Hoo Fan Chon is a Malaysian visual art practitioner based in George Town, Penang. By reframing everyday life with irony and wry humour, his works observe the oscillations and toggles between social classes, the official and the informal, the highbrow and the lowbrow.

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Hoo Fan Chon (b. 1982) is a Malaysian visual art practitioner based in George Town, Penang. By reframing everyday life with irony and wry humour, his works observe oscillations and assimilations between social classes, the official and the informal, the highbrow and the lowbrow.

︎ email ︎ cv

我餵人人人人餵我
I Feed The Masses While The Masses Provide For Me




邊境旅行|Petamu Project
2018 Sept, Open Contemporary Art Centre (Taipei, TW)
Curated by Lo Shih-Tung & Rikey Tēnn

Installation shots by Chen Chia-Jen

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List of works:

我餵人人人人餵我
I Feed The Masses While The Masses Provide For Me

Installation: Single channel video, LED scrolling text, fish tank, woodblock print, ceremonial banner, dimensions variable, 2018

我的土味
My Earthy Taste

Single channel Mpeg-4 video, 2:44 min, 2018

我的土味,你的溫柔
My Earthiness, Your Tenderness

Woodblock print, 29.7 x 42.0 cm, Wenzhou 30gsm mulberry paper, edition of 25 + 2 AP, 2018

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Review:

談符芳俊「吳郭魚計畫」的技術:移動的知識者,移動的勞力者 (The News Lens)
This installation features “My Earthy Taste” (a music video), “My Earthiness, Your Tenderness” (a woodblock print) and other ancillary components. This body of work is the result of the No Man's Land residency and the Nusantara Archive Project (2017 edition). I worked with the Open Contemporary Art Center (OCAC) to deploy pop music as a form of video art-making. The installation features a tilapia aquarium, LED scrolling text, a woodblock print and a silkscreen printed bamboo T-shirt. It delineates the tilapia’s circuitous journey, from being smuggled out of the Teikoku Marine Products Control Company as a fingerling into Taiwan, before undergoing various processes of mutation and domestication, gradually becoming assimilated into the local cultural context. These cultural readings, research findings and selected objects can collectively be read several ways: as a rendition of a pre-nation-state Southeast Asia, an analogy about biological studies in the Malay Archipelago or a retelling of historic migratory routes from Nanyang to Taiwan during the Second World War.

See also “我的土味 My Earthy Taste


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© Hoo Fan Chon