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KhingWei 謦

@khingwbai

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“Long River”, 2026 Narcissus looks into the pond and falls in love with himself. The surface of the water returns a singular, coherent image. His tragedy begins with the stability of that reflection. But what if the image appeared on a flowing river, constantly breaking apart? The reflection would shatter into thousands of fragments, each carrying only a partial face. Which fragment would he recognise as himself? Which one would he love? In Western society, my Asian body does not encounter a unified reflection. Instead, it is caught in a field of gazes that fracture and multiply it. I become transparent, looked through, while simultaneously becoming a surface onto which assumptions are projected. I am present, yet displaced. Unlike Narcissus, who desires his own image, I confront images that are not of my making. Each face that returns to me contains traces of others’ expectations, stereotypes, and imaginations. The reflection does not confirm the self; it disperses it. In this work, I examine this unstable condition of being both seen and unseen, a body that exists within reflection, yet is continually divided by it. I can be a person who speaks Konijiwa. I can be a person who knows konfu. I can be a person with a small dick. I can be a sugar baby. I can be a submissive good boy. I can be an exotic flavour on your bed. I can be a Buddhist. I can be a foody who eats weird food. I can be a person who lives in raw nature. I can be a person who lives around factories. I can be a person who steals jobs. I can be the carrier of a mysterious virus. by @khingwbai
2
5 months ago
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“Long River”, 2026 Narcissus looks into the pond and falls in love with himself. The surface of the water returns a singular, coherent image. His tragedy begins with the stability of that reflection. But what if the image appeared on a flowing river, constantly breaking apart? The reflection would shatter into thousands of fragments, each carrying only a partial face. Which fragment would he recognise as himself? Which one would he love? In Western society, my Asian body does not encounter a unified reflection. Instead, it is caught in a field of gazes that fracture and multiply it. I become transparent, looked through, while simultaneously becoming a surface onto which assumptions are projected. I am present, yet displaced. Unlike Narcissus, who desires his own image, I confront images that are not of my making. Each face that returns to me contains traces of others’ expectations, stereotypes, and imaginations. The reflection does not confirm the self; it disperses it. In this work, I examine this unstable condition of being both seen and unseen, a body that exists within reflection, yet is continually divided by it. I can be a person who speaks Konijiwa. I can be a person who knows konfu. I can be a person with a small dick. I can be a sugar baby. I can be a submissive good boy. I can be an exotic flavour on your bed. I can be a Buddhist. I can be a foody who eats weird food. I can be a person who lives in raw nature. I can be a person who lives around factories. I can be a person who steals jobs. I can be the carrier of a mysterious virus. Exhibited at @hfbkphotography, @hfbkhamburg Technical support: Ulf Freyhoff taken in HFBK Hamburg by @khingwbai
7
5 months ago
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Destinesia 2025 Destinesia: An instance of forgetting the purpose of a journey upon reaching the destination. This work Destinesia explores the fragmented experience of a non-white body navigating through spaces dominated by white gazes. It reflects on the feeling of being dissected, objectified, and simplified, which is reduced to fragments rather than recognized as a full subject. Through fragmented images, delayed reaction, and spatial dislocation, the work tries to resist direct narrative, instead creating a space where reactions arise before understanding. Audience participation becomes part of the work, as perception, interpretation, and attention complete the experience, making the replication of a living experience into the exhibition space. By separating movement from response, the work creates a gap, both sensory and conceptual, that provokes thought and discomfort. This work tries to capture a state of hyper-vigilance, of being seen yet remaining unseen, where the destination becomes secondary to the process of navigating perception itself. It is a persistent act of resistance, unfolding through presence, absence, and delay. installation (variable dimensions) photo print 136*200cm, photo print 200*200cm, motion sensor, vibration motors taken in HFBK Hamburg by @khingwbai
0
a year ago
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Destinesia, 2025 Destinesia: An instance of forgetting the purpose of a journey upon reaching the destination. This work Destinesia explores the fragmented experience of a non-white body navigating through spaces dominated by white gazes. It reflects on the feeling of being dissected, objectified, and simplified, which is reduced to fragments rather than recognized as a full subject. Through fragmented images, delayed reaction, and spatial dislocation, the work tries to resist direct narrative, instead creating a space where reactions arise before understanding. Audience participation becomes part of the work, as perception, interpretation, and attention complete the experience, making the replication of a living experience into the exhibition space. By separating movement from response, the work creates a gap, both sensory and conceptual, that provokes thought and discomfort. This work tries to capture a state of hyper-vigilance, of being seen yet remaining unseen, where the destination becomes secondary to the process of navigating perception itself. It is a persistent act of resistance, unfolding through presence, absence, and delay. installation (variable dimensions) photo print 136*200cm, photo print 200*200cm, motion sensor, vibration motors taken in HFBK Hamburg by @khingwbai
0
a year ago
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“Four Meanderings” This collection of four fictional short stories explores the experiences of being alone, foreign, and fetishized in a society where inner authenticity is constantly questioned and in turbulence by external forces. Through these narratives, the struggles of an East Asian individual living in a Western/ German society are materialized and brought to life. Each story reflects different facets of the central question—“Who am I?”—trying to let both the characters and the readers to navigate the power dynamics beneath surface that shape identity and belonging. by @khingwbai
