Scientia Sexualis is an ambitious group survey of contemporary artists whose works take up the fraught relationship between sex, gender, and science. Organized by Jennifer Doyle (Professor of English, University of California, Riverside) and Jeanne Vaccaro (Assistant Professor of Transgender Studies and Museum Studies, University of Kansas), the exhibition is realized as part of the ambitious collaboration across arts institutions throughout Southern California known as PST ART: Art & Science Collide led by the Getty. It runs from October 5, 2024 through March 2, 2025.
Featured artists include: Panteha Abareshi, Dotty Attie, Louise Bourgeois, Nao Bustamante, Andrea Carlson, Demian DinéYazhi’, Nicole Eisenman, El Palomar, dean erdmann, Jes Fan, Nicki Green, Oliver Husain & Kerstin Schroedinger, Xandra Ibarra, KING COBRA (documented as Doreen Lynette Garner), Joseph Liatela, Candice Lin, Carlos Motta, Wangechi Mutu, Young Joon Kwak & Gala Porras-Kim, Cauleen Smith, P. Staff, Joey Terrill, Chris E. Vargas, Millie Wilson, and Geo Wyex.
I Am Standing in the Middle of the Information Highway and Laughing is a new exhibition curated by Raha Raissnia and Martin Germann, opening August 16 through October 18 at the Argo Factory in Tehran. Taking its title from late artist Jonas Mekas’ Manifesto Anti-100 years of Cinema, a performative exhibition in Tehran will unfold over two different episodes. Its main aim is to celebrate the unbound energy of collaborative work and friendship on the one hand and moments of reflection and stillness on the other. Its point of departure is the Manichean binary between darkness and light, as sine qua non condition for the existence of technologically mediated images.
The second chapter of the exhibition, curated by Martin Germann, opens on Friday, September 27, with Marco Fusinato, James T. Hong, Tiffany Sia and Sam Lewitt.
Jacqueline Kiyomi Gork is participting in the group exhibition Slipper at Personal Space, Vallejo, California.
Featuring works by: David Bayus, Lemia Monet Bodden, Kari Cholnoky, Ximaps Dong, Erik Frydenborg, Jacqueline Kiyomi Gork, Albert Herter, Catalina Ouyang, and Elina Vainio.
“Slipping between registers, like prophesy, some excessive field leaves deposits in our shared existence. It takes form, in the shape of slips of the tongue, or a slipped disc, articulated and yet still monstrous. The environment is overpopulated by tools and weapons that encode our lust or aggression into metal, plastic, or paper, infused with the unspeakable. Here is a collection of objects, of various media, that cannot be fully accounted for, that leave a remainder or lapsus, that aren’t completely discrete, and sit like cairns on a landscape, death’s representatives, recording trajectories between past and future. Marking the differences that matter, that can be utilized to situate oneself and guide a famished party. Small signs, like fragments of fossils, can refer to immensity.” – Albert Herter
Improvisation is on view through January 19th, 2025 at the Inside Out Museum in Beijing. It was curated by Carol Yinghua Lu with Na Rongkun, Sining Zhu, Cao Liyao, Li Huiyi and Sun Yuhan.
Participating artists and collectives include Cang Xin, Chen Liang, Chen Zhou, Ergao (He Qiwo), Gao Fu, He Liping, He Ruijun, Hu Yiyao, Liu Zhan, Luo Lin, M Art Group, Ma Liuming, Pak Sheung Chuen, Peng Xueying, Rong Rong, The Cement Park, Song Xiaohong, Song Dong, Vunkwan Tam, Tong Tianqing, Wang Shihua, Wang Sishun, Yorkson, Zhang Huan, Zhang Wei, Zhang Zhihui, Zhong Yunshu, Zhou Bin, Zhu Fadong, Zuoxiao Zuzhou.
