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，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。

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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


2025-07-02	Doris Guo, Visitor, Clementin Seedorf, Cologne
	Clementin Seedorf are excited to announce a solo exhibition of photographs by Doris Guo, ‘Visitor’ opens on Friday 27 June from 6-9 pm in Cologne, and will be on view through 8 August 2025. 更多…
2025-06-07	Vunkwan Tam in Don't worry, what happens happens mostly without you, madame leniou, Athens
	madame leniou returns—briefly—to Athens, to a domestic space: a 1936 apartment designed by Dimitris Pikionis, everything you ever wanted. Convince yourself that’s what you want. After a brief winter and unnaturally sunny but cruel spring she comes back to a life she used to have. The lifestyle spoiled. The spoils of lifestyle. […] Participating artists include: Steve Bishop, Anna Clegg, Ian Law, Erasmia Kadinopoulou, Will Sheridan Jr., Vunkwan Tam, Constantin Thun opening in Athens: Saturday 07 June, 2025, 3–7pm. Open through June, by appointment. 更多…
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…
2025-05-20	Henry Shum and Taro Masushio in The Decameron, ZHI Foundation
	ZHI Foundation in Beijing has opened a new exhibition inspired by Giovanni Boccaccio’s The Decameron, on view from May 20 2025 through March 30 2026. Participating artists include Fei Erqi, Wang Hui, Yu Zhiding, Gai Qi, Mai Trung Thu, K.C. Chww, Cheung Pak Kan, Wing-Tong Lee, Luigi Ghirri, Robert Mapplethorpe, Martin Wong, David Rappeneau. Liu Xiaodong, Liu Ye, Elizabeth Peyton, Kai Althoff, Yuichi Yokoyama, Izumi Kato, Wang Xingwei, Urs Fischer, Anri Sala, Mika Rottenberg, Allison Katz, Evelyn Taocheng Wang, Sanya Kantarovsky, Yu Nishimura, Chen Fei, Firenze Lai, Tao Hui, Raphaela Simon, Brook Hsu, Sasaoka Yuriko, Taro Masushio, Hiroka Yamashita and Henry Shum. 更多…
2025-05-15	Tishan Hsu in 360°: Why We Paint? at BY ART MATTERS, Hangzhou
	A new wallpaper and three wall-based works by Tishan Hsu are on view at the exhibition “360°: why we paint?” at BY ART MATTERS, Hangzhou, curated by Stefano Collicelli Cagol and Sun Man, running from 16 May to 12 October 2025. A collaboration between BY ART MATTERS and Il Centro per l’Arte Contemporanea Luigi Pecci in Italy, the exhibition presents over a hundred works by 39 artists internationally. 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…
2025-05-02	Cici Wu: Lanterns from the Unreturned at Rockbund Art Museum, Shanghai
	Cici Wu: Lanterns from the Unreturned marks the artist’s first institutional solo exhibition, bringing together key works from the past decade and centering on a new large-scale, site-specific commission of the same name. Central to the exhibition is Lanterns from the Unreturned (2025), a newly commissioned site-specific installation occupying the museum’s East Staircase. Originally built in 1933 for the Royal Asiatic Society, the building was repurposed in the 1970s to store confiscated books during the Cultural Revolution. Wu reanimates this forgotten history through arrangements of lanterns in book form, handcrafted from bamboo and conservation-grade paper traditionally used in rare book restoration. These sculptures line the staircase’s windows and interior, echoing the bundled books that once filled the space. The installation imagines a spectral return, volumes drifting back into the building as flickering presences, alive with the possibility of being read once more. At dusk, the lanterns begin to glow, casting inward and outward light, illuminating the museum’s East Staircase like a vertical scroll. Visible from Huqiu Road even after the museum’s operation hours, these fragile vessels hold space for the unspoken and the unreturned, allowing stories once silenced to shimmer faintly back into view. The exhibition is organized by X Zhu-Nowell, Executive Director and Chief Curator and Karen Wang, Assistant Curator and Researcher at Rockbund Art Museum. On view through September 28, 2025 and a year-long, site-specific installation. 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…