Tishan Hsu graces the cover of issue 151 of ArtAsiaPacific (Nov/Dec 2026)with Michele Chan writing an extended feature on his practice titled “The Human Inside.”
“There is always something definitely nonhuman, yet almost definitely alive, inside the art of Tishan Hsu: a presence behind the screen, muffled yet persistent, pressing toward release. Across four decades, through a singular lexicon that fuses biomorphic and techno-machinic forms and textures, the 75-year-old artist has registered not simply the digital age’s effects on the body but its incursion into embodiment— the ways monitors, medical imaging, apparatuses of surveillance, and artificial intelligence enter perceptual and psychic life.”
Yuqian Fan has written about Ann Zhao in the ‘New Currents’ section of issue 151 of ArtAsiaPacific (Nov/Dec 2026).
“For her solo exhibition “Spillover” (2026) at Hong Kong’s Empty Gallery, Ann Zhao assembled a 20-something-page chapbook of sparks of inspiration and life dumps. A photo of her laptop on the couch, a screenshot of filmmaking notes, a snapshot of a few lines from a book— the content reads as if lifted from the artist’s social media or sketchpad, encapsulating the spontaneity that anchors her practice. That diaristic quality structures Ben Ming Nian (2026), 24 photographs from the year Zhao spent in Shanghai. The images fall just short of being autobiographical: opaque in their details and too fragmentary to cohere into narrative. She seems to leave the work unresolved, suspended on the threshold of completion.”
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).
In conjunction with The Drawing Center’s current exhibition “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong”, Anthology Film Archives, New York will present a free screening on Wednesday, November 4 at 7PM. The program 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.
You can read more about the screening on Screen Slate in a review by Gladys Lou.
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.