Jacqueline Kiyomi Gork

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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, *Noise Blanket No. 7*, 2017, “Catchy” installation view at Empty Gallery, Hong Kong, 2017. © Jacqueline Kiyomi Gork. Courtesy: artist, Empty Gallery and François Ghebaly. Photo: Michael Yu

Jacqueline Kiyomi Gork，1982年生於洛杉磯，其多元混雜的藝術實踐結合聲音裝置、雕塑和演出，意在重整觀眾、表演者和展覽建築間傳統的分類等級制。她畢業於舊金山藝術學院，並於史丹福大學研究聲學與電腦音樂歷史。

Gork 的個人作品展曾於香港的Empty Gallery(2017)、洛杉磯的356Mission、三藩市的The Lab(2016)以及芳草地藝術中心（2016）舉行；曾參與的聯展包括有洛杉磯漢默美術館（Made in LA 2020)、紐約的 SculptureCenter(2019）、舊金山現代藝術博物館（2017）以及莫斯科V-A-C Foundation (2018)。她曾獲洛杉磯郡藝術博物館2021年的 Art + Technology Lab Grant。她在Empty Gallery的第二個個展現正舉行，而她在紐約François Ghebaly的首個展覽將於2022年1月舉行。

Selected Solo Exhibitions

2022

Solutions to Common Noise Problems, François Ghebaly, New York

2021

Olistostrome, Empty Gallery, HK

2020

Variations in Mass, #1-3, Various Small Fires, Los Angeles, CA

2018

Geometry of Now, VAC Foundation in Moscow

2017

Catchy, Empty Gallery, HK

Not Exactly B Flat, 356 Mission Rd

Inside You Is Me, Variation 3, Human Resources

2016

A Space for Looking is A Space for Listening, Western Front, Vancouver, BC

2014

It Only Happens All of the Time, Yerba Buena Center for the Arts, CA

Filter Resonance, CULT Exhibitions, San Francisco, CA

2013

2x2, Pro Arts Gallery, Oakland, CA

2012

No Touch, Eli Ridgway Gallery, San Francisco, CA

2009

Our Best Machines are Made of Sunshine, Queens Nails Projects, San Francisco, CA

2008

SYNAH Sometimes You Need A Hole, San Francisco Arts Commission Gallery, SF, CA

Selected Group Exhibitions

2021

"Made in L.A.", Hammer Museum & The Huntington, Los Angeles

A Spirit of Disruption, San Francisco Art Institute

2019

"Searching the Sky for Rain", Sculpture Center, NY

2017

Soundtracks, SFMoMA

2016

Resonant Structures, Stony Brook University, NY

2015

Contact Expo, DLS Solutions, Disjecta, Portland, OR

A+P+I Artist Residency, Mills College Art Museum, Oakland, CA

Acoustic Deconstruction of 2626 Bancroft Way, The Lab, San Francisco, CA

Site + Sound, Santa Cruz Museum of Art and History, Santa Cruz, CA

2014

What Keeps Mankind Alive, Steven Wolf Fine Arts, San Francisco, CA

Ambrosiano, Galbrath, Gordon, Schafer, Samuel Freeman Gallery, Los Angeles, CA

Reverb, Torrance Art Museum, Torrance, CA

2013

(something about magnetic extortion...), SOMArts, San Francisco, CA

Machine Project Field Guide to L.A. Architecture, Off-Site Getty Foundation, LA

MFA Selections, diRosa, Napa, CA

2012

Sound, Image, Object: The Intersection of Art and Music, Sonoma State University, Sonoma, CA

SOUNDWORKS, Institute of Contemporary Arts, London

2011

Joan Mitchell MFA Award, Cue Arts Foundation, New York, NY

Sound and Visual Constructions, Yerba Buena Center for the Arts, San Francisco, CA

Sound Art, 0th performance, Berkeley Art Museum, Berkeley, CA

San Francisco Electronic Music Festival, 0th performance, Brava Theater, San Francisco, CA

Scrambled, MFA Thesis Exhibition, Thomas Welton Stanford Art Gallery, Stanford University, CA

SINCERELY YOURS: ALMANAC, Baer Ridgway Exhibitions, San Francisco, CA

Spread: California Conceptualism Then and Now, Curated by Off-Space, SOMArts, San Francisco, CA

At Bay II, Phelan, Murphy and Cadogan Fellowship Exhibition, Worth Ryder Art Gallery, UC Berkeley, CA

2010

Beyond Surface, ARC Gallery though Kearny Street Workshop, San Francisco, CA

(…), MacArthur B Arthur Gallery, Oakland, CA

Zero1 San Jose Biennial, 0th performance, San Jose, CA

International Sculpture Center Outstanding Student Achievement Award Show, Grounds For Sculpture, Hamilton NJ

The Sound is the Movement, 0th performance, Theater of Yugen's NohSpace, San Francisco, CA

San Francisco Electronic Music Festival, Brava Theater, San Francisco, CA

The Blow Up Universe, 0th, Southern Exposure / Live with Animals, San Francisco/Brooklyn, CA/NY