Improvisation is one of the characteristics of art, as well as a method of creative practice. It highlights an artistic process where the artist finishes their work immediately and swiftly, using everything at hand, when the inspiration, provoked by an external stimulus or an internal impulse, hits unpreparedly and uncontrollably. In the context of traditional Chinese music culture, due to its unique system of notation and inheritance, improvisation was once a ubiquitous technique in musical practice. Improvisation is a cross-cultural phenomenon that is probably as old as the human race. This is the reason why we encounter improvisation frequently throughout different historical moments and creative activities in the long history of art. From the Dada’s rejection of logic and introduction of chaos and irrationality into their creative practice, to the Situationists who, out of an ideal to fight against Capitalism’s alienation of the individual, advocated the pursuit of genuine desires, the experience of life, and the sense of adventure. People can see that improvisation is the method, the idea, the principle, and the real life itself.
Empty Gallery is pleased to announce the appointment of Alexander Lau as senior director, and Kaitlin Chan as director.
Lau has served as director of the gallery, and its associated label Empty Editions, for over nine years, and been foundational in the development of our exhibition program and artist roster. Based in New York and Hong Kong, Lau also sits on the board of Primary Information (NYC).
Chan joined the gallery in 2020 as associate, and has since contributed to over ten exhibitions as an artist liaison, as well as through public programming, communications, art fairs and sales. Chan is also a cultural worker who creates comics and lectures on self-publishing amongst other topics.
Participating artists include Koichi Enomoto, Ester Knapová, Stanislava Kovalcikova, Autumn Ramsey, Emma Reyes, Margaret Salmon and Henry Shum.
formazione di forme.. curated by Matilde Guidelli-Guidi at Felix Gaudlitz, Vienna, as part of curated by 2024, is on view from 17 September through October 19, 2024. The exhibition features works by Alighiero Boetti, Aria Dean, Taro Masushio, and Samson Young, chosen for their distinct approach to form-making.
Masushio took the Untitled (Youth) pictures in San Francisco in the early aughts, at a time of youthful infatuation with the aesthetics and techniques of formalist photography. He shot the SoMa scene through that lens: analog camera and the zone system, the body flattened and closely cropped in black-and-white symmetries. Finding those negatives in his archive last summer arose feelings of embarrassment toward his puppy love days. An embarrassment that he worked through, coming face to face with that innocent attraction to formalism, and by extension to a younger self, that is akin to kink. So that in the printing process, he treated the negatives to further heighten the compositional elements in ways that replay the darkroom devotion of his youth. Masushio said: “Vis-à-vis my personal history, I want to propose a provocation of (modernist?) aesthetics and the taboo of being a formalist, which I thought was kind of kinky. (A kind of parallel between concept/ form vs norm/ taboo). But there is always a bit of embarrassment about making these kinds of (po-mo) gestures, too.” The form/ affect dyad shifts valence from attraction to embarrassment to kink in the reception of these works. Which is real? This fractal approach to the archive is typical of his overall method. An earlier body of work emerged from fortuitously finding, in a temporary lodging, a box of prints and recognizing them as the work of the late Jun’icha En’ya—an elusive figure and one of the earliest Japanese photographers of homoerotica. A visit to En’ya’s environs in Osaka generated Masushio’s works: photographs of pencil-traced snapshots that he furtively took in En’ya’s archives, and still-life pictures of the objects that En’ya owned or that he might have. Between Masushio and the En’ya “idea” there is no articulated relationship of influence. Form escapes filiation there: the pressure of the archival materials and the pencil pressing against paper.
Tishan Hsu’s solo exhibition Interface Remix at MOCA Toronto opens to the public on Sunday, September 8. “Interface Remix” showcases key works from the past five decades of Hsu’s career alongside never-before-seen creations that explore themes of transformation and alienation. In his first ever Canadian solo exhibition, Hsu’s groundbreaking work navigates the intersection of technology and the human body through his multidisciplinary practice spanning painting, sculpture, and installation.
Hsu will also be in conversation with Alex Da Corte on September 8th at 2PM in an accompanying program.
Cici Wu’s Lovers Revolt, Lovers Resolve (Reincarnations of Lantern), 2020, is now on view at 47 Canal through September 14 in a group presentation with Mickael Marman and Emmanuel Louisnord Desir.
Jes Fan’s Bivalve II is now on view at Dream States, Groundspace of The Metropolitan Museum of Manila, through January 2025. Artists: Jes Fan, Katharina Grosse, Michael Ho, and Olafur Eliasson.
Special thanks to Tim Tan.