Tishan Hsu

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Installation view, *Tishan Hsu: recent work*, Secession, Austria, December 1, 2023 – February 11, 2024. Photography: Oliver Ottenschlaeger. © Tishan Hsu / Artists Rights Society (ARS), New York

Installation view, Tishan Hsu, MAMCO Genève, March 5 – June 9, 2024. Photo © Annik Wetter, MAMCO Genève, 2024. © Tishan Hsu / Artists Rights Society (ARS), New York

Installation view, *Tishan Hsu: screen-skins*, Empty Gallery, 2023

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

Tishan Hsu, *breath 9*, 2023

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

Installation view at 59th International Art Exhibition, Venice Biennale: ‘The Milk of Dreams,’ curated by Cecilia Alemani at Arsenale, 2022

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

(Left) *It’s Not the Bullet but the Hole 2*, 1991. (Front) *Virtual Flow*, 1990-2018. (Right) *Fingerpainting*, 1994
Installation view at ‘Liquid Circuit,’ Hammer Museum; Los Angeles, 2020
Photo: Jeff McLane

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

*Cellular-Automata*, 1989
Installation view at ‘Tishan Hsu,’ Pat Hearn Gallery; New York, 1989
Private collection

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

Installation view at ‘Glow Like That’, K11 Art Foundation, 2019

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

Installation view, *Tishan Hsu: delete*, Empty Gallery, 2019 (L) *Dread-Fog*, 2013; (R) *Boating Scene 1.1.3*, 2019

Courtesy the artist; Empty Gallery, Hong Kong, Miguel Abreu Gallery; New York
© Tishan Hsu / Artists Rights Society (ARS), New York

Born in Boston, Massachusetts, Hsu’s early years were in Zurich, Switzerland, and Ohio, Wisconsin, Virginia and New York, U.S. Hsu had his first one-person show as a teenager in Roanoke, Virginia, where his paintings were exhibited in museums throughout the region. He received his B.S.A.D in 1973 and M.Arch in 1975 from Massachusetts Institute of Technology. While at MIT, he also studied film and photography at the Carpenter Center, Harvard University. Hsu has resided in New York since 1979. Hsu first showed in New York at the Pat Hearn Gallery. Since 1985, Hsu has shown extensively in the US, Europe, Mexico and Asia, with works in many public and private collections. From 1988-90, Hsu lived and worked in Cologne, Germany and from 2014-16 in Shanghai, China.

Much of the artist’s work has attempted to convey the changing cognitive and physical effects of an embodied technology. Hsu’s interest in technology has not been in the use of a particular apparatus but the perception of a technological affect. His work has included drawings, paintings, interactive digital media projections, and sculpture.

Hsu has held solo exhibitions at institutions including Museum of Contemporary Art Toronto (2024); Secession, Vienna, Austria (2023/2024); MAMCO Geneve, Geneva, Switzerland (2024); Hammer Museum, Los Angeles, California (2021); Sculpture Center, New York, New York (2020/2021); MIT. List Visual Arts Center, Cambridge, Massachusetts (1988); and Carnegie University Art Gallery, Pittsburgh, Pennsylvania (1987).

His work has been included in recent group exhibitions, including Together in Time: Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles, California (2023); Day Jobs, Blanton Museum of Art, Austin, Texas (2023) and Cantor Arts Center, Stanford University, Palo Alto, California (2024); Human Is, Schinkel Pavillon, Berlin, Germany (2023); In the Balance: Between Painting and Sculpture, 1965–1985, Whitney Museum of American Art, New York, New York (2022); Cloud Walkers, Leeum Museum of Art, Seoul, South Korea (2022); A Gateway to Possible Worlds: Art & Science-Fiction, Centre Pompidou-Metz, Metz, France (2022); and Zeros + Ones, KW Institute for Contemporary Art, Berlin, Germany (2021). He has participated in major international group exhibitions and biennials, including The Milk of Dreams, the 59th Venice Biennale, Venice, Italy (2022); and Is it morning for you yet?, 58th Carnegie International, Carnegie Museum of Art, Pittsburgh, Philadelphia (2022).

Selected public and private collections include Metropolitan Museum, New York; Centre Pompidou, Paris; Museum fur Moderne Kunst (MMK), Frankfurt am Main; High Museum, Atlanta; Los Angeles Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, North Miami; The Rubell Family Collection, Miami; Weisman Museum, Minneapolis; and The Whitney Museum of American Art, New York. Hsu has served as a Member of the Board of White Columns and a Governor for the Skowhegan School of Painting and Sculpture. He was a Professor of Sculpture at Sarah Lawrence College and a visiting professor at Pratt Institute and Harvard University.

In 2019, Hsu opened a solo exhibition delete at Empty Gallery. skin-screen-grass, his first solo show with Miguel Abreu Gallery, was held in 2021. He opened a second solo exhibition with Empty Gallery, screen-skins, in March 2023.

Hsu is co-represented by Empty Gallery, Hong Kong, and Miguel Abreu Gallery, New York.

CURRENT:

The Living End: Painting and Other Technologies, 1970–2020
Museum of Contemporary Art Chicago
Nov 9, 2024 – Apr 13, 2025

Post Human
Jeffrey Deitch, Los Angeles
September 12 – December 21, 2024

Interface Remix
Museum of Contemporary Art, Toronto
September 8, 2024 – January 26, 2025

High Line Commission, New York City
Curated by Cecilia Alemani
May 2024 – April 2025


2024-12-19	Xper.Xr, Condo London, Hot Wheels
	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. Read more …
2024-12-07	Doris Guo, Legal Size, Gandt
	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.
2024-11-26	Taro Masushio Folds the Fictional In on Itself, by Jaime Chu in Spike Art Magazine
	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. Read more …
2024-11-16	Taro Masushio, Pass, by Wong Binghao in Mousse Magazine
	“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.”” Read more …
2024-11-14	Para Site 2024 Benefit Auction
	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. Read more …
2024-11-06	H.G. Masters on James T. Hong at Empty Gallery
	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. Read more …
2024-11-05	Intermissions: Jacqueline Kiyomi Gork & Laetitia Sonami at Renaissance Society, Chicago
	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. Read more …
2024-11-05	Vunkwan Tam collaborating with Winsome Wong and Annisa Cheung, HICCUP, Tai Kwun, Hong Kong
	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. Read more …
2024-11-01	Doris Guo, The Jar at K4, Oslo
	Doris Guo’s solo presentation, The Jar, is on view November 1st through 24th at K4 in Oslo, a non-profit gallery space for video art and moving image. The exhibition is open on Saturdays and Sundays, please see the link below for further details. “The starting point of this exhibition was based on my desire for having always wanted to make a horror movie. At many periods of my life, especially busy and stressful ones, I take comfort in throwing on any horror movie, cheesy and predictable with familiar sounds and jump scares. Amongst the many horror tropes one might experience, I particularly get a lot of enjoyment out of police and military being utterly useless. It’s an assumed, natural fact of the characters and by the general audience. I wanted to set my horror movie in a particular style of housing in the Pacific Northwest.” Read more …
2024-10-26	Cici Wu, Travel Star Between Ceasing and Arising, Scheusal Berlin
	Cici Wu’s solo exhibition Travel Star Between Ceasing and Arising is now on view at Scheusal Berlin from October 26th onwards.

Marilena Borriello, ‘Tishan Hsu, MAMCO / Genève,’ Flash Art