Unraveling Tape, NOMA Gallery, San Francisco, CA

At Bay, Worth Ryder Art Gallery, Berkeley University, CA

When The Queenís Mussels Aced Infinity, 0th solo installation, 21 Grand, Oakland, CA

Devil-May-Care, Thomas Welton Stanford Art Gallery, Stanford University, CA

2009

APAture, Goforaloop Gallery, San Francisco, CA

DreamBlankets Performance, The Luggage Store Gallery, San Francisco, CA

0th, The Lab, San Francisco, CA

0th, 21 Grand, Oakland, CA

2008

Bones, CafÈ DuNord, San Francisco, CA

0th, The Smell, Los Angeles, CA

DreamBlankets Performance, Kitchen Noise, San Francisco, CA

0th, Artist Television Access, San Francisco, CA

JKG_selected press_2022Jan
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2022-06-21	Tishan Hsu in The Painter’s New Tools at Nahmad Contemporary
	Opening Wednesday, June 22, 2022: “Nahmad Contemporary is pleased to present The Painter’s New Tools, an exhibition organized by Eleanor Cayre and Dean Kissick. If you woke up today after twenty years asleep, you’d find the physical world hasn’t changed a great deal. You’d probably notice how everyone’s looking at their phones all the time, and how images are everywhere. How everyone’s making and remaking and communicating through images; and have, in a sense, turned into images on screens themselves. This is a moment of great transition. Your experience of the world is mediated by images, and increasingly takes place within the pictorial space of those images. It’s disorientating. This has changed the way to think about painting: How can you make a distinct image in the face of this glut of images, this constant distraction, and is that even important? What are the painter’s new tools, and what can be done with them?” Artists: Ei Arakawa, Darren Bader, Kerstin Brätsch, Alex Carver, Kate Cooper, Aria Dean, Harm van den Dorpel, Urs Fischer, Wade Guyton, Kate Mosher Hall, Rachel Harrison, Camille Henrot, Tishan Hsu, Jibade-Khalil Huffman, Jacqueline Humphries, Alex Israel, Jesse Kanda, Scott Lyall, Helen Marten, Ezra Miller, Julien Nguyen, Albert Oehlen, Laura Owens, Seth Price, Richard Prince, Rachel Rose, Sarah Sze, Tojiba CPU Corp, Jessica Wilson, Jordan Wolfson, and Anicka Yi. 更多…
2022-06-16	Jes Fan in Retrograde at Galerie du Monde
	Jes Fan’s Mother is a Woman (Cream) (2019) will be on view at Retrograde, a group exhibition opening at Galerie Du Monde tonight (16 June 2022, Thursday, 5-8pm) , curated by Cusson Cheng. The exhibition period is 16 June – 13 August 2022. “Galerie du Monde is delighted to present the group exhibition Retrograde curated by Cusson Cheng. Different from other LGBTQ-themed exhibitions that emphasize the pride and visibility of sexual minorities, Retrograde raises questions on the costs of the contemporary move to the mainstream in lesbian and gay culture. The exhibition contests the dominant heteronormative logic of desire, the homogeneous models of gay modern identities, and proposes alternative ways of thinking that allow one to radically reimagine queer histories, subjectivities, and futures.” Participating Artists: Ivana Bašić, Jes Fan, Dew Kim, Green Mok, Naraphat Sakarthornsap, Tseng Chien-Ying, Floryan Varennes, Luis Xertu, Xu Guanyu, Rachel Youn, Stella Zhang 更多…
2022-06-02	Tishan Hsu in Future Bodies from a Recent Past at Museum Brandhorst
	Opening June 2 2022 through 15 January 2023: “The exhibition Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s at Museum Brandhorst brings to life a hitherto little-noticed phenomenon in art, and more particularly in sculpture: the reciprocal interpenetration of body and technology. With more than 100 works and several large-scale installations by around 60 artists—primarily from Europe, the United States, and Japan—the exhibition focuses on the major technological changes since World War II and their influence on our ideas of the body.” 更多…
2022-05-31	Tishan Hsu in Biennale Arte 2022 Meetings on Art
	On Thursday June 9th, 5 to 7PM CEST: Between the Enchantment of Technology and Technophobia “When asked about her birth, Carrington once said she was the product of her mother’s encounter with a machine, in the same bizarre union of human, animal, and the mechanical that marks much of her painting and writing. This event will discuss the convergences between individuals and technologies, asking what’s at stake in today’s theories of transhumanism and technological optimism that oppose the dread of a complete takeover by machines via automaton and artificial intelligence. Keynote by Yuk Hui, philosopher and author, Associate Professor, Philosophy of Technology and Media, SCM, City University of Hong Kong. Conversation between Yuk Hui; Tishan Hsu, and Jacqueline Humphries, participating artists at the 59^th International Art Exhibition; moderated by Matthew Biro, Professor of Modern and Contemporary Art at the University of Michigan.” 更多…
2022-05-06	Jes Fan in Breaking Water at Contemporary Arts Center, OH
