Jacqueline Kiyomi Gork

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Jacqueline Kiyomi Gork, *Not Exactly (Whatever the New Key Is)*, 2017–ongoing, PVC tarpaulin walls, centrifugal blowers, Arduino microcontroller, MIDI and trigger relay, dimensions variable. Installation view, Taipei Biennial 2023: Small World, Taipei Fine Arts Museum, November 18, 2023 – March 24, 2024.

Installation view of *Like a Breath of Fresh Water*, Jacqueline Kiyomi Gork, Visual Arts Center, University of Texas Austin, September 22 – December 2, 2023. Photo: Melissa Nuñez.

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, *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 (2025, 2021, 2017); the Carpenter Center for the Visual Arts, Harvard University (2024); Visual Arts Center, University of Texas Austin (2023); 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 including the Singapore Biennial (2025), Chicago Architecture Biennial (2025); 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 the Gold Art Prize (2025), a Roy Lichtenstein Award from the Foundation of Contemporary Arts (2025), a Joan Mitchell Fellowship (2023) and an Art + Technology Lab Grant from the Los Angeles County Museum of Art (2021). She participated in the 13th Taipei Biennial: small world (2023). Her work is in the collections of The Hammer Museum, SFMoMA, Berkeley Art Museum and Pacific Film Archives and Walker Art Center.

CURRENT:
SHIFT: Architecture in Times of Radical Change
September 19, 2025 – February 28, 2026
Chicago Architecture Biennial

Gama
September 27 – November 15, 2025
Empty Gallery, Hong Kong

UPCOMING:
Singapore Biennale 2025: pure intention
October 31, 2025 – March 29, 2026
Singapore Art Museum, Singapore

Press:
Jonathan Griffin, ‘Jacqueline Kiyomi Gork Reshapes the Architecture of How We Listen’, Ocula
Byron Westbrook, ‘Jacqueline Kiyomi Gork’, BOMB
‘In the Studio: Jacqueline Kiyomi Gork’, Joan Mitchell Foundation Journal
Cassie Packard, ‘Jacqueline Kiyomi Gork Dials Down The Noise‘, Frieze

Jacqueline Kiyomi Gork_Bio CV
DOWNLOAD pdf (191 KB)

Jacqueline-Kiyomi-Gork-press_Oct2025
DOWNLOAD pdf (18.4 MB)


