Taro Masushio’s exhibition Naked will be on view at Scheusal, Berlin from November 21 through December 14, 2025.
Opening on December 3, 6-8 PM, the exhibition Under Light of Moon and Sun, organised by Cici Wu and Karen Wang and presented at 99 Canal, will be on view from December 4 –22.
“They blink for less than a heartbeat. Not reflected light, but light made within the body. Each is a message—a lure, a warning—turning darkness into a language of attraction. To see them is to witness light as instinct, a small defiance against disappearance and censorship. Illumination, then, is not only about being seen, but about sending and receiving: forming constellations of fragile connection across distance—an ethics of relation rather than exposure, a modest reciprocity rather than spectacle. It is from these small and scattered lights that this exhibition begins and ends: showing how light passes through darkness—sometimes playfully—and binds solitude and disparate voices into a horizontal weave of interconnectedness.
Under Light of Moon and Sun features 18 artists from the Uyghur diaspora, Hong Kong, and mainland China, and unfolds through an assemblage of moving image works, textile sculptures, installations, and works on paper including drawings, zines, and woodcut prints.”
James T. Hong is participating in Black Water — 2025 Taiwan Art Biennial at National Taiwan Museum of Fine Arts (NTMoFA) from November 15, 2025 through March 1, 2026. Curated by Jay Chun-Chieh LAI, he is participating with his film Terra Nullius or: How to become a Nationalist (2015).
Lisson Gallery is pleased to present its first solo exhibition by Tishan Hsu, ’emergence’. For over four decades, Hsu has investigated the advancing intersection between the human body and technological systems, developing a singular material language that blends digital imagery, industrial surfaces, and biomorphic forms. His latest show features a range of wall-based pieces, sculptural LED screens, and large-scale visual environments, all of which reflect a heightened engagement with both computational and medical infrastructures. The exhibition will be on view from 30 October 2025 until 24 January 2026.
Jacqueline Kiyomi Gork is participating in the 2025 Singapore Biennale: pure intention, with a commissioned work located in Fort Gate titled HNZF IV. The exhibition is on view through March 29, 2026, and the curatorial team includes Hsu Fang-Tze, Selene Yap, Duncan Bass, and Ong Puay Khim.
Jacqueline Kiyomi Gork’s HNZF (Harsh Noise Zen Fountains) combines aerospace scrap from WWII-era military aircrafts, computer-controlled water pumps and hydrophones into sonic sculptures. Referencing the form of certain outdoor “zen” fountains typically associated with relaxation or meditation, Gork transforms these devices into disruptive generators of noise. HNZF IV draws on the artist’s research into the military history of sound technologies and the various limestone caves of Okinawa, where civilians sought refuge during World War II. At Fort Canning-once a site of British and later Japanese military command on the island-the amplified sound of water echoing through the old Fort gate draws parallels between the experiences of Okinawans, interred Japanese-Americans, and Singapore’s own violent occupation under Japanese rule during the war.
On view from October 22, 2025 through February 15, 2026, the group exhibition “ECHO DELAY REVERB: American Art, Francophone Thought” explores the history of the transatlantic circulation of forms and ideas through the works of some sixty artists, bringing together a wide variety of mediums and a number of new commissions. The exhibition features works by several generations of artists, from the 1970s to the present day: some attest to a direct dialogue between theory and practice, others are sometimes subversive tributes, and still others are more allusive correspondences. Key historical artists such as Dan Graham, Hans Haacke, Theresa Hak Kyung Cha, Renée Green, Cindy Sherman, Lorna Simpson and Glenn Ligon feature alongside younger artists such as Tiona Nekkia McClodden, Kameelah Janan Rasheed, Char Jeré and Cici Wu. The exhibition revisits some of the major figures in American art of recent decades from a fresh perspective. Archival materials throughout the exhibition meanwhile highlight individuals, institutions, and publishers that played a crucial role in disseminating these ideas in the United States.
Breakdown Playlist is on view from October 12, 2025 until March 1, 2026 at Inside Out Art Museum, Beijing.
Artistic Director: Carol Yinghua Lu Curators: Clara Chavan, Na Rongkun Exhibition Coordinators: Rory Guan, Juri Mischler Exhibition Assistants: Li Huiyi, Cao Liyao, Li Zejun
Breakdown Playlist brings together works by sixteen artists from China and Switzerland. The exhibition is part of the 2025 cultural exchange projects commemorating the 75th anniversary of diplomatic relations between the two countries and grew out of the Embassy of Switzerland in China’s CH><CN Studios program. Beginning in August 2025, nine Swiss artists undertook residencies at six Chinese art institutions, namely in Beijing, Chongqing, Dehua, Yantai, Hangzhou, and Chengdu, creating new works based on local observations. Under the guidance of Carol Yinghua Lu, Director of Beijing Inside-Out Art Museum, The exhibition was co-curated by young Swiss curator Clara Chavan and Inside-Out assistant curator Na Rongkun. Building on the selection of Swiss artists, they invited seven Chinese artists to participate, fostering a dialogue between emerging contemporary artists from both countries.
Jonathan Griffin has interviewed Jacqueline Kiyomi Gork for Ocula magazine. “For nearly two decades, Los Angeles-based Jacqueline Kiyomi Gork has used sound as a sculptural and architectural medium, as well as sculpture and architecture as acoustic structures to support and manipulate sound. After an early career in noise music, she sidestepped into making installations that incorporate her complex sound works to powerful and atmospheric effect.”
The Gold Art Prize, a series of five awards given biennially to AAPI and Asian diaspora artists, has named this year’s batch of winners, including Dan Lie, Stella Zhong, Morehshin Allahyari, Jacqueline Kiyomi Gork, and Kenneth Tam. The prize awards each winner an unrestricted $25,000.
This is the third iteration of the prize, which was launched in 2021 by adviser Kelly Huang and Gold House, a Los Angeles–based organization with a focus on the AAPI community. As with the 2023 edition, the 2025 prize is funded by the Kahng Foundation.
In a statement, Huang said, “I’m proud that the Gold Art Prize has, since 2021, championed artists from the Asian diaspora, and its mission feels more vital than ever today. This year’s awardees reflect an even broader range of diasporic backgrounds, and it’s an honor to celebrate each artist’s contributions to shaping the future of contemporary art.”
Closed for Installation until December 6, 2025
Jacqueline Kiyomi Gork Reshapes the Architecture of How We Listen Jonathan Griffin | Ocula
