Taro Masushio is participating in the group exhibition Cool Invitations 11, from January 18 through February 2, 2025. The exhibition at XYZ Collective, Tokyo, is curated by MISAKO&ROSEN.
Participating artists include: Maki Katayama, Yui Yaegashi, Ryohei Usui, Chan Cho Kiu Bunchi, COBRA, Futoshi Miyagi, Zon Ito, Ryoko Aoki, Hiroshi Sugito, Shunsuke Imai, Masaya Chiba, Hanna Hur, Trevor Shimizu, John Riepenhoff, Sara Caron, Will Rogan, Margaret Lee, Taro Masushio, Hikotaro Kanehira, MISAKO&ROSEN
The gallery is open Thursday – Saturday from 1pm – 6pm, as well as Sundays, 1pm – 5pm. It is closed on Mon, Tue, Wed and National holidays.
Xper.Xr will participating in a two-person exhibition with Delia Gonzalez at Hot Wheels Athens London, as part of Condo London, taking place 18 January through 15 February, 2025.
Empty Gallery is pleased to participate in the third edition of Dallas Invitational, from April 10–12 at the historic Mansion on Turtle Creek.
Organised by Olivia Shao, Legal Size is a group exhibition at Gandt, New York, from December 7 through February 9, 2025.
Participating artists include: Richard Aldrich, George Brecht, Lyndon Barrois Jr., Elise Duryee-browner, Curie Choi, Franz Erhard Walther, Peter Fischli, Jef Geys, Doris Guo, Raymond Hains, Bradley Kronz, Matthew Langan Peck, Sylvia Plimack Mangold, Aki Sasamoto, Enzo Shalom, Mike Smith and Rosemarie Trockel.
Amid his exhibition at Empty Gallery, Hong Kong, the Japanese bricolage photographer presents art as helping us sit with the discomfort of the unknown.
In the last essay he published before passing away on 23 October 2024, Gary Indiana wrote about photographs: “We all live at least one or two lives that we subtract from our biographies. Areas of un-revisited, unhealed pain or such monumental nothingness that they’re not worth remembering. Then, infrequently, some evidence turns up, often photographic evidence. You are seized, suddenly, by a grisly species of curiosity.”
Born in Japan and now living in New York, artist Taro Masushio’s exhibition “Pass” at Empty Gallery, Hong Kong is replete with photographic evidence, but contains little of facts and does not reward undue curiosity. Masushio’s reprinting of his father’s amateur travel photography on the cardboard of care packages shipped across the world from father to son conjures a haptic, material intimacy mediated by impersonal logistics networks. A series of sparing, high-contrast still-life photographs catalogues enigmatic objects sourced intuitively from his father’s belongings and the artist’s own collection – a book of Rimbaud’s poetry, a pair of male Ainu figurines, testosterone supplements, photo paper, a darkroom safe light. The effect is disruption of the impulse towards certainty in meaning-making, the recognizable objects utterly drained of their indexicality, despite their unambiguous familial, autobiographical, and sexual connotations.
“Just as he is uninterested in entrenching binaries of fact and fiction, resistance and capitulation, or authorship and appropriation, Taro Masushio is likewise wary of identitarian overdeterminations and the corollary imperative to verify and reveal any singular “truths” behind his photography. He sets himself the task of resisting the medium’s claims to the indisputable legibility of subjects in front of or behind its lens. His latest show at Empty Gallery, Hong Kong (all works 2024), juxtaposes two types of photography—UV prints on found cardboard and more traditional still lifes—to complicate the medium’s supposed technological purchase on truth and transparency. It highlights his proclivity for playful formal experimentation when faced with the camera’s potential for capture, which has often proven symptomatic of the colonial hunger for knowledge, order, and coherence. Through his shrewd sequencing of images, the artist seems to suggest that the medium of photography holds the capacity to conceal and equivocate, despite its presumed indexical fidelity to the “real.””
Empty Gallery is pleased to support Para Site’s 2024 Benefit Auction. The works by Doris Guo & Weili Wang and James T. Hong are available to view on 9/F of H Queen’s in Hong Kong through 17 November, the silent auction will continue through November 20, 10.30pm HKT.
In issue 141 of ArtAsiaPacific, deputy editor H.G. Masters covered James T. Hong’s Apologies, which was on view at Empty Gallery from June through August 2024.
At the Renaissance Society, Gork develops a new project for the Intermissions series in collaboration with performer, sound artist, and electronic musician Laetitia Sonami. Directly engaging with this unique setting, Gork introduces new physical elements into the empty gallery space, positions multiple sound sources, and experiments with the room’s unusual acoustics. For two days, Sonami and Gork mobilize and shape the sound within this environment across various listening zones. Visitors are free to come and go during the durational performance.
Curated by Karsten Lund with Michael Harrison
Special thanks to Meyer Sound, Berkeley, CA.
On the weekend of November 8-9, Winsome Wong will present ‘Love Song: the bittersweet crumbs of having them at home’ in collaboration with Vunkwan Tam and Annisa Cheung, at Tai Kwun’s HICCUP, a festival of body and sound co-presented by Tai Kwun Contemporary, Contemporary Musiking Hong Kong (Sound Forms), and Per.Platform.
For the full schedule, see the link below.
杉原玲那（生於1988年）是一位東京藝術家。她於2013年在東京藝術大學獲得學士學位，並於2018年在倫敦皇家藝術學院獲得繪畫碩士學位。她曾在Arcadia Missa（倫敦，2024年）、MISAKO & ROSEN（東京，2022年）和Lavender Opener Chair（東京，2021年）舉辦個展。杉原亦在世界各地參加群展，包括東京都寫真美術館（東京，2024年）、ROH（雅加達，2024年）、47 Canal（紐約，2023年）、Park View/ Paul Soto（洛杉磯，2022年）、N/A（首爾，2022年）、MISAKO & ROSEN（2022年）。
杉原是藝術家群體im labor的成員，並與大谷透共同經營展覽空間2x2x2。
