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 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:

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

The Infinite Woman
The Fondation Carmignac, Villa Carmignac
April 26 – November 2, 2024

Between Pixel and Pigment
Museum Marta Herford & Kunsthalle Bielefeld, Germany
July 7 – November 10, 2024

Yours Truly
Nahmad Contemporary, New York
Curated by Eleanor Cayre
July 10 – September 14, 2024

Sound art as performance, choreography, and object. Jacqueline Kiyomi Gork by Byron Westbrook in BOMB:

Tishan Hsu

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


2024-06-28	Tishan Hsu on the High Line, New York
	Two new sculptures by Tishan Hsu, car-grass-screen-2 and car-body-screen-2 are now on view at the High Line New York, at at Little W 12th St. and Washington St. Hsu first began making these resin-wrapped foam sculptures at the 58th Carnegie International in 2022. The works will be on view through April 2025, and the commissioning curator is Cecilia Alemani. Read more …
2024-06-14	Doris Guo in All Good Things, Hulias, Norway
	“All Good Things” at Hulias Norway will be on view through July 7 and is open from 13:00 to 16:00 every Saturday and Sunday during the exhibition. Participating artists include Spencer Lai (AU), Maria Gorodeckaya (RU,GB), Giles Thackway (AU), Doris Guo (US) and Ewa Poniatowska (PL). Curated by Marie-Alix Isdahl, the exhibition features a projector artwork work by Doris Guo titled Kitchen Bathroom Confusion (2023). Read more …
2024-05-22	Le Contre-Ciel in Frieze Magazine
	Stephanie Bailey on Le Contre-Ciel in Frieze Magazine: “Named after 20th-century French surrealist René Daumal’s writings on death as regenerative negation, ‘Le Contre-Ciel’ (The Counter Heaven) at Empty Gallery, Hong Kong, is more revelation than exhibition. Organized by Olivia Shao, the group show opens with the meditative sounds of a gong chiming over softly clanging cymbals. These emanate from a work that is not yet visible: Francis Alÿs’s Cuentos Patrióticos (Patriotic Tales, 1997), a black and white video that shows the artist leading sheep in single file around a giant flagpole in the centre of Zócalo, Mexico City’s main square, to form a looping circle. The performance references an event that took place in 1968, amid a student-led Mexican movement for political change, when civil servants ordered to show support for the government bleated in the square in protest. The work’s presence plays with the meaning of ‘The Counter Heaven’ in the context of Hong Kong, given that Chinese emperors believed they had the divine right to rule due to the Mandate of Heaven.” Read more …
2024-05-08	James T. Hong at Bonner Kunstverein
	It is light is a group exhibition featuring Ada Frände, Blalla W. Hallmann, Julia Heyward, James T. Hong, Udo Lefin, Rachel Reupke, Bernard Szajner, Camilla Wills, curated by Fatima Hellberg. It is light is a two-part exhibition realised between Bonner Kunstverein and Haus Mödrath – Räume für Kunst, from May 11 – July 28, 2024. Opening: Friday 10 May, from 7pm Read more …
2024-05-08	Raha Raissnia at Taipei Dangdai
	Raha Raissnia is participating in Before Thunders, May 10-12 at Taipei Dangdai: For the first time, Taipei Dangdai Art & Ideas will present a curated exhibition within the fair co-hosted by the Ministry of Culture. Titled “Before Thunders: An Exhibition of Taiwanese Artists” the exhibition focuses on the work of a dozen largely mid-career artists selected by four curators who will participate in the Ideas Forum 2024: Zian Chen, Martin Germann, Esther Lu, and Wong Binghao. This project supports the fair’s core goal of bringing art from Taiwan from across the spectrum—from those represented by the leading galleries participating in the fair to those working largely outside the market—to greater international attention and demonstrates the fair’s ongoing interest in building partnerships with public and private organizations throughout Taiwan’s vibrant art scene.
2024-05-03	Raha Raissnia at Galerie Khoshbakht
	Raha Raissnia’s Untitled (2018) is on view at Nevers, Galerie Khoskbakht, Cologne, May 4 through 30. Galerie Khoshbakht is delighted to announce Nevers, an exhibition with works by Beth Collar, Keta Gavasheli, Nicole Gravier, Raha Raissnia and Ulrike Schulze. Nevers brings together artists who deal with the question of the representable and the unrepresentable, who negotiate the interior and exterior of reality in relation to their media. Sometimes it seems that reality is too big to be experienced as a whole, that it is perhaps also too cruel to want to experience it directly. Thus, each artist explores the question of representation and the representable, the articulable, in their own unique way by using means of alienation and translation. Read more …
2024-04-27	Doris Guo at Artists Space, New York
	Opening May 23 through August 10: Artists Space is pleased to present an exhibition of new and recent work by Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, and Ruben Ulises Rodriguez Montoya. Read more …
2024-04-06	Jes Fan in Weight of Mind, Hessel Museum of Art
	Artists: Kaari Upson, Jes Fan, and Lucas Blalock Dates: April 6 – May 26, 2024 Weight of Mind at Hessel Museum of Art, Bard College questions how memory is embodied and given new form in the works of three artists: Kaari Upson, Jes Fan, and Lucas Blalock. In divergent ways, their works—across sculpture and photography—examine how past experiences are transformed through different methods of translation, from molding and casting to pigmentation to digital manipulation. By thickening fragmented memories or past sensations, the artists invite the audience to examine moments of change that otherwise would be fleeting. The exhibition is curated by Thalia Stefaniuk. Read more …
2024-03-29	Artsy: The 10 Best Booths at Art Basel Hong Kong 2024
	Payal Uttam in Artsy: “Amid the glistening neon of Hong Kong’s iconic skyline this week, the M+ Museum façade was alight with an evocative black-and-white film by Yang Fudong—just one of many signs that Art Basel Hong Kong, and a flurry of other art events, had taken over the city… The first thing that catches your eye at Hong Kong–based Empty Gallery’s booth are Jes Fan’s sensuous organic sculptures made of hand-blown glass and carved gypsum. A rising star in the international art scene, Fan is known for taking CT scans of his body and creating printed casts of body parts to create his work. Another highlight of the booth is Jacqueline Kiyomi Gork’s slick kimono-shaped wall sculpture made of stitched poured silicone, a sound-buffering material. The work functions as a “noise blanket” with the thick textured surface deflecting sound. Taiwan-based Iranian American artist Raha Raissnia’s monumental oil painting inspired by experimental cinema is also a standout. Painted using the traditional method of grisaille, her ethereal painting appears to almost quiver and vibrate.” Read more …
2024-03-24	Jacqueline Kiyomi Gork interviewed for BOMB
	Sound art as performance, choreography, and object. Jacqueline Kiyomi Gork by Byron Westbrook in BOMB: “Jacqueline Kiyomi Gork’s work occupies a singular space at a nexus of visual arts and sound composition. With a multifaceted sphere of influences that includes textiles, club music, archaeoacoustics, and choreography, she has one of the most rigorous and unique practices in what is often termed sound art. Her work manifests as a generous space for audience exploration, where sculpture, sound, and interactive installation environments live and breathe in a symbiotic collaboration with viewer and architecture. Kiyomi Gork’s first East Coast institutional solo exhibition, Poems of Electronic Air, at Harvard University’s Carpenter Center presents an expansive survey of her ideas and work. In the conversation below, I speak with her about concepts explored in the show, including participation, feedback systems, surveillance, choreography, and sonic forms as expressive metaphor.” —Byron Westbrook Read more …