	May 6 – August 14, 2022: “Breaking Water is a group exhibition bringing together works in installation, video, photography, painting, sculpture, and performance that offer a range of approaches to the subject of water, liquidity, and feminism at the Contemporary Arts Center of Cincinnati, Ohio. The exhibition will debut four new commissions by Paul Maheke, Josèfa Ntjam, Claudia Peña Salinas, and a collaborative work by Calista Lyon and Carmen Winant, after which the exhibition is titled, alongside new and existing work by an international group of artists whose work explores themes of fluidity, connectivity, and resistance, and addresses timely concerns including water rights, climate change, and the effects of natural disasters. The exhibition will be accompanied by a parallel film screening program and catalogue that extend the exhibition’s central themes.” 更多…
2022-05-01	Jacqueline Kiyomi Gork and at Laetitia Sonami at Human Resources LA
	Tuesday May 3rd & Wednesday May 4th, 5:00 – 9:00 PM Sound artists Jacqueline Kiyomi Gork and Laetitia Sonami set up in residency at Human Resources for their fourth collaboration. For Fingers caught in a field of moss they scale down natural growth events to rhythms of sonic saturation and rarefication. The synthetic textures created in real time by the artists evoke an organic unfolding of layered scales of time. The ten-channel audio installation incorporates loudspeakers, subwoofers, directional speakers and anechoic sculptures to manipulate the natural resonance of Human Resources architectural acoustics, turning the gallery into an instrument. Both artists would like to acknowledge the pervading influence of Maryane Amacher’s groundbreaking work in their own unique practice. 更多…
2022-04-05	Cici Wu in Loong Mah Exhibition Entre Centre Et Absence
	Cici Wu is amongst the artists exhibiting at a new exhibition at Loong Mah titled Entre Centre Et Absence. She is exhibiting one of her recent new works on paper, titled Accepts Forgetting, As Well As Remembering 01 (2022). 更多…
2022-04-01	James T. Hong in e-flux Staff Picks
	James T. Hong’s Apologies (2016) is presented on e-flux Video & Film as the April 2022 edition of Staff Picks. “Originally designed as a video installation, Apologies is a compilation of modern political apologies and a timeline of political progress as unrepentant recidivism and contrite repetition. It is a continuing work-in-progress, and this version ends with 2016. Dozens of apologies are collected every year, and they will be added as time permits. The passage of time does not heal all wounds; it cannot settle all accounts or resolve all disputes. But the identities of the perceived perpetrators can change, and a national apology’s task is to document, to put on record, a symbolic act as a prelude to possible reconciliation and forgiveness. To achieve these ends, one’s sincerity is paramount, especially when reading from a script.” Watch Hong’s film at the link below. 更多…
2022-03-19	Tishan Hsu in American Academy of Arts and Letters Invitational Exhibition of Visual Arts
	The Invitational Exhibition of Visual Arts is an annual event for members of the American Academy of Arts and Letters to honor contemporary artists who they believe are making some of today’s most important and timely work. The exhibition opens on March 12 through May 22, 2022. The Invitational is an exhibition without a theme or a single author, and yet, certain tendencies emerge in this year’s installment. In many cases, the finished works destabilize, even disregard, old disciplinary questions rooted in hierarchy—is it a painting or a sculpture; art or craft? Instead, they opt for plenitude, for and, and, and. Objects in the exhibition extend the art historical archive to include artifacts of incarceration, migration, and climate emergency. They heighten our attention to color and scale. Artists employ a range of techniques: marbling, weaving, glazing, animation, found-object manipulation, collage, dark-room processing, and more, often in “wrong” or unconventional ways. We witness art’s capacity for surprise, and the enduring pleasure of material experimentation. Artists included in the exhibition: Candida Alvarez, Eddie Rodolfo Aparicio, Andrea Belag, Ellen Berkenblit, Kerstin Brätsch, Cynthia Daignault, Carl D’Alvia, Thomas Eggerer, Hadi Fallahpisheh, Keltie Ferris, Judy Fox, Joanne Greenbaum, Rachel Harrison, Anna Sew Hoy, Tishan Hsu, Jacqueline Humphries, Suzanne Jackson, Tomashi Jackson, Elisabeth Kley, Pam Lins, Rodney McMillian, Laura Newman, Janice Nowinski, Eileen Quinlan, Matt Saunders, Arlene Shechet, Arthur Simms, Michael Smith, Shinique Smith, Martine Syms, Kennedy Yanko 更多…
2022-03-18	Jes Fan in ArtNews
	Josie Thaddeus-Johns’s new feature “Not All Microbes”, Jes Fan’s Systems II is amongst the works cited in the author’s exploration of cellular microbes in contemporary art. “Covid, initially linked in the press to its origins in Wuhan, China, also sparked a dangerous wave of racism, evident in growing numbers of anti-Asian incidents since March 2020. But even before the pandemic, artists were considering how systems of classification such as race are socially constructed through fear about contamination and difference. Jes Fan makes this literal in his work Systems II (2018), a wood and resin sculpture inspired by the networks of fibers that fungi and plant roots create.” 更多…

On Thursday June 9th, 5 to 7PM CEST: Between the Enchantment of Technology and Technophobia

Selected Solo Exhibitions

Selected Group Exhibitions