Jacqueline Kiyomi Gork

1/1

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，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。

Jacqueline Kiyomi Gork_Bio CV
DOWNLOAD pdf (183 KB)

Jacqueline Kiyomi Gork press_April2025
DOWNLOAD pdf (10.0 MB)

Slugs, AI, Ghosts: Richard Hawkins’s Haunted House, now published in Frieze magazine

Getting Up Close and Personal with Painters Emma McIntyre and Richard Hawkins, published May 6, 2025:

Jacqueline Kiyomi Gork


2025-05-21	Raha Raissnia in Portrait II, Galerie Khoshbakht, New York
	Galerie Khoshbakht is thrilled to announce the opening of the exhibition Portrait II – presenting works by Beth Collar, Behrang Karimi, Mitchell Kehe, René Kemp, Yoora Park and Raha Raissnia. “With this exhibition we are presenting our programme to New York City. Bringing together a group of artists undoubtably will put things into perspective. Lively conjugations, visual languages, memories, material histories; they fold into each other, dragging one another by the hand. The system will be put in place. However, living these ways of instituting, putting the distant thinking on the side and allowing our own lived experience to take centre, we slowly come to the realization that institutions and programs, no matter how they express themselves, are a beautiful thing; not because we must be critical of them but because we live in them.” Opening: Friday, May 23, 6–8 pm May 24 – June 28, 2025 更多…
2025-05-14	Bradford Nordeen: Slugs, AI, Ghosts: Richard Hawkins’s Haunted House
	Slugs, AI, Ghosts: Richard Hawkins’s Haunted House, now published in Frieze magazine Drawing inspiration from Butoh, the artist’s show at Empty Gallery, Hong Kong, features collages of queer bodies “We know we’re in a haunted house: Slug Sex (2025) – a video projection of two encircling slugs – is our first sight in ‘The Garden of Loved Ones’. Its cast light catches in the cobwebs of the gallery’s darker corners. The slug who deigns to top pushes out a goopy blue phallus that runs the length of its body, slugs being a hermaphroditic species. And this, being a Richard Hawkins joint. Around the bend hang the 2012 ‘Ankoku’ collages, exhibited in that year’s Whitney Biennial. These compositions – hastily cut archival materials and notes taped intuitively beside printouts and calligraphy – mimic the notebooks of Tatsumi Hijikata, founder of the postwar Japanese dance form Butoh. Their posthumous publication disclosed how Hijikata approached choreography with a collage-like glom, pasting gestures torn from Western art history books alongside handwritten directives. Bruce Baird and Rosemary Candelario write in The Routledge Companion to Butoh Performance (2019), Butoh – which roughly translates to ‘waltz of darkness’ – is a loosening of signification that champions ‘arbitrary chains of movement [and] diseased or socially dispossessed peoples, or bodies in pain’.” 更多…
2025-05-06	Richard Hawkins and Emma McIntyre in Interview
	Getting Up Close and Personal with Painters Emma McIntyre and Richard Hawkins, published May 6, 2025: Born in New Zealand and now based in Los Angeles, the artist Emma McIntyre is no stranger to frequent travel. But the vibrant art scene of Hong Kong, the site of her second exhibition with David Zwirner, is a bit farther afield than even McIntyre ever imagined herself. Titled Among my swan, a name she’s borrowed from Mazzy Star, the show demonstrates the artist’s taste for chromatic abstractions that transcend the limits of language. “By introducing the swan motif,” McIntyre told Richard Hawkins last month, “I can connect to all the painted swans in art history.” She does so using oil paint alongside unconventional materials like oxidized iron, a gambit, Hawkins says, that suggests McIntyre’s granular attention to her artistic forbearers. “I think the difference is your investment in the history of painting,” he says, “but also how closely you look at other paintings.” Fresh off his own show at Hong Kong’s Empty Gallery, The Garden of Loved Ones, he and McIntyre got on a Zoom to discuss their shared obsessions: Baudelaire, art historian Michael Levey, and painting with your body, literally. 更多…
2025-04-22	Doris Guo: Oslo Open Studios
	As part of Oslo Open ’25, Doris Guo and other artists will be opening their studios from April 26-27 this weekend. 更多…
2025-04-20	7pm in Hong Kong by Geoffrey Mak, Spike Art Magazine
	As the roof caved in on the empire of the US dollar, a son of the diaspora returned to an art market buzzing despite censorship and mass exodus. Enter the Chinese century? 1. Hong Kong, a Special Administrative Region of the People’s Republic of China, lives in an area of my mind with high green hills and banquet halls and concrete residential towers whose balconies jut like vertebrae along spines made of stone. Wild boar roam the hills in the dark. Political prisoners in the Stanley jail bake in humidity and sweat without any air-conditioning. Jet-lagged from New York, I was taking a nap one afternoon in our hotel on the southern coast of Hong Kong Island, and was dreaming that someone I loved was handing me a piece of paper. I began pulling at it with both hands – it was blank, no message – until I felt someone kissing my face. 更多…
