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Introduction
By Susan Kendzulak / Martin Sturm

Peng Hung-Chih does not limit himself to depicting dogs, but rather presents the world from a dog's perspective to the visitors. An important precondition for this is the way the artist lives, his many years of intensive occupation and experience with dogs. A complex reference system is built up around this private cosmos in the works, turning the dog into an ideal projection surface for analyzing social structures or economic circumstances. The artist draws from cognition psychology approaches, elements of mass and popular culture, mythological traditions. Posing questions of identity and race using the example of the dog, exploring dog-human interactions or comparing the existence of the artist with life as a dog are only a few of the aspects. When Peng says how much he regrets that it is not possible for him to slip into a dog's skin for a certain period, what one recognizes in this - far outside all cultural differences - is quite simply the wish to see the world through different eyes. 

All of Peng's oeuvre is marked by his sense of the absurd and humorous. His equally refreshing and irreverent appropriation of different cultural traditions and aesthetic codes imbues his conceptually focused work with a playful note, making it accessible to a wide audience.

Little Danny.

Practically everyone knows the phrase "Made in Taiwan" - a synonym for cheaply produced mass goods and example of the seemingly absurd geography of globalized economic currents that has developed in our commodity society under the primacy of "cost effectiveness".  Peng Hung-Chih has taken this expression literally and produced, together with the O.K, a 4.5 m high monumental Dachshund sculpture consisting of over 3000 toy dogs, a mass-produced article called "Little Danny". Although these furry little toy dogs are marketed primarily in Taiwan, ironically the Taiwanese manufacturer does not have them made in Taiwan, but rather - following the logic of the market - in China. 

All the batteries were removed for Peng's sculpture, and the toy dogs were painstakingly wired together by hand and mounted on a wire frame. The approach of visitors triggers a movement sensor which sets them all "yapping" simultaneously and wagging their stubby tails.  Peng utilizes this globalized product to retransform a mass-produced consumerist toy, which is a take-off of a Disney-like Dalmatian, into a fine art object. A consumer item with no claim to content (which also presents a Dachshund as a Dalmatian and does not even bark like a dog) becomes an impressive one-of-a-kind work, creating a new "value" beyond its commodity character, even though it was manufactured itself in the same way as a mass-produced item. The "beauty of its appearance" is thus ironically related not only to the complex, exploitative production modes of global economic systems and the role of Peng's homeland as the infamous island of knock-offs. As an absurd watchdog with its collective bark, Peng's Little Danny can also be understood as an allusion to Taiwan's attempt to make its voice heard in the international political arena.

In the anteroom to the hall, Peng Hung-Chih has staged a combination of a studio and storage room. Behind stacks of countless Little Danny boxes, there is a worktable and fondly and hastily sketched drawings of Greek sculptures in dog costumes pinned to the wall. In front of this, projected from a dog basket, he shows the video Siao-Pai (1999, 30min), his first attempt to show the world from a dog's perspective.

By the entrance, the short video Dress Up (1 min, looped) shows two costumed dogs visiting a dog pound. One is clothed in a fake-fur lassie costume complete with a sewn-on cartoon eye. "Lassie" faces a caged mutt and the two begin an animated barking dialogue.  Another dog costumed as a Dalmatian lies apparently uninterested on the side. Clothing plays a crucial role in this scurrilous experimental arrangement: it conceals, it deludes, it seemingly denotes race and identity, and yet it does not lead to success. In the Taiwanese context, the title and story can also be read as an ironic commentary on the custom of buying new clothes to go home for the Chinese New Year celebration. 

Peng Hung-Chih's "Laokoon", created during his residency stay, is also shown for the first time. As Firm as Rock (Ein Fels in der Brandung) is the title Peng has given to this copy of the famous Hellenistic group of figures, in which the main figure, the priest Laokoon, has mutated into a Dalmatian dog. This sculpture, which greatly influenced the artists of the Renaissance, becomes a complex and ambivalent conveyor of signs. Peng blends the western idea of the naked male body as a carrier of supernatural powers with animist theories, contrasting nakedness and covering, bridging the gap between high and popular culture, and turning the hero of antiquity into a Greek superman dressed up as a dog-god. The high art of the sculpture is irreverently turned into the comical, breaking down the myth, the story of battle, power, suffering and death, and telling it like a cartoon.  From god to dog and back again: in Peng's works there is nothing speculative about it, one simply needs to read the signs the right way. The hierarchical reversal of these roles is already defined in language, when the word "god" is read backwards.

In One black / one white (2:44) a stationary camera documents the moment of two dogs being fed. The two performers - one white and one black dog from the same litter - go from bowl to bowl, together or alone, unsatisfied in their attempts for fulfillment and desire. They stick their heads in the other's bowl, perhaps thinking their companion is getting the better deal. Finally, they nonchalantly walk off-frame licking their chops. Through the synchrony and repetition of the actions, which have the effect of a carefully rehearsed choreography, the neurotic behavior of the dogs becomes a magnificent documentation of meaninglessness.

The installation Face to Face deals with the shift in perceptional perspectives between the dog and the human being. The installation consists of five life-sized models of dogs in various positions, with video films running on small flat screens inside their heads. The videos were filmed with mini-cameras attached to the heads of live dogs as a third eye. From an absurd perspective, they show everyday situations and offer an insight into the world-view of dogs: a world full of restless motion, aggression, hunger, competition and battles for territory - or so it seems, at least. In any case, the arrangement demands much from the viewers: they have to perform considerable contortions, if they want to switch world views and thus symbolically become dogs themselves.

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