Gió Marconi is pleased to announce Motherboy, a group exhibition born out of the dialogue between curator Stella Bottai and artist Gray Wielebinski around the so-called “mammone” (mummy’s boy) – a notion that their own embodied experiences – as mother and son respectively – celebrate, critique, and reconfigure. The exhibition is on view from 24 November 2023 through 17 February 2024.
Artists: Sophia Al Maria; Jonathan Lyndon Chase; Patrizio Di Massimo; Bracha L. Ettinger; Hadi Falapishi; Jes Fan; Apostolos Georgiou; Allison Katz; Leigh Ledare; Maia Ruth Lee; Gaetano Pesce; Jenna Sutela; Gray Wielebinski; Kandis Williams; Bruno Zhu
Solstice, a proposal by the artist Anne Bourse, opened at Galerie Crèvecœur on November 23 and runs through January 20, 2024. The group exhibition explores the meanings of light through sculpture.
Artists: Martine Bedin, Christophe Berhault, Than Hussein Clark, Anne Bourse, Mimosa Echard, Kim Farkas, Alice Gavalet, Karl Holmqvist, Jacent, Cooper Jacoby, Ernst Yohji Jaeger & Yasuaki Hamada, Renaud Jerez, Mélanie Matranga, Jessi Reaves, Louise Sartor, Josef Strau, Cici Wu
The Taipei Biennial 2023: Small World is now on view. Curated by Freya Chou, Reem Shadid, and Brian Kuan Wood, this year’s iteration will bring together over 50 international and local artists and musicians, transforming the museum into a space of listening, gathering, improvising, and exploring alternative ways to perceive and apply what we learned from the recent pandemic. The biennial will be on view from November 18 through March 24, 2024 at Taipei Fine Arts Museum.
Jacqueline Kiyomi Gork, C. Spencer Yeh and Natascha Sadr Haghighian in collaboration with James T. Hong are amongst this year’s participating artists.
In a new publication accompanying the exhibition, Jacqueline Kiyomi Gork: Like a Breath of Fresh Water at Visual Arts Center, The University of Texas at Austin, the artist was interviewed by Melissa Fandos. Read the full interview at the link below.
“At the Institute of Contemporary Art, University of Pennsylvania, form and function merge across works by Jes Fan, Nikita Gale, Hannah Levy, Ken Lum, and Oren Pinhassi.
Riffing off the term for any object within a building that is portable, curators Alex Klein and Cole Akers have created a spectrum that moves from readymade to sculpture in Moveables (18 August–17 December 2023)…
Materially, Levy’s works seem to defy fragility—a resistance that is accentuated by the sharpness of the artist’s sculptural forms. Jes Fan‘s compositions, on the other hand, lean into their precarity. Diagram XXI (2021), for instance, layers fine, leaf-like, sea-green aqua-resin sheets cast from parts of the body on a wall to create wave-like shelves that encase a bulbous blown-glass glass drop within their folds. In Rack II (2022), resin sheets hang like wet towels from a green metal rack alongside glass lumps.” Read more …
Tiffany Leung has contributed a new feature on Cici Wu’s Belonging and Difference to ArtAsiaPacific‘s November/December 2023 issue #136:
The pink dolphin of the Pearl River Delta is a lost species, long associated with Hong Kong but now more mythical than real as its numbers have dwindled to the point of extinction. The memory of them, or the imagination of them, as cultural signifiers, returns anew in Cici Wu’s new lantern sculpture Foreign Object No.2 Umbra and Penumbra (Dolphin) (2023). Constructed with bamboo and rice paper, the various shaped lanterns she has made in recent years are central to her practice. They become visionary devices, illuminating the darkness and casting undefined shapes, light, and shadows, as if animating the ways our memories can be transformed and resurface in unexpected ways, invoking the interplay between our identity and memory.
Professor Ari Heinrich will deliver the 2023 A.R.Davis Memorial Lecture at the Australian Society for Asian Humanities on the topic of Jes Fan’s Sydney Biennale works on October 26th at 5PM Sydney time.
This talk considers sculptural installations at the 2020 Sydney Biennale by the artist Jes Fan that incorporate biological materials like melanin, blood, and semen. But it also considers the Biennale’s decolonial interventions at the curatorial level, and how the significance of using biological materials in art changed with the onset of the pandemic. Heinrich argues that the 2020 Sydney Biennale anticipated this fundamental transition in uncanny ways, perhaps most significantly in its attention to location on Indigenous land and its disruption of linear viewing practices.
Our Ecology: Toward a Planetary Living is now on view at the Mori Art Museum in Tokyo until March 21, 2024. This exhibition marks the 20th anniversary of the museum’s founding, and endeavors to ask who we are, and to whom the Earth’s environment belongs. The exhibition urges us to think about environmental problems and other issues not only from an anthropocentric perspective but also by looking at the Earth’s multiple ecologies from a broader, more comprehensive standpoint.
Yutaka Matsuzawa is amongst the 34 artists featured, with works spanning historical pieces to new commissions.
de montañas submarinas el fuego hace islas [from the underwater mountains fire makes islands], guest curated by Yina Jiménez Suriel, explores the concept of freedom through sensory experiences, alternate and altered realities, and interspecies relationships between human and non-human entities. Featuring over a dozen local and international artists and collectives—the majority of which were culled from the KADIST collection—the exhibition unfolds over three rotations, drawing from the emancipatory potential of repetition and poses the question: how does art affect our bodies and perception, and how does it contribute to and alter our future?
Rotation #1 is on view from October 13 – November 11, 2023 and includes Jonas Van & Juno B, Jes Fan, Duto Hardono, arquivo mangue, Dalissa Montes de Oca, Angela Su, Maria Taniguchi.
Ballroom Marfa’s 20th year anniversary exhibition is Perhaps the Truth, featuring work by Alejandro Piñeiro Bello, Jes Fan, Joel Gaitan, Florian Krewer, Rebecca Manson, Ruben Ulises Rodriguez Montoya, Jesse Murry, Robert Nava, Ilana Savdie, Kiki Smith, Astrid Terrazas, Lucía Vidales, and Issy Wood. The exhibition will be on view from October 4 through March 30, 2024.
23 September – 14 January, 2024 Sigg Prize 2023 Jes Fan, ‘Sites of Wounding: Chapter 2’
Closed for Installation Doris Guo | Opening December 8
