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The year was 2018, and a Fengshui master advised artist Mak Ying Tung to add a ‘2’ to her name in order to attract fame and fortune. To take advantage of this fateful potential, the artist decided to shorten her name to Mak2 in 2021.

It’s no secret that Hong Kong-based artist Mak Ying Tung 2 is known for his ability to combine seemingly unrelated objects in unexpected ways. When it comes to his work, Mak’s style can be defined by a wry sense of humor and an interest in human-machine relationships.

She has a signature play on the whimsical and absurd in her early works, which are often made with simple tools and materials. Funny Stationery, her debut solo show at Hong Kong’s Run Run Shaw Creative Media Centre, featured office supplies as its primary medium (2012). There are a number of them. In the words of a crooked ruler: “I was not born to be straight,” “I can’t live without you,” and “Everyone makes mistakes,” all at the same time.

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No, I insist (2014) and No, I insist (2014) are two examples of works made with resin-cast balloons for a solo show at Hong Kong’s Gallery EXIT in 2014 that were part of Mak’s Almost Empty exhibition.

Mak’s works, despite their lightheartedness, reveal much about the current era. During her video performance Sterilization (2013), a pair of hands uses a needle to remove strawberry seeds. While it may appear to be an innocuous action, the fruit turns into a lump, while the hands are stained red, at the end of the process.

Mak confronts the meaning of the codes and ethics that shape our behavior by sterilizing the strawberry and rejecting productivity. Increasing surveillance is at the heart of her 2017 installation, You Better Watch Out, which contains QR codes that direct the audience to a live-stream video of themselves if they scan the codes on the transparent sphere.

She explored the impact of technology on human life with her 2018 solo exhibition at de Sarthe in Beijing, The Anything Machine, which highlighted our dependence upon machines for entertainment and even, in the case of artists, art-making. As an example, the series of five lenticulars titled ‘Relic’ (2018) depicts iconic late-20th-century electronic devices such as the Nintendo Game Boy and Tamagochi.

Using doves, cherubs, and flowers to decorate these devices, Mak suggests that our devotion to machines is akin to religious devotion. Dyson fans in Physicality II (2018) create a rainbow of colors on heat-sensitive paper, all without the need for a creator.

Home Sweet Home (2019) at de Sarthe, Hong Kong, expands on Mak’s interest in the human-machine relationship by examining the boundaries between fantasy and reality, and imitation and authenticity.

These spaces were painted by artists Mak found on Taobao after he built them in the life simulation game “The Sims” and then commissioned them to do so. Even though these works are digital, they appear to be based on real-world scenes. Mak considers the distance between these two spheres while questioning the ways in which reality is constructed.

Mak and Wong Ka Ying, a Hong Kong-based artist and writer, formed the artist duo COME INSIDE in 2016 with the goal of challenging gender norms in Hong Kong. This includes a tennis performance as part of Invisible Cities at the Crow Collection of Asian Art in Dallas, Texas in 2017, and an exhibition at Gallery EXIT that examined how idealized women and babies are depicted in marketing worldwide as part of Baby Shower (2017).

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De Sarthe in Hong Kong, where the artist’s latest exhibition House of Fortune will run from October 16 to December 4, 2021, focuses on this entanglement of metaphysical and material manifestations.

In the center of the exhibition is a pile of 3D-printed crystals called Feeding the Multitude (2021), which was blessed by a Fengshui master in a Kaiguang consecration ritual.

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Video projections of binary code run on a loop over this mound. One was generated from the 3D crystal model, the other from a recording of the master being sanctified.

Mak2 explores the production of belief in the context of religion and technology, two systems that are as complex and pervasive as they are intangible. The installation uses a variety of media to explore ideas such as faith, materiality, immateriality, and reproduction.

Mak2 is known for its use of technology to blur the lines between the real and the constructed.

This year, the artist created a humanoid AI robot named Sophia with her face superimposed onto it, while a video installation called Out of Body Experience (2018–2019) depicts a trip to Los Angeles that Mak2 took with her soul using magic that she purchased online.

