Jes Fan

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Contrapposto, Cross Section (Right Leg Muscle II), Cross Section (Right Leg Muscle III), Gut on view at Whitney Biennial: Even Better Than the Real Thing, March 20 – August 20, 2024. Organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. Photography: Ron Amstutz

Installation view, Whitney Biennial: Even Better Than the Real Thing, March 20 – August 20, 2024. Organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. Photography: Ron Amstutz

Installation view, Whitney Biennial: Even Better Than the Real Thing, March 20 – August 20, 2024. Organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. Photography: Ron Amstutz

Jes Fan, Gut, 2024, 3D print of artist’s internal organ, fiberglass, resin, pigment, glass, metal, 35.36 x 78.74 x 21.59 cm

Jes Fan, Gut, 2024, 3D print of artist’s internal organ, fiberglass, resin, pigment, glass, metal, 35.36 x 78.74 x 21.59 cm

Jes Fan, Adductor 2024, pigmented polymer-modified gypsum, glass, 40.64 x 40.64 x 30.48 cm

Installation views, Jes Fan, Sites of Wounding: Chapter 2, Sigg Prize 2023

Courtesy of M+ Museum, Hong Kong
Photography: Michael Yu

Installation views, Jes Fan, Sites of Wounding: Chapter 2, Sigg Prize 2023

Courtesy of M+ Museum, Hong Kong
Photography: Michael Yu

Installation views, Jes Fan, Sites of Wounding: Chapter 2, Sigg Prize 2023

Courtesy of M+ Museum, Hong Kong
Photography: Michael Yu

Jes Fan, Bivalve II, 2023 002

Jes Fan, Bivalve II, 2023. Aqua resin, glass, pigments and metal. 135.3 x 88.9 x 34.9 cm.

Left: Wounding, 2022. Middle: Fragrant Harbor, 2022. Right: Apparatus, 2022.

Installation view, The 59th La Biennale di Venezia 2022: ‘The Milk of Dreams’

Jes Fan, Fragrant Harbour, 2022. Glass, aqua resin, metal, wood, silicone, 190 x 114 x 79 cm.

Installation view of Network (for Dispersal), 2021, at Liquid Ground, UCCA Dune, 2022
Photography by Sun Shi
Courtesy UCCA Center for Contemporary Art

Installation view from ‘The Stomach and the Port,’ Liverpool Biennial, 2021

Image courtesy of the artist and Liverpool Biennial 2021
Photo: Stuart Whipps

Jes Fan, Form Begets Function, 2020

Installation view from 22nd Biennale of Sydney: NIRIN

Image courtesy of the artist and 22nd Biennale of Sydney: NIRIN, Museum of Contemporary Art Australia

Jes Fan (b. Scarborough, Canada) lives and works in Hong Kong and Brooklyn, USA. Fan originally trained in glass making, but has expanded his practice to encompass diverse mediums and approaches. From videos to sculptures, his trans-disciplinary practice speculates on the intersection of biology and identity in relation to the materiality of the gendered and racialised body. Fan is the recipient of various fellowships and residencies, including Creative Capital Wild Futures Grant (2024), Pollock-Krasner Foundation Grant (2022), Joan Mitchell Fellowship (2017), as well as the Jerome Hill Artist Fellowship (2019-2020).

Recent exhibitions include Hessel Museum of Art; Bard College, K11 Foundation, Hong Kong (2024); Gió Marconi Gallery, Milan, Ballroom Marfa, Texas, KADIST, San Francisco, Institute of Contemporary Art, Philadelphia, (2023); Tai Kwun Contemporary, Hong Kong, MIT List Visual Arts Center, UCCA Dune (2022); Kunsthall Trondheim (2021); X Museum (2020); Rockbund Art Museum, China (2019); Hayward Gallery, UK (2019); Empty Gallery, Hong Kong (2018); and Museum of Arts and Design, USA (2017). Fan has also participated in numerous artist residencies with institutions including the Bemis Center for Contemporary Arts, Recess Art, Smack Mellon and Pioneer Works. He also participated in the Whitney Biennial; Greater Toronto Art: Triennial (2024), Venice Biennale (2022), New Museum Triennial (2021), Liverpool Biennale (2021), Sydney Biennale (2020), Socrates Annual (2019). In 2023, he presented a second solo show with Empty Gallery, Sites of Wounding: Chapter 1. He recently presented Sites of Wounding: Chapter 2 at M+ Museum, Hong Kong as a 2023 Sigg Prize finalist.

Current:

Whitney Biennial 2024: Even Better Than the Real Thing
Curated by Chrissie Iles and Meg Onli, with Min Sun Jeon and Beatriz Cifuentes
March 20, – August 11, 2024

Greater Toronto Triennial, Museum of Contemporary Art, Toronto
Curated by Kate Wong, Ebony L. Haynes, and Toleen Touq
March 23 – July 28, 2024

Press:

Jenny Wu, Whitney Biennial 2024 Review: Baby Steps, ArtReview, March 21
Emily Watlington, “A Whitney Biennial with No Heroes and No Villains”, Art in America
Sebastian Smee, “A superb Whitney Biennial, marred by flimsy politics”, The Washington Post
Jason Farago, Travis Diehl and Martha Schwendener, “Dozens of Artists, 3 Critics: Who’s Afraid of the Whitney Biennial 2024?”, New York Times
Alex Greenberger, “A Blazing, Brilliant Whitney Biennial Heralds a New Kind of Body Art”, ARTnews