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

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

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

Installation view from 22nd Biennale of Sydney: NIRIN

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

范加 (生於加拿大士嘉堡）在香港及紐約布魯克林生活及工作。范加的基礎訓練為玻璃製造，但他擴展創作實踐領域以涵蓋多種媒介和方法。由錄像到雕塑，他的跨科際實踐著眼於生物學與性別化及種族化身體物質性相對應身份的相交點。范加曾獲頒多個研究基金如 Pollock-Krasner Foundation Grant (2022)、Joan Mitchell Painters and Sculptors Grant（2017）及Jerome Hill Artist Fellowship（2019-2020）。近期展覽包括Empty Gallery, 香港 (2023、2018)；麻省理工 List Visual Arts Center、UCCA Dune (2022) ；Kunsthall Trondheim (2021)；上海外灘美術館，中國（2019）；Hayward Gallery，英國（2019）；藝術和設計博物館，美國（2017）。范加曾參與多個藝術家駐場計劃包括Bemis Center for Contemporary Arts、Recess Art和 Pioneer Works。他亦曾參與威尼斯雙年展(2022）、New Museum Triennial (2021)、利物浦雙年展（2021）、悉尼雙年展（2020）及Socrates Annual (2019）。2023年，他在M+博物館希克獎2023的展覽中展出了「Sites of Wounding: Chapter 2」。

他是由香港Empty Gallery 和紐約Andrew Kreps Gallery共同代理。

Jes Fan_Bio CV
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Jes-Fan-press-archive Updated July 23
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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:

Jes Fan


2025-07-09	Cici Wu, Summer Screening Program, 47 Canal
	Cici Wu is participating in 47 Canal’s Summer Screening Program, which opens July 9 and runs through August 15, 2025. Other participating artists include: Martin Beck, Danielle Dean, Andrew Hawkes, Elle Pérez, Sung Tieu and Zheng Yuan. 更多…
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…