2025-04-11	Jaime Chu interviews Stephen Cheng in Spike Art Magazine
	Stephen Cheng on Ten Years of Empty Gallery, Jaime Chu, Spike Art Magazine The founder of Hong Kong art’s black cube on sheltering artists from the system, programming as film-making, and the experimental drug called jet lag. When I first moved back to Hong Kong as an adult in 2023, a new friend tried to recommend me cool things to do: “During a performance at the closing party for Vunkwan Tam’s show at Empty last year, [owner of noise label Mouhoi] Cedric Ng punched a sink until his hands bled.” They knew what to say, but they didn’t have to try so hard. In Hong Kong, historically an entrepot dominated by blue-chip galleries, unwieldy semi-private institutions, and a constellation of independent art spaces surviving precariously under colossal real estate conditions, Stephen Cheng’s Empty Gallery occupies an eclectic yet somehow exacting niche. It’s where minimalist experimental music, Japanese conceptual art and its heirs, and sculptural and filmic practices at the forefront of the Asian diaspora converge in a renovated industrial space notorious for its dark, cavernous interior. Friends who don’t otherwise care for contemporary art bring themselves to the hour-long queue for the gallery’s annual rave, and its artists have found genuine interlocutors within an industry that does not always afford them time. 更多…
2025-04-01	Richard Hawkins' The Garden of Loved Ones opens at Empty Gallery
	Our current solo exhibition of Richard Hawkins, The Garden of Loved Ones, opened on March 23, 2025, and was written up in the following publications: The best shows to see in Hong Kong ahead of Art Basel, Payal Uttam, Art Basel Nine Solo Shows to See in Hong Kong, Spring 2025, Anna Dickie, Ocula 7 Shows to See During Hong Kong Art Week 2025, Claire Shiying Li, Frieze Headed to Art Basel Hong Kong? You Need to Make Time for the City’s 13 Can’t-Miss Exhibitions, Giuliana Brida and Katie Kern, Cultured Shows to See in Hong Kong, March 2025, ArtAsiaPacific The exhibition, along with TRST03 Covey Gong, will be on view through May 24, 2025.
2025-03-19	Ophelia Lai interviews Stephen Cheng in Financial Times
	Ophela Lai, on the occasion of Empty Gallery’s 10th anniversary, interviewed Stephen Cheng, our gallery founder, in the Financial Times: “A pitch-black art gallery — now that’s a bright idea: Empty Gallery, a ‘black-cube’ arts space situated in a Hong Kong high-rise, has a reputation for immersive, experimental experiences: Hong Kong’s Empty Gallery envelops you in darkness. The lift doors open and, for the few seconds before your eyes adjust, there is nothing but a void — no walls, no doors, no floor. Stephen Cheng opened the gallery in 2015 in an industrial high-rise block in Aberdeen harbour. It is a “black cube”: an inversion of the white-walled space that has been the default for showing art since the 20th century. Born in New York, Cheng — the grandson of Hong Kong shipping magnate Yue Kong-Pao — was educated at Eton, and later Harvard where he studied photography and film history (and took classes with Nan Goldin). Darkrooms and cinemas became his favourite haunts. It was in dark spaces where art entered his life “in an irrevocable way”. 更多…
2025-03-07	Tishan Hsu at the San Jose Museum of Modern Art
	March 7, 2025 – ongoing Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection, the Museum invites a deeper sense of community pride in the collection. The exhibition includes Tishan Hsu’s phone-breath-bed 3, 2023, which the museum acquired in 2024 for their permanent collection. Initiated in 1973 under the guidance of San José artists, SJMA’s collection has grown to reflect our international point of convergence, where dynamic cultural diversity and high-tech industries mix in California soil. SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process. Organized into thematic groupings, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond, including Ruth Asawa, Martha Atienza, Shilpa Gupta, Yolanda López, and Elias Sime, among many others. 更多…
2025-03-05	Raha Raissnia in There Is No Center, ROH Projects, Jakarta
	There Is No Center at ROH Projects arrives not as a conventional presentation of artworks, but as an event in the truest sense—a disturbance in the usual flow of time. Extending beyond the gallery’s familiar five-week format, the twelve-week-long exhibition challenges the static nature of traditional exhibition-making, embracing a fluid proposition in which artworks enter and exit the exhibition at irregular intervals and for undisclosed periods, and performative actions instigate reconfigurations of how and where works are positioned. These movements establish ever-changing contexts and reconsideration of the works vis a vis in relation to each other, as well as in relation to themselves. Raha Raissnia will be installing new paintings in the second week of March, and hosting a film-performance on March 9. Read more details at the link below. 更多…