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.
“Walter or You jerk you didn’t call me up”, curated by Lou von der Heyde at Layr, is on view at Layr, Vienna from September 11 through October 17, 2026. Participating artists include Kai Althoff, Larry Clark, Lili Dujourie, William Gaucher, Brook Hsu, Sergej Jensen, Oscar Kargruber, Felix Krapp-Raczek, Silke Otto-Knapp, Trevor Shimizu, Kazuyuki Takezaki, Vunkwan Tam, Evelyn Taocheng Wang, Franz West. Vunkwan Tam will be exhibiting his work Galliard, 2025.
Jacqueline Kiyomi Gork and James T. Hong are amongst the 43 artists and collectives participating in the upcoming 16th Gwangju Biennale. Titled You Must Change Your Life. This edition is led by Ho Tzu Nyen with curators Che Kyongfa, Park Gahee and Brian Kuan Wood and will run from September 5 to November 15. The biennale takes its title from the famous final line of a 1908 poem by Rainer Maria Rilke, in which a viewer confronts a broken ancient statue and suddenly finds their way of seeing overturned. Perspectives and positions shift, and you realize that we can’t go on as before. I must change.
Gork will be presenting a labyrinthine installation and multi-channel techno composition Not Exactly BPM (Variation Rrose) (2026). The work is a deconstructed club environment made up of machines, air blowers, and feedback. The environment (as well as our bodies) moves to a hypnotic soundtrack of kick drums and phase-shifting loops by collaborator and psychoacoustic dancefloor androgyne Rrose.
Hong will be presenting a newly expanded version of his film Apologies (2012-ongoing), a compilation of modern political apologies, which Hong describes as “a timeline of modern political progress as unrepentant recidivism and contrite repetition.” As an ongoing work in progress approaching eleven hours in length, the film has grown into a giant documentary repository, adding further instances of political regret each year. In addition to being presented inside the main exhibition, it will also be projected onto the facade of the Gwangju Biennale building every evening during the exhibition’s duration. Hong will also exhibit M.17 (2026), a series of 17 drawings accompanied declassified documents. The work’s title comes from the only name given to a test subject in Unit 731, the occupying Imperial Japanese military’s notorious covert site in Harbin, in Northeastern China, where they tested biological and chemical weapons on human subjects between 1933 and 1945. After Japan’s surrender at the close of World War II, the United States offered amnesty to Unit 731 scientists in exchange for their research. Hong has a longstanding interest in the atrocities committed at Unit 731, and through his research he obtained copies of the documents submitted to the US government by its scientists.
Jacqueline Kiyomi Gork is participating in the Converge 45 triennial, titled Here, To you, Now, organised by Lumi Tan. The opening celebrations for the triennial will take place August 27–30, 2026.
For the Triennial, she presents Variations in Mass 4, a monumental, “breathing” inflatable sculpture on the roof of PSU’s Schnitzer School of Art + Art History + Design building. Modeled after a mid-century Japanese garden lantern from her own family history, the work meditates on cultural transmission and the idea of authenticity. Accompanied by a sound piece recorded at Portland Japanese Garden and composed with musician Liz Harris (aka Grouper), the inflatable oscillates between animation and collapse, challenging perceptions of permanence and the circulation of personal history in public space.
The work will remain on view until 2027, more details to be announced soon.
Gallery address: Portland State University Schnitzer School of Art 1981 SW Broadway, Portland, OR
The exhibition Wetware, curated by Spine (Aidan Chisholm and Laura Audrey Brown), opens on July 9, and runs through August 7, 2026. Participating artists include Alison Knowles, Aviva Silverman, Bettina, Early Shinada, Faith Icecold, Khia Hong, Patty Chang, Rafael Sánchez and Tishan Hsu. The exhibition is hosted by RAINRAIN Gallery in New York.