Vunkwan Tam’s F was recently reviewed by Cassie Kaixin Liu in Frieze magazine. “With simultaneously mournful and irreverent works, ‘F’ at Empty Gallery is haunted by our inability to process grief in the internet age.”
The opening of Signaling, a new group exhibition at KinoSaito NY, coincides with their one-year anniversary (September 10, 2022). Curated by Alexander Provan, the exhibition will run through 11 December. Participating artists include: Vivian Caccuri, Raven Chacon, Nikita Gale, Jacqueline Kiