Screened at a special pavilion in the lobby of SMBC East Tower in the Marunouchi district, AWT Video (November 4–8, 2026) presents a selection of single-channel moving image works by Japanese and international artists drawn from Art Week Tokyo’s participating galleries. Overseen by X Zhu-Nowell, the executive director and chief curator of the Rockbund Art Museum, Shanghai, this year’s program, “Your Travel Guide To . . . ,” features works by 10 Japanese and international artists. Cici Wu will be screening her work Belonging and Difference (2023).
This program of artist films and videos is presented at Anthology Film Archives, New York in conjunction with The Drawing Center’s current exhibition “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong”, opening on October 23, 2026 and on view until January 2027. The screening, which will take place on Wednesday, November 4 at 7PM, showcases a selection of artist pieces that extend the exhibition’s visual essay on shared historical, poetic, and philosophical concerns, with Hong Kong and New York as twin points of reference and Eastern thought and Western philosophy as its guiding frameworks.
“Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong” is organized by Olivia Shao, Burger Collection & TOY Meets Art Curator.
Cici Wu UNFINISHED RETURN OF YU MAN HON 2019, 19 min, 16mm-to-DCP Tang Kwok Hin GRANDPA TANG 2017, 13 min, DCP Chan Hau Chun THE MEMORY OF A CICADA IS LONGER THAN ITS LIFE 2024, 12 min, DCP. Music and sound: Chui Chi Yin. Simon Liu PROCEDURES 2026, 17 min, 16mm-to-DCP
Misako and ROHsen is pleased to share a collaborative presentation in Tokyo, 𝘋𝘢𝘯𝘤𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘛𝘳𝘢𝘴𝘩. The exhibition connects artists who approach trash as form and medium, with a recognition that looking closely at the discarded is another means of looking at everything else. The exhibition will be on view from November 3–13, 2026, and will take place at Rose Gallery, Park Nova Jingumae, 2-33-5 Jingumae, Shibuya-ku, Tokyo.
Artists: Aracha Cholitgul, Bagus Pandega, Barry Beagen, Calvin Miceli-Nelson, CFGNY, C&K, dpgp78, Dusadee Huntrakul, Faisal Habibi, Felix Tao, Gary-Ross Pastrana, Hikari Ono, ikkibawiKrrr, Ken Kagami, Ken Sasaki, Lawrence Leaman, Lydo Le, Maruto Ardi, Maxime Cavajani, Motoyuki Daifu, MW, Nanami Hori, Nicole Coson, Phung-Tien Phan, Pimlico Arts JAPAN, RAB, Reina Sugihara, Richard Aldrich, Rose Rei Warner, Ryohei Usui, SIDE CORE, Sollee Kim, Syaiful Aulia Garibaldi, Taeyoon Kim, Tith Kanitha, Tsuji Takafumi, Vunkwan Tam, and Yuyan Wang.
Opening November 4 through December 6, 2026. XYZ Collective will host a collaborative exhibition during Art Week Tokyo, inviting Olivier Mignon as curator. The project takes the form of a two-person exhibition by Taro Masushio and Sophie Nys. New York–based, Japanese-born photographer Taro Masushio addresses themes of queer embodiment and the politics of the gaze, while Brussels-based sculptor Sophie Nys investigates the relationship between language and objects.
Published October 15, 2026, in The New York Times, by Keridwen Cornelius: “In addition, Empty Gallery of Hong Kong is presenting camera-less photographs by the artist Taro Masushio, who lives and works in New York City.
Masushio explained in a video interview that his work explored the question, “What is a queer image?” Masushio was inspired by screentones — transparent adhesive sheets covered with dots, lines, clouds or other patterns that lend shading and atmosphere to comic books in his native Japan.
He scanned several screentones into his computer, then superimposed and manipulated the images. Next, he turned the digital files into negatives and used special chemicals in the darkroom that give the resulting photos the silvery, sepia-toned sheen of a daguerreotype.
The abstract images, printed with text such as “homo” or the Japanese character for sexuality, are so reflective that they have an ever-shifting fluidity. And they are streaked with iridescent colors from the haphazard flow of darkroom chemicals.”
A group exhibition organised by Fondation Tschuess featuring Pia Rosa Dobrowitz, James T. Hong, Monika Schwitte, Alex Winterstein opens at 6pm on October 3 at Halmet, Zurich. The exhbition will run until November 1, 2026.
Published October 13, 2026, in The New York Times, by Dennis Zhou, a compilation of films from Hong Kong curators, artists and writers. Selected by: Ellen Pau, 65, video artist 32+4, Chan Hau Chun (2014) This documentary isn’t exactly a detective story, but it’s about the filmmaker uncovering the trauma between her parents, and also between her and her stepfather. Watching it, it’s easy to tell it was filmed in public housing, but you can’t tell which complex – it’s kind of a nonplace. They’re all in this one tiny apartment, fighting for space, survival, status and love. There’s a lot of very deep emotion involved, but Hau Chun can capture that without using much dialogue — it’s in how she plays with her camera, what visuals she captures, how she pauses. One scene is very memorable for me: Hau Chun’s’s father is crossing the street, and she’s filming from the other side of the road. And then printed on the screen is something like “How come I can’t cross that road to him, to stand beside him?” The gap between them becomes visible through this road. The things that you can see in the film are only one-tenth of the story, but through them, you can feel the whole story in your heart.
47 Canal announces its inaugural exhibition at the gallery’s new Chelsea location: Auld Lang Syne (prelude), a solo presentation of new work by New York–based artist Cici Wu (b. 1989, Beijing; raised in Hong Kong). This is Wu’s third solo show with the gallery, following her previous exhibitions Lantern Strike (2021) and Upon Leaving the White Dust (2018). Across sculptures, drawings, film, and installations, she attends to migratory aesthetics and to individual and collective memories that refract across space and time. Auld Lang Syne (prelude) extends Wu’s inquiries into the social, cultural, and political through the ephemeral medium of light. This new body of work suggests that the act of returning can intimately contour and shape unfinished histories and elucidate relations between past and present generations, between the material and the ephemeral. The exhibition is on view until November 7, 2026.
Doris Guo is participating in the 2026 Wuhan Biennale at Wuhan Art Museum, from October 1, 2026 through May 30, 2027. Curated by Paul Frèches, the biennale theme is Temporary Ferry, which takes inspiration from Wuhan’s unique cultural identity and historical significance as a major transit city.
Chan Hau Chun is participating in “I, etcetera” at Kunstverein Düsseldorf, Germany, organised by Gloria Hasnay. Other participating artists include Julie Becker, Oto Gillen, Robert Glück, Danae Io; Alex Kitnick, Doreen Mende and Fiona Vilmer. The exhibition will be on view from September 19, 2026 until January 17, 2027.
At the center of the group exhibition I, etcetera is an engagement with artistic subjectivity as always processual and relational. From this premise, the exhibition also turns its attention to the host institution itself, considering the ways in which it assumes and articulates a subjectivity of its own. It asks how narrative strategies and speculative propositions, operating across artistic practices and institutional(ized) processes alike, participate in producing the relations through which the self takes form.