Mitchell F. Chan Trades Blockchain For Pinball In Hong Kong Solo Show
The exhibition, on view through November 21, 2026, transforms the white cube gallery into an arcade-like environment. The centerpiece of“Workers' Playtime” is a suite of six wall-mounted sculptures, each incorporating a vibrantly painted box, printed illustrations, and functional pinball components. These works depict various economic settings, from office spaces and factories to homes and trading floors, requiring viewer interaction with machine controls.
However, the games in the exhibition are designed to be rigged. In Cliff Hangers (2026), set in an open-plan office, the ball consistently falls short of its target, rendering player adjustments ineffective. Similarly, Daddy's Home (2026), which shows a mother with a baby awaiting a car, features two pinballs that roll along a V-shaped track that never allows them to meet. Conversely, Roundtrippin' (2026), based in the finance world, creates continuous chaos, with the ball ricocheting independently and leaving the player as a helpless spectator. Across these works, the predetermined nature of the games becomes evident, regardless of player skill.
The exhibition also includes Worker's Playtime: Luxury Edition (2026), a video game that extends the sculptures' mechanical themes into the digital realm. This game features bright animations and upbeat sounds reminiscent of vintage pinball, drawing players into a loop. Despite suggesting an element of skill, the game continues even when the controller is set aside, tapping into the idea of endless, mindless gameplay. A plush couch accompanies the piece, inviting visitors to linger and observe.
Chan, a Toronto-based artist, is recognized for his early engagement with crypto art. His 2017 blockchain work, Digital Zones of Immaterial Pictorial Sensibility, one of his inaugural NFT artworks, was exhibited at the Fondazione Prada during the 2024 Venice Biennale and later sold for $1.5 million at Sotheby's. Chan's work has also been displayed at the Buffalo AKG Art Museum, and he contributes writing on art and technology to Artforum. His current exhibition aligns with De Sarthe's broader program, which highlights emerging Asian artists exploring technology's role in daily life. Chan contends that gamifying labor does not liberate individuals but rather makes it more difficult to reject.
Source: Artnet News
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