? The horizon we can never touch (2014/2025) by Isaac Chong Wai was invited to perform at PERFORM! 2025 curated by Klaus Biesenbach with Lisa Botti, and Gregor Quack at the Neue Nationalgalerie in Berlin. https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/5cbc636d-c7bd-429e-b07a-ffa71dce32f5/IVER4646.jpg Works - Neue Nationalgalerie Berlin https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/dd3da679-b897-41fc-8202-47fa361e742b/IVER4701.jpg Works - Neue Nationalgalerie Berlin https://images.squarespace-cdn.com/content/v1/5b7047245b409b09122a31d6/f2d74e9d-0ec8-4fcf-b72d-15ff06a61a98/IVER4757.jpg Works - Neue Nationalgalerie Berlin Photo by Ivan Erofeev. Courtesy of Neue Nationalgalerie