2
a year ago
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mit @contextual_images und @hfbkphotography für @emopberlin/ bis 31. März in der @akademiederkuenste zu sehen 🌟⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ by @khingwbai
2
a year ago
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“If in a desired land a stranger” -2025 -mixed media This work tries to contain multiple layers that all relate to a foreign individual’s existence. This is not just to represent the gaze from non-existence but also to try to create a shifting of gaze between audiences and artwork, which will add other meanings and interpretations depending on the status of this viewer. The poem on the mirrors, which are placed on the ground, describes a certain mindset within a Western-constructed world; however, it leaves space for any possible interpretation. The hiding and revealing of the German street shot panorama, created by the movement of the viewer getting closer when they want to read the poem, provides a personal related experience. *** If in a desired land a stranger. - Your beautiful body is everywhere, flying through the sky of mythology, crossing breathtaking scenes of movies. Every art piece is a glorification of that. Your body is represented in a million times, in a million shapes. You are, therefore you are. - My name is taken, and my body is absent. Thinner than the air, lighter than the gas. My body becomes an imaginary playground, where any manipulation could happen. Looking into the mirror, I identify nothing. I am not, therefore I am. by @khingwbai
0
a year ago
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“I don’t mean it bad, but Asian men look feminine” -2025 -digital print Sometimes, people try to be nice, but paradoxically, it turns out to be a minor racial trauma. In this work, I try to demonstrate a glimpse of my experience as an Asian man who lives in Europe. First is the link between femininity and the image of Asian men. Second is the definition of femininity, which is not obvious and simple, but is pictured with a certain position in a common relation in daily life. Finally, the disgrace of femininity can appear even in a safe bubble, structured by society, it applies to not only others but also the subjects themselves, in this case, on me. This work contains three photographs. One is a close-up facial expression in a square frame; one is a baguette stuffed in a person’s mouth in a rectangular shape photograph. The third one is a baguette that rotates with the frame 30° in a rectangular shape. As we know, around the world, the baguette is a common food in Western culture that is already being symbolized. I borrowed this symbol to refer to a masculine, dominant figure who can determine others’ positions and make them speechless. It’s not about whether the person who can’t speak looks feminine, no matter in which cultural or social context, it’s about how this predetermined assumption works in this situation, forcing people to be in a certain box, furthermore, it is racialized. After we think further, the question arises as to why being feminine is shameful for a man, an Asian man, and why a person, in this case, me rejects this image and tries to prove otherwise. I have no clear answer, to be frank. These three photographs constructed a moment, a scene, and a fictional story based on reality. I hope to lead the audience through this work and imagine the different layers of complexity of being an Asian man in Europe. by @khingwbai
1
a year ago
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Some lovely moments in the annual exhibition at @hfbkhamburg with both of my classes @hfbkphotography and @klasse.bulloch.hfbk I’m very pleased to see so many positive comments and reactions. Thanks for all the kind words. by @khingwbai
0
a year ago
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”The Dripping Island“ -interactive installation -2024 A camera inductor captures movements around the centrepiece, and will be triggered by the surrounding movement. The machine has a motor to drive a stick moving up and down, to rise the fabric above, which hangs from the ceiling. Once the audience walks into the range of the camera, the stick moving up and down creating waves on the fabric, which simulate the situation where one person reacts when something or some others hits. Or a small island country is always triggered in response to the force coming toward it, and ripples, waves are created. I want to translate the living situation in Taiwan into this metaphor. But what kind of interpretation can be to the audience, can be decided by themselves. This is an island, located between powers. The faith of this island had never been owned by itself. by @khingwbai
0
a year ago
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Panopticon, 2024 at @bipliege MUTANX From 0 to start with, during the 5-days long workshop. It was such an interesting challenge. taken in Liège, Belgium by @khingwbai
1
2 years ago
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Du bist ein Traummann (Wall) 2024 -some images in these photos are censored due to the policy of Instagram- (EN) A development from the photo book of mine. Giving audience a different way to read and more opportunities to cut into the narrative. „Du bist ein Traummann“ is born from my experiences as an Asian homosexual man, grappling with the complexities of categorization, fetishization, and racism. The first layer of this creation encapsulates my own struggles, serving as a visual and emotional representation of the challenges faced by those like me in a society that often reduces us to stereotypes based on our race and sexual orientation. The second layer, the heart of „Du bist ein Traummann,“ encourages the audience, to actively engage with the piece. I want the audience to confront their own preconceptions and biases as the audience immerse theirselves in the imagery and the reflection in the mirrors. Through this engagement, I aim to trigger a self-reflection, leading the audience to gain a deeper understanding of both theirselves and the broader societal dynamics at play. taken in Kunstraum Kreuzberg/Bethanien by @khingwbai
1
2 years ago
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