Doris Guo

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Doris Guo, Alna Senter, 2024, MDF with oak veneer, pine, acrylic paint, wood stain, opaque projector, stainless steel, ceramic

*Back*, Doris Guo, Empty Gallery. December 8, 2023 – February 17, 2024. Photo: Michael Yu.

*Shanghai San Francisco Richmond Seattle New York Oslo (TRACE)*, Doris Guo at Veronica, Seattle, WA. December 10, 2022 – January 28, 2023. Installation view courtesy of Veronica and the artist.

Doris Guo at Inge, Plainview, NY, 2019. Installation view courtesy of Inge and the artist.

XO, Doris Guo, Derosia, January 18, 2019 – February 24, 2019. Installation view courtesy of Derosia and the artist.

Doris Guo (b.1992, San Francisco) currently lives and works in Oslo. She received her BFA in Painting from Pratt Institute in 2014 and recently graduated from the Oslo National Academy of the Arts in 2023. Solo exhibitions include disorientations at VI, VII, Oslo (2023), Shanghai San Francisco Richmond Seattle New York Oslo (TRACE) at Victoria, Seattle (2023), inge, New York (2022), 9PM Til I at Éclair, Berlin (2019), XO at Bodega, New York (2019), Coffee & Tea at Princess, New York (2018) and Joss at Real Fine Arts, New York (2017). Back at Empty Gallery, Hong Kong is her first solo exhibition in Asia.

Recent group exhibitions include a presentation at Artists Space, New York (2014), All Good Things, Hulias, Oslo (2024), Pinacotheca, Theta, New York (2024), X Years, VI, VII, Oslo (2022), When the Word Becomes Flesh, Baader-Meinhof, Omaha (2022), Post Box Group, Copenhagen (2022), Welding in Space, LEMME, Scion (2021), Remnant, Artifact, Flow, Thierry Goldberg Gallery, New York (2021), Misunderstandings (A Theory of Photography), Plymouth Rock, Zurich (2020), 01102020, Fisher Parrish Gallery, Brooklyn (2020), Cruise Kidman Kubrick, Galerie Maria Bernheim, Zurich, (2019), Pastoral (Grind and Drone), 47 Canal, New York (2019), The Parisian Nights, Crèvecoeur, Paris (2019).

PRESS:

Harry Burke, ‘Doris Guo, “Back” at Empty Gallery; Hong Kong’, Mousse
Jaime Chu, ‘Doris Guo at Empty Gallery‘, Spike Art Magazine

Doris Guo_Bio CV
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Doris Guo press
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	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. 更多…
2024-09-27	James T. Hong at Argo Factory, Tehran
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2024-09-22	Jacqueline Kiyomi Gork in Slipper, Personal Space, Vallejo, California
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2024-09-20	Vunkwan Tam in Improvisation at Inside Out Museum, Beijing, curated by Carol Yinghua Lu
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2024-09-19	Empty Gallery Staff Announcement
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2024-09-17	Taro Masushio in formazione di forme.. curated by Matilde Guidelli-Guidi at Felix Gaudlitz, Vienna
	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. 更多…
2024-09-07	Tishan Hsu in Interface Remix, MoCA Toronto
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2024-09-04	Works by Mickael Marman, Emmanuel Louisnord Desir, & Cici Wu at 47 Canal
	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. 更多…
2024-08-23	Jes Fan in Dream States, Groundspace of The Metropolitan Museum of Manila
	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.

Bodily Powers is now on view at Galerie Crevecouer (9 rue des Cascades, Paris) through November 2, 2024.