As a playful response to the futility of conditions that are ultimately experienced subjectively, no matter how collective, Mak2’s work employs humor.

If you’d like to see a physical example of this, check out Physicality II (2018) in which two Dyson fans surround a collection of framed sheets of thermal paper whose surfaces are affected by the one fan on heating mode and the other on cooling.

It’s evident in Mr. Fool Wants to Move the Mountains: When Faith Moves Mountains, a 2002 intervention by Francis Als that saw 500 people walk up a sand dune while shoveling sand up the hillside. Mak2’s conceptual underpinnings can be seen here.

Contemporary artist Hans-Peter Feldmann


In A More Perfect Sea (2019), a collection of shower curtains and bathmats depicting tropical shores evokes Hans Peter-‘Horizons’ Feldmann’s series, a conceptual artist who balances serious questions around representation with accessible, witty gestures.

When a visitor scans a QR code printed on a ball in You Better Watch Out (2017), they are taken to a CCTV image of themselves.Twitter mak2 Makassar   Concise reflections on the intrusion of surveillance practices into otherwise innocent forms of amusement

In Mak2’s work, there is a sense of humor as a mode of accessibility. Her YouTube channel has a subset of videos that include blind date videos, such as the video ‘What Does Art Even Mean to You?’

It begins with a standard statement about Mak2’s 2019 painting project entitled ‘Home Sweet Home. Three-paneled works of art based on a virtual world created by the artist in the Sims 4 video game, which she divides into parts and commissions other artists to reproduce through also you can check twitter Mak2 padang

Home Sweet Home: Feng Shui Painting, a subset of these works, is on display in the House of Fortune and depicts a Feng Shui master’s arrangement of Sims spaces. As soon as the word “fantasy” is mentioned in this statement, the artist stops. Sod that. ‘I’ve had enough.’

This work’s conceptual inquiry into reality and virtuality, authorship, and creative control is articulated perfectly by Mak2 in a clip from “two hours earlier,” set to an accelerated karaoke instrumental version of “My Heart Will Go On.”

Mak2’s work frequently deals with the subject of the art world. Custom-made karaoke videos are featured in Sound of Music (2017), a replica Hong Kong karaoke stage, including one with “art” as the sole lyric set to “Santa Claus, is Coming to Town” and another titled “Who Doesn’t Like Galleries” set to the epic Chinese ballad “Strangers When We Meet.”.

For a more intimate look at the artist’s family and friends, check out Fake Laugh (2018-2019), a six-channel video installation.

Considering the confluence of faith and value in two installations in the gallery’s center, where two bedrooms have been reconstructed with LED screens installed in the beds, a critique of art permeates her most recent exhibition as well.

Data scientists predict the trajectory of the artist’s career in Clever Calculation I, while a hired actress plays the role of a Fengshui master in Clever Calculation II based on Mak2’s interactions with online fortune tellers in Clever Calculation I.

An in-depth look at how control, value, and what it means to be an artist are explored in this conversation with twitter Mak2 padang.

In order to see if my predictions were correct, I recorded our conversations and saved them in a file. Predictions about my romantic relationship proved to be accurate. Incredibly, online fortune-tellers were able to predict my future based on my birthday alone, even though they had never met me or even heard of my name before.

When I meet with a fortune teller face-to-face, I’ll have more information to share based on my appearance, speech, and reaction to the fortune teller’s questions, as opposed to relying solely on what the fortune teller tells me. It got me thinking about whether or not life is a random system. To be sure, what rules govern such a situation?

Whatever our occupations, it seems that we all have a tendency to predict the future based on our own knowledge because it provides us with a sense of security. Planting hope for our future is similar to planting hope for a harvest in the past. We believe that we can see and predict the future because it is in our DNA. you can also check Twitter mak2 Makassar in the below link

Is this default setting something I’m aware of? Is this the only option available to me in this situation? If this is the case, what can I do to free myself from its clutches?

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