Jacqueline Kiyomi Gork

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Installation view of Olistostrome, Jacqueline Kiyomi Gork, Empty Gallery, 2021. Courtesy: artist, Empty Gallery. Photo: Michael Yu

Installation view of Olistostrome, Jacqueline Kiyomi Gork, Empty Gallery, 2021. Courtesy: artist, Empty Gallery. Photo: Michael Yu

Jacqueline Kiyomi Gork, the input of this machine is the power an output contains, 2020, “Made in L.A. 2020: a version” installation view at Hammer Museum, 2021. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Photo: Joshua White / JWPictures.com.

Jacqueline Kiyomi Gork, the input of this machine is the power an output contains, 2020, “Made in L.A. 2020: a version” installation view at Hammer Museum, 2021. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Photo: Joshua White / JWPictures.com.

Jacqueline Kiyomi Gork, Noise Blanket, Nos. 11 – 16, or Everybody’s Got Choices, 2019, “Searching the Sky for Rain” installation view at SculptureCenter, New York. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Kyle Knodell.

Jacqueline Kiyomi Gork, Noise Blanket, Nos. 11 – 16, or Everybody’s Got Choices, 2019, “Searching the Sky for Rain” installation view at SculptureCenter, New York. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Kyle Knodell.

Jacqueline Kiyomi Gork, Not Exactly B-Flat, 2017, “Catchy” installation view at Empty Gallery, Hong Kong, 2017. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Michael Yu

Noise Blanket No.7, 2017. Installation view of SFAI 150 | A Spirit of Disruption at San Francisco Art Institute, 2021. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Michael Yu

Jacqueline Kiyomi Gork’s (b.1982, Los Angeles) hybrid practice combines work in sound installation, sculpture, and performance with the aim of reconfiguring the traditional hierarchies between audience, performer, and architecture. She studied at the San Francisco Art Institute and researched the history of acoustics and computer music at Stanford University.

Her work has been the subject of solo exhibitions at Empty Gallery, Hong Kong (2021, 2017); François Ghebaly (2022); 356 Mission, Los Angeles (2017); The Lab, San Francisco (2016); and Yerba Buena Center for the Arts, San Francisco (2016). She has participated in group exhibitions at Hammer Museum, Los Angeles (Made in LA 2020); SculptureCenter, New York (2019); San Francisco Museum of Modern Art (2017) and V-A-C Foundation, Moscow (2018). She is a recipient of a Joan Mitchell Fellowship (2023) and an Art + Technology Lab Grant from the Los Angeles County Museum of Art (2021). Her work is in collections of The Hammer Museum, SFMoMA, Berkeley Art Museum, Pacific Film Archives and Walker Art Center.

CURRENT:

13th Taipei Biennial, small world
Taipei Fine Arts Museum, Taiwan
curated by Reem Shadid, Freya Chou, and Brian Kuan Wood
November 18, 2023–March 24, 2024

Jacqueline Kiyomi Gork: Poems of Electronic Air
Carpenter Center for the Visual Arts, Harvard University
February 2–April 7, 2024

Recent Press:

Cassie Packard, ‘Jacqueline Kiyomi Gork Dials Down The Noise‘, Frieze
William Smith, ‘An Interview with Jacqueline Kiyomi Gork‘, Small World Journal, Taipei Biennial
HG Masters, ‘Taipei Biennial 2023: The Promises and Perils of a “Small World‘, ArtAsiaPacific
Sean Burns, ‘Trailer for a Spectacle: Taipei Biennial 2023‘, Frieze