(No) Ulterior Motives, 2019

The Thailand Lottery Centre is the largest secondary market for lottery tickets in the country. The semi-open structure, located in Bangkok’s periphery, is a place for intermediaries - those involved in the trade of fortune - as well as a intermediate space - halfway between speculation and superstition, materialist aspirations and spiritual beliefs.

Drawing on his research and site visits, Tentacles artist-in-residence Ip Wai Lung activates such intersections and the tensions they contain in his solo exhibition “(No) Ulterior Motives”. Built on differing rhythms, his site-specific video installation establishes a connection between the two locations: the Lottery Centre and the exhibition space. As lottery buyers paced around the marketplace with clear

intent, searching for their lucky number combinations, Ip performed meditative walks that are seemingly detached from any particular goal. What ensues is a never ending cycle - that of searching and finding, winning and losing. The question of finality preoccupies both Ip and the lottery buyers. What comes across as nonsensical may be end up being more pragmatic than foreseen, and vice versa.

This residency and exhibition are supported by Hong Kong Arts Development Council.

Special thanks to Tentacles Teams, Zoom Sippach

Photos courtesy by Narasit Kaesaprasit, Ip Wai Lung

KARMA CYCLE, 2019

on the view of  “Blinking hard” in Ku Bar (BK)

Created by Ip Wai Lung

Filmed by Harry Chan

Qingdao Lotus Pond , 2018

A two-month aesthetic sojourn with Sa Sa Art Project in Phnom Penh brought the artist to explore cities like Ho Chi Minh City, Bangkok, and Kampot, a rural area 4 hours away from Phnom Penh by train, where he attended Pchum Ben Festival - a celebration of the afterlife.  While travelling in these cities in different stages of economic development, the artist witnessed the ceaseless consumption as worshipping and offering regardless for which religion or ideologies.  It is hard to tell from when desire is the only proof of the existence of individuals. Maybe in cities where excessive consumption has been so common that people within have no time to allocate their desire as a consequence of being disintegrated by Capitalism.  In regard to this, the artist attempted to collect traces of desire of people in these cities, including ashes in the incense burners or ATM slips. Through these compressed and unwanted remains, the relationship between religion and consumption culture was redefined.  Such short-lived carriers of desire would gradually disappear into emptiness, the selfsame fashion how life ends. This residency is made possible through the support from Rei Foundation.

on the view of the show "Qindao Lotus Pond" (2018) in Sa Sa Arts Project (CM)

Nothing happens A,C, 2018

12 x 8 cm
ATM receipt, incense ashes collected from temple

The lotus is the symbol of immortality in humanity, and divine perfection. The lotus is the attribute of sun and fire gods. The lotus's unfolding petals suggest the expansion of the soul. The growth of its pure beauty from the mud of its origin holds a benign spiritual promise. Yet it can be sold for a few dollars.  In this ritual performance piece, Ip dresses in a golden spandex suit, as a non-human figure enters the scene. This androgynous figure carries cans of Qingdao beer in a utility belt, while wondering is this pond of immorality and perfection, dousing cans after cans of Qingdao onto the lotuses, and the pond meant to irrigate and nourish everything in sight.  Leaves of the lotus plant is ultra-hydrophobic by nature. No matter how hard you pour, it just won’t absorb even a drop of your offering of Qingdao. Yet, the Qingdao will eventually be absorbed by the roots as fertiliser.


Created by Ip Wai Lung
Edited by Harry Chan
Filmed by Sombo Mok
Graphic design by Samuel Lai

on view of “Bad Bodies” show (2019) in Tomorrow Maybe Gallery (HK)