Kingsley Ng Kingsley Ng ( , born 1980) is an interdisciplinary artist working primarily onin conceptual, site-specific and community-oriented projects.

Ng crafts relationship between the work and its context through media and formats including interactive installation, public workshop, sound, spatial design and experiential design. (1) (2) Education Ng first received a Bachelor of Fine Art (Honour) degree in New Media Art from the Ryerson University in Canada, with an exchange semester in Communication Studies at Roskilde University in Denmark. He then was accepted to a two- years training programme at Le Fresnoy National Studio of Contemporary Arts in France (3), where he obtained his Postgraduate Diploma with les felicitation du jury l'unanimit. At Le Fresnoy, he studied under the guidance of renowned artists such as - Andrea Cera, Bruno Dumont, Alain Fleischer, Jean Luc-Godard, Gary Hill, Antoni Muntadas, Atau Tanaka and Charles Sandison (4). While in France, he was exposed to the concept of relational aesthetics by French critic Nicolas Bourriaud. (5) Media Art In 2004, Ng made his career breakthrough with the interactive installation titled Musical Loom, where he transformed a 250-year-old antique weaving machine into an interactive musical instrument. (6) Participant could weave sound and image shadow by controlling a light beam, and generate mechanical sound or malleable musical expression based on their interaction. The work was conceived in the context of the Nnorthern France, where the textile industry has played a very important role in the regions economic development, recession and regeneration during the last two centuries. (7) While the work referred to its local context, it also made referenced to the looms role on the global history of new media art. He quoted art historian Lev Manovich, who cited a remark made by Ada Augusta, the first computer programmer, "the Analytical Engine weaves algebraical patterns just as the Jacquard loom weaves flowers and leaves..." Manovich continued, The connection between the Jacquard loom and the Analytical Engine is not something historians of computers make much of, since, for them, computer image synthesis represents just one application of the modern digital computer out of thousands. But for a historian of new media it is full of significance. (8) The work was touring in exhibitions and festivals in Europe and Asia, including Ircam Centre Pompidou in Paris (8), City Sonics Festival in Belgium (9), Museum of Art in Hong Kong, and Lille Europe Pavilion at the Shanghai Expo 2010 (10).

In 2005, Ng continued to create works in which respondedse to the value of a place. He prepared an ephemeral interactive installation titled Homage to Tadao Ando at the Fabrica The Benetton Group Communication Research Centre in Treviso Italy. The work, as the title suggested, is his homage to the distinguished Japanese architect Tadao Ando, also designer of the Centre. (11) Ng extracted a spiral pattern out of the architectural plan by the architect, and rendered it as a musical composition structure. It wasis in turn projected as a light pattern onto the water pond at night. Participants were invited to send candle-lit paper boats out onto the water; a musical note wasis generated when a candle-lit boat floweds over the projected lights. (2) As a result, the participants, jointly with nature (water, wind, fire), performed the music together. (12) From 2007-2008, he was commissioned by the Osage Art Foundation to create a monumental work titled Musical Wheel, (12) a rotational wheel six meters in diameter, where participants are invited to sit inside the work. On the rotational ring, there are nine pieces of curved wooden soundboards mounted with hundreds of strings; as the boards turn slowly, the strings create ambient music from all four sides the wheel. (13) Ng wasis attracted to the energy in which the gallery wasis situated, he said The gallery is nestled in a district which tells an interesting, orchestral tune: on a daily basis, there are men repairing car wheels, people pushing trolleys, forklifts transporting goods, ventilation fans humming, printing drums turning, weaving machines looming. This collective rotational energy of the working class becomes a core essence of the work. (14) The artist wanted interrogate the relationship between the gallery space and the location in which it wasis situated the Osage Kwun Tong Gallery, being the largest contemporary art space in Hong Kong, and the district, the earliest and most representative industrial quarter in Hong Kong. (paragraph on Record:Light) Site-Specific Art Introduction (paragraph on ET, Excavation, WOTWII) Notable Works (list of works) Selected Group Exhibitions

Comment [AY1]: Actually it was not necessary to adjust the tenses used and I do understand why sometimes present tense is used. Just that in this language context it seems to be better to use a consistent past tense? Or if you want to emphasize the continued existence of this work perhaps u shd consider altering the text a bit so that the whole paragraph makes more sense

2010 | Futurotextiles | Shanghai Expo - Lille Europe Pavilion, Shanghai China 2010 | This is Hong Kong (video) | Kunsthalle, Vienna Austria 2010 | The Narrators | Inheritance, Shenzhen China 2010 | New Visions New Colours | Museum of Art, Hong Kong China 2009 | Hong Kong & Shenzhen Bi-city Biennale of Urbanism\Architecture | Hong Kong China 2009 | (Last) Intervention | Osage Kwun Tong Gallery, Hong Kong China 2009 | Echigo Tsumari Art Triennial | Tsunan, Niigata Japan 2009 | This is Hong Kong (video) | Loop Media Centre, Seoul Korea 2009 | Loop Video Art (video) | Casa Asia, Barcelona Spain 2009 | HK Sound Station |Para/Site Gallery, Hong Kong China 2009 |Charming Experience |Museum of Art, Hong Kong China 2008 | Site:Seeing | Osage Kwun Tong, Hong Kong China 2008 | HKAC 30th Anniversary Exhibition | Art Centre, Hong Kong China 2008 | Crosscurrent: Ambient Art | Osage Singapore, Old School Singapore 2008 | Digitalogue | Museum of Art, Hong Kong China 2008 | Crosscurrent: Ambient Art |Osage Kwun Tong, Hong Kong China 2007 | Microwave International Media Art Festival | City Hall, Hong Kong China 2007 | Territories de limage | Mus de Beaux-Arts, Tourcoing France 2007 | Les Nuits Electroniques de LOsosphre | La Laiterie, Strasbourg France 2007 | 12th IFVA Festival (Gold Award) | Art Centre, Hong Kong China 2006 | City Sonics | Les Abattoirs, Mons Belgium 2006 | NIME 06 | Ircam - Centre Pompidou, Paris France 2006 | My Secret Life | Tri-postal, Lille France 2006 | Site-Specific Installation | Fabrica Research Centre, Treviso Italy 2005 | Casting Stories | Le Fresnoy - National Studio, Tourcoing France 2004 - 2007 | Public Artworks (12 billboards) | Roubaix, Tourcoing, SNCF France 2004 | Jamais vu | Le Fresnoy - National Studio, Tourcoing France 2004 | Community Art Project | 5 bakeries, Centre Social Boilly, Tourcoing France 2003 | (e)merge/(dis)separate | Interaccess Electronic Arts Centre, Toronto Canada 2003 | Maximum Exposure | Ryerson University, Toronto Canada 2001 | Up To Code | Ryerson gallery, Toronto Canada 1999 | East York Provincial Film Festival | Bloor Cinema, Toronto Canada 1998 | Passion | Gallery 44, Toronto Canada Prizes and Awards Hong Kong Contemporary Art Biennial Awards 2009 Hong Kong Young Design Talent Awards 2008 Hong Kong Independent Short Film & Video Awards 2007 (Gold Medal, Interactive Media Category)

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Canada Council for the Arts Travel Grants to Media Artists 2006 InterAccess Visual Arts Award 2003 External Links www.kingsleyng.com