Tiffany Chung

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installation view at Hitachi City Museum of 'between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices'
2016
mixed media
installation view at Hitachi City Museum of 'between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices'
2016
Chung's cartographic work juxtaposed with Hitachi City Museum artifacts
installation view at Hitachi City Museum of 'between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices'
2016
Jomon cord-marked pottery and 1839 reprinted edition of the 8th century Hitachi Fudoki in foreground; plaques 2 - 9 of Funke: Hitachi no Kuni Fudoki – poetry and the barbarians and Funke: Hitachi no Kuni Fudoki – Hitachi Province
detail of Funke: Hitachi no Kuni Fudoki – poetry and the barbarians
2016
etching on 12 stainless steel plaques mounted on plexi-glass
dimensions variable
Local history book – Hitachi back then
2016
acrylic, ink and oil on vellum and paper
60 x 70 cm
Funke: Hitachi no Kuni Fudoki – Hitachi Province
2016
acrylic, ink and oil on vellum and paper
47.5 x 33 cm
Tsuya & Kurosu: Demographic Responses to Famines in Rural Northeastern Japan, 1716-1870 (a case study based on Tenmei and Tenpo famines)
2016
acrylic, ink and oil on vellum and paper
36 x 29.5 cm
Local history book – Asahi-cho, 1921
2016
acrylic, ink and oil on acetate and paper
21 x 29.5 cm
Local history book – Asahi-cho, 1926-1929
2016
acrylic, ink and oil on acetate and paper
21 x 29.5 cm
Local history book – Asahi-cho, 1929-1932
2016
acrylic, ink and oil on acetate and paper
21 x 29.5 cm
Local history book – Asahi-cho, 1935
2016
acrylic, ink and oil on acetate and paper
21 x 29.5 cm
1946 survey #28 – blank space: Hitachi Factory, seaside
2016
acrylic, ink and oil on vellum and paper
70 x 47.5 cm
1946 survey #37 – semi-blank space: Hitachi Factory
2016
acrylic, ink and oil on vellum and paper
65 x 64.7 cm
1946 survey – Hitachi Urban Damage Plan
2016
acrylic, ink and oil on vellum and paper
75 x 62.5 cm
Đồn Cá Trê (c. 1698) in Le Brun’s 1795 urban planning map of Saigon
2013
micro pigment ink, gel ink, and oil on vellum and paper
110 x 70 cm
1972 Thu Thiem Development Plan by US AID (Agency for International Development)
2013
micro pigment ink, gel ink, and oil on vellum and paper
110 x 70 cm
landscapes of a people yet to come – HCMC ICA plans for New Thu Thiem Urban Area
2013
micro pigment ink, gel ink, pencil, oil, and image transfer on vellum and paper
79 x 100 cm
knowing into oblivion
2013
digital C-type printing on glass
26 glass plates, 23.4 x 16 cm each
in collaboration with Erik Harms
knowing into oblivion (detail)
2013
digital C-type printing on glass
26 glass plates, 23.4 x 16 cm each
in collaboration with Erik Harms
erasure begins from the will to knowledge
2013
recovered windows from demolished houses
126 x 126 x 20 cm
erasure begins from the will to knowledge (detail)
2013
recovered windows from demolished houses
126 x 126 x 20 cm
10°45’39” N 106°43’23” E
2013
excavated concrete slab with ceramic tiles
128 x 64 x 30 cm
an archaeology project for future remembrance
2013
3-channel video, HD, color, audio
6’26”
thousands of years before and after
2012
single channel HD video, color, sound
9’01”
the great simplicity
2012
HD video, color, sound
8’30”
snow covered paths, winter evergreens and defunct coal mines
2012 - 2013
micro pigment ink, gel ink, and oil on vellum and paper
110 x 70 cm
HCMC extreme flood prediction 2050 – ADB & ICEM reports
2012 - 2013
micro pigment ink, gel ink, and oil on vellum and paper
110 x 70 cm
The Heart of Sharjah Project 2025
2012-2013
micro-pigment ink, gel ink and oil marker on vellum and paper
75 x 91.5 cm
Recovering Beirut: Half-way between the Imaginary and Reality 1964 - 2016
2012
micro-pigment ink, gel ink and oil marker on vellum and paper
75 x 100 cm
Tangier 1943: The International Zone, The French Capitulation in World War II, The Moroccan Communist Party, The Istiqlal Party and the Call for Independence of Morocco in 1944
2012
micro-pigment ink, gel ink, oil and topic marker on paper
110.5 x 179.7 cm
roaming with the dawn - snow drifts, rain falls, desert wind blows
2012
4,000 glass animals, wooden plinth
dimensions of animals variable, plinth approx. 10 m x 7 m x 50 cm
roaming with the dawn - snow drifts, rain falls, desert wind blows
(detail view)
Falling Blue Sky, Frozen Raindrops
2012
steel, tin roofing material, hand-formed glass turtles
dimensions variable
Falling Blue Sky, Frozen Raindrops (detail view) Falling Blue Sky, Frozen Raindrops (detail view) Falling Blue Sky, Frozen Raindrops (detail view) Falling Blue Sky, Frozen Raindrops (detail view) Falling Blue Sky, Frozen Raindrops (detail view) Falling Blue Sky, Frozen Raindrops (detail view) twigs, bones, rocks and the Giant Tortoise
2012
Wood, glass, plexi-glass, acrylic paint, 1000 handcrafted glass turtles
L 1338 x W 1090 x H 176 cm
twigs, bones, rocks and the Giant Tortoise (detail view) twigs, bones, rocks and the Giant Tortoise (detail view) twigs, bones, rocks and the Giant Tortoise (detail view) twigs, bones, rocks and the Giant Tortoise (detail view) twigs, bones, rocks and the Giant Tortoise (detail view) twigs, bones, rocks and the Giant Tortoise (detail view) stored in a jar: monsoon drowning fish, color of water, and the floating world
2010-2011
mixed media installation
dimensions variable
stored in a jar: monsoon drowning fish, color of water, and the floating world
(detail view)
stored in a jar: monsoon drowning fish, color of water, and the floating world
(detail view)
stored in a jar: monsoon drowning fish, color of water, and the floating world
(detail view)
34°15'5"N 131°17'58"E
2007-2011
oil, gel ink, micro pigment ink and collage on paper
29 x 29 cm each x 4 panels
Flora and Fauna
2010
micro-pigment ink, oil and alcohol-based marker on vellum and paper
110 x 70 cm
Top: Frontier of Tibet as claimed by Tibetans in 1914
Bottom: Frontier of Tibet as claimed by Nationalist Chinese in 1914
2010
micro pigment ink and oil on vellum and paper
Iraqi State Railways after Anglo-Iraqi Treaty 1930 & Current Pipelines
2010
micro-pigment ink and oil on vellum and paper
100 x 63 cm
DMZ - 17th parallel
2010
embroidery, beads and metal grommets on canvas
70 x 109 cm
DMZ - 17th parallel
(detail view)
scratching the walls of memory
2010
children's desk set, 38 handmade children's chalkboards with recycled wood, engraving, chalk, 24 hand-stitched sachets made from old army tents, embroidery
275 x 373 cm
scratching the walls of memory
(detail)
scratching the walls of memory
(detail)
Find Yourself Here
2009
wood, MDF, stainless steel and plexiglass
pole and base: 260 x 90 x 67 cm, signs: 45 x 8 cm
Signs-Sites-Sights-Sighs
2009
plexiglass, PVC and MDF
dimensions variable
Signs-Sites-Sights-Sighs
(detail view)
Coniferenoki Tree - Share the Wonder
2009
polyethylene, MDF, PVC, latex, wire, pompons and thermoplastic adhesive
340 x 120 x 70 cm
D City: Where Sidewalk Cafes Meet the Stars
2009-2010
MDF, plexiglass, polystyrene, decorative tape, thermoplastic adhesive
dimensions variable (base 200 x 600 cm)
D City: Where Sidewalk Cafes Meet the Stars
(detail view)
Purple Puddle and Bubble Shooter
2008
digital c-print (edition of 5 + 2 AP)
100 x 150 cm
in the waiting blob
2008
digital c-print (edition of 5 + 2 AP)
100 x 150 cm
Bubble Shooter in wonderland
2008
digital c-print (edition of 5 + 2 AP)
100 x 150 cm
Enokiberry Creators in the lab
2008
digital c-print (edition of 5 + 2 AP)
150 x 100 cm
Enokiberry Creators
2008
digital c-print (edition of 5 + 2 AP)
100 x 150 cm
What Grows on Miracle Berry Tree Stump
2008
acrylic (PMMA), PVC, polyethylene foam, thermoplastic adhesive, pompoms, MDF, stainless steel
55 x 79 x 163 cm
Morning Enoki
2008
polyethylene foam, pvc, thermo-adhesive, pompons, MDF
118 x 120 x 120 cm
10.75ºN 106.6667ºE
2007
oil and alcohol-based marker, collage on paper
79 x 109 cm
Mitsukoshi No. 1
2006
paper collage
40 x 40 cm
Warhol Flowers
2006
paper collage
40 x 40 cm

BIOGRAPHY

Tiffany Chung’s work examines conflict, migration, urban progress and transformation in relation to history and cultural memory. Her practice explores the geographical shifts in countries that were traumatized by war, human destruction or natural disaster. Whether Chung’s studies of the growth, decline or disappearance of towns and cities focus on urban development, environmental catastrophe or humanitarian crisis, her ethnographic research and interviews often play into her re-narrations of historical sites.

Chung’s map drawings layer different periods in history of devastated topographies, reflecting the impossibility of accurately creating cartographic representations of most places. Transgressing space and time, these works unveil the connection between imperialist ideology and vision of modernity. Her maps interweave historical and geologic events, spatial and sociopolitical changes with future predictions, revealing cartography as a discipline that draws on the realms of perception and fantasy as much as geography. Often incorporating international treaties with local histories, Chung’s work remaps memories that were denied in official records. Her mixed-media installations excavate layers of history, re-write chronicles of places, and create interventions into the spatial narratives produced through statecraft.

Tiffany Chung holds an MFA from University of California, Santa Barbara (2000) and a BFA from California State University, Long Beach (1998). In 2013 she was awarded the Sharjah Biennial Artist Prize for exceptional contribution. Chung’s selected museum exhibitions and biennials include: Insecurities: Tracing Displacement and Shelter, MoMA, New York, USA; IMPERMANENCIA Mutable Art in a Materialist Society, XIII Bienal de Cuenca, Ecuador; 10th Taipei Biennial, Taiwan; Still (The) Barbarians, EVA International – Ireland’s Biennial; Illumination, Louisiana Museum of Modern Art, Denmark; Sonsbeek, Museum Arnhem, Netherlands; All The World’s Futures, 56th Venice Biennale, Italy; Our Land/Alien Territory, Museum & Exhibition Center ‘Manege’, Moscow, Russia; My Voice Would Reach You, Rice University & Museum of Fine Arts, Houston, USA; Residual: Disrupted Choreographies, Carré d’Art – Musée d’Art Contemporain, Nîmes, France; Sharjah Biennial, UAE; California Pacific Triennial, Newport Beach, USA; 7th Asia Pacific Triennial, Brisbane, Australia; and Six Lines of Flight, San Francisco Museum of Modern Art, USA.

Tiffany Chung is a co-founder of Sàn Art, an independent, artist-initiated, non-profit gallery space and reading room in Ho Chi Minh City, Vietnam. Chung lives and works in Ho Chi Minh City.

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PUBLICATIONS