2025-10-14	Chan Hau Chun at Inside Out Art Museum, Beijing
	Breakdown Playlist is on view from October 12, 2025 until March 1, 2026 at Inside Out Art Museum, Beijing. Artistic Director: Carol Yinghua Lu Curators: Clara Chavan, Na Rongkun Exhibition Coordinators: Rory Guan, Juri Mischler Exhibition Assistants: Li Huiyi, Cao Liyao, Li Zejun Breakdown Playlist brings together works by sixteen artists from China and Switzerland. The exhibition is part of the 2025 cultural exchange projects commemorating the 75th anniversary of diplomatic relations between the two countries and grew out of the Embassy of Switzerland in China’s CH><CN Studios program. Beginning in August 2025, nine Swiss artists undertook residencies at six Chinese art institutions, namely in Beijing, Chongqing, Dehua, Yantai, Hangzhou, and Chengdu, creating new works based on local observations. Under the guidance of Carol Yinghua Lu, Director of Beijing Inside-Out Art Museum, The exhibition was co-curated by young Swiss curator Clara Chavan and Inside-Out assistant curator Na Rongkun. Building on the selection of Swiss artists, they invited seven Chinese artists to participate, fostering a dialogue between emerging contemporary artists from both countries. Read more …
2025-10-08	Jacqueline Kiyomi Gork in Ocula
	Jonathan Griffin has interviewed Jacqueline Kiyomi Gork for Ocula magazine. “For nearly two decades, Los Angeles-based Jacqueline Kiyomi Gork has used sound as a sculptural and architectural medium, as well as sculpture and architecture as acoustic structures to support and manipulate sound. After an early career in noise music, she sidestepped into making installations that incorporate her complex sound works to powerful and atmospheric effect.” Read more …
2025-09-23	Jacqueline Kiyomi Gork wins Gold Art Prize
	The Gold Art Prize, a series of five awards given biennially to AAPI and Asian diaspora artists, has named this year’s batch of winners, including Dan Lie, Stella Zhong, Morehshin Allahyari, Jacqueline Kiyomi Gork, and Kenneth Tam. The prize awards each winner an unrestricted $25,000. This is the third iteration of the prize, which was launched in 2021 by adviser Kelly Huang and Gold House, a Los Angeles–based organization with a focus on the AAPI community. As with the 2023 edition, the 2025 prize is funded by the Kahng Foundation. In a statement, Huang said, “I’m proud that the Gold Art Prize has, since 2021, championed artists from the Asian diaspora, and its mission feels more vital than ever today. This year’s awardees reflect an even broader range of diasporic backgrounds, and it’s an honor to celebrate each artist’s contributions to shaping the future of contemporary art.” Read more …
2025-09-18	Jacqueline Kiyomi Gork at Chicago Architecture Biennial
	The 2025 Chicago Architecture Biennial, SHIFT: Architecture in Times of Radical Change, takes place from September 19, 2025 – February 28, 2026. Jacqueline Kiyomi Gork will be participating with her installation work Variations in Mass Nos. 5, 6, 7, 2024, vinyl, blowers, electronics, and speakers. Collaborators: Viola and violin, Daniel Jacobs; Cello, Zack Reaves; 3D design, Rhett LaRue. Read more …
2025-09-18	Doris Guo at Lagune Ouest
	Little Fluffy Clouds is on view at Lagune Ouest in Copenhagen, Demark from September 19 through October 18, 2025. Participating artists include: Rachel Fäth, Doris Guo, Mathias Toubro, Pol Wah Tse, Mille Qvist. Read more …
2025-09-12	Vunkwan Tam at Loong Mah, New York
	Vunkwan Tam’s solo exhibition, Clear Rivers, is now on view at Loong Mah, New York. Open on Saturdays and Sundays from 1-6PM and by appointment. Read more …
2025-09-06	Cici Wu in the 36th Bienal de São Paulo
	Cici Wu is participating in the 36th Bienal de São Paulo with her 2023 film Belonging and Difference. The exhibition will take place from September 6, 2025 to January 11, 2026 at the Ciccillo Matarazzo Pavilion in São Paulo, with free admission. This year’s theme, Not All Travellers Walk Roads – Of Humanity as Practice is inspired by the Afro-Brazilian poet Conceição Evaristo, and this year’s edition includes 125 artists and collectives. Read more …
2025-09-05	Raha Raissnia in There Is a Crack in Everything, Jewish Museum of Belgium
	There Is a Crack in Everything, on view from September 5 – December 14, 2025, brings together more than twenty-five international artists whose practices intertwine emotion and form with questions of belonging, identity, and memory. From visible violence to imposed silences, from damages to life to the vulnerability of surrounding environments, these artists explore the human condition in its tensions as well as its possibilities, transforming these realities into imaginings of resistance, displacement, and reinvention. This exhibition is a project of the Jewish Museum In/Out, led by its director Barbara Cuglietta, in collaboration with guest curator Martin Germann. Raha Raissnia is participating with her film installation Solaria 2022, as well as new paintings. Read more …
2025-09-05	Tishan Hsu in Bio Morphe, Moody Center for the Arts
	The Moody’s fall 2025 exhibition focuses on the topic of biomorphism—artistic styles that use occurring patterns or shapes inspired by nature— as seen through the lens of seven international artists. Their respective work highlights the impact of new technologies and industrial manufacturing processes on ever-changing relationships between the human body and the natural world. This presentation offers a pluridisciplinary approach to the concept through works that engage with a broad range of topics, from the application of scientific research to the role of gender in society. Bio Morphe allows visitors to explore parallels between experimental artworks and contemporary issues prompted by research in science and technology. Read more …
2025-08-26	Dennis Zhou on Chan Hau Chun in the New York Review of Books
	Generations of Hong Kong filmmakers have worked to find a cinematic language that could capture an environment so marked by contingency and ephemerality. In recent years, one particularly original and sustained such effort has come from Chan Hau Chun, who has made several works blurring the boundaries between documentary and video art, and whose newest film debuted at Hong Kong’s Empty Gallery this summer. An epistolary reflection on the city, partly addressed to a then-imprisoned friend, Map of Traces (2025) unearths fragments of Hong Kong’s collective history and forms them into an image of its present. “Memory,” she writes in one letter displayed over a black background, “is like a hidden shape, waiting for the right moment to resurface.” Read more …