{"id":46859,"date":"2024-11-29T14:43:11","date_gmt":"2024-11-29T05:43:11","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=46859"},"modified":"2024-12-13T11:45:36","modified_gmt":"2024-12-13T02:45:36","slug":"act-normal","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/46859","title":{"rendered":"Act Normal"},"content":{"rendered":"

Peres Projects is pleased to present Act Normal, Ziping Wang\u2019s (b. 1995 in Shenyang, CN) third exhibition with the gallery and her first solo exhibition in Berlin. In this new series of oil paintings, Wang continues to explore the overwhelming flow of visual information that characterizes our digital age, leading to a collective fragility of focus. Her large-scale, collage-like paintings capture the contemporary torrent of image-based content conceived to capture our attention, while often failing to hold it. These compositions capture a saturated, kaleidoscopic reality, where colours, shapes, and patterns compete for our gaze, offering fleeting clarity while intentionally obscuring any fixed narrative. Still, the exhibition\u2019s title, Act Normal, serves as a reminder, a note to self and to the viewer, to observe the noise of modern existence without fully absorbing it, maintaining focus and presence amidst collective digital chaos and the inevitable misunderstandings it brings.<\/span><\/p>\n

\"\"<\/p>\n

Installation view 1, Courtesy of Peres Projects, Photographed by: Jerzy Goliszewski<\/em><\/p>\n

In this body of work, Ziping Wang blends symbols of consumer culture with creative devices borrowed from Ancient Roman frescoes, particularly those that evoke the sensation of viewing scenes through a window, creating a disorienting yet intricately crafted world. Building on her earlier painted collages of magnified product packaging, Wang\u2019s latest series evolves her visual language. By incorporating elements of street signage, snack logos, Ukiyo-e Japanese motifs and commercial branding amongst others, she creates environments that are both familiar and eerie. This tension between the mundane and the surreal reflects Wang\u2019s ongoing reflection of modern spaces, where icons and symbols, once loaded with meaning, are reconfigured into unsettling, ambiguous forms. Wang\u2019s ability to intertwine chaotic symbols with meticulous detail fosters a landscape that feels paradoxically controlled and disordered.\u00a0<\/span><\/p>\n

\"\"<\/p>\n

Blue from the untamed bird, Oil on Canvas, 200 x 150 cm, 2024, Courtesy of Peres Projects<\/em><\/p>\n

A recurring grey and white checkered pattern, evoking the transparent image background used in digital editing software tools, punctuates the scenes, serving as a grounding element that brings relief in the midst of a fragmented composition. This motif acts as a visual reminder that, even in a seemingly chaotic visual field, structure remains\u2014offering a subtle anchor for the eye amidst the swirling digital vernacular. In Act Normal, Wang\u2019s compositions are further enriched by her use of architectural structures and buildings, which are distorted and reconfigured into imaginary, dystopian cityscapes. Through these images, she subverts conventional ideas of stability and order, presenting urban environments where gravity and perspective have shifted, and reality itself is called into question. Central to this series are street signs and billboards, objects designed to capture our gaze and impose meaning. In Wang\u2019s reimagining, these once-directive symbols lose their power, floating ambiguously, disconnected from their original context. Letters and shapes hover without purpose, suspended between legibility and abstraction. Through this disruption of familiar signifiers, Ziping Wang encourages viewers to reconsider the relationship between communication and meaning, turning her work into a visual puzzle that resists any simple resolution. Wang\u2019s painting titles add another layer of mystery, selected from a personal notebook as word-collages detached from the paintings’ direct content, further allowing the works to escape a singular or definitive interpretation.\u00a0<\/span><\/p>\n

Ultimately, Ziping Wang\u2019s paintings are not fixed, but suspended in a moment of creation wherein things are ever unfolding, capturing a sense of incompleteness. Each piece not only unveils a complex image but, paradoxically, also the space between it\u2014what is implied yet remains unrealized. In this sense, her work is a playful mirror of the human experience itself: constantly in flux, perpetually unfinished, and open to a multitude of perspectives. Through her exploration of fragmented forms and cryptic symbols, Ziping Wang invites the viewer into a space of endless discovery.<\/span><\/p>\n

\"\"<\/p>\n

Installation view 2, Courtesy of Peres Projects, Photographed by: Jerzy Goliszewski<\/em><\/p>\n

This is Ziping Wang\u2019s third exhibition with the gallery, and her first solo exhibition in Berlin. Recent solo exhibitions include Unit London, UK (2024 and 2021); K11 MUSEA, Hong Kong (2023); Peres Projects, Seoul (2022); Galerie Marguo, Paris (2022); and WT Foundation, Kyiv (2021). Her work has been shown in numerous group exhibitions, including K11 Musea in Hong Kong (2024); Unit London, UK, curated by Laura Shao (2023); Casa Marguo, Mahon, Menorca, curated by Seungduk Kim and Franck Gautherot (2023); Soka Art, Beijing, curated by Jessica Wan (2023); Le Consortium, Dijon (2022); Nassima Landau Art Foundation, Tel Aviv (2022); Peres Projects, Berlin (2021); and Shanghai Minsheng Art Museum, Shanghai (2017). Her work has entered the collections of the ICA Miami; Le Consortium, Dijon; Zhuzhong Art Museum, Beijing; and X Museum, Beijing.<\/span><\/p>\n

Peres Projects
\nKarl-Marx-Allee 82, Berlin, Germany
\n+49 30 275 950770<\/p>\n

WEBSITE<\/a>\u00a0\u00a0INSTAGRAM<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-46859","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/46859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=46859"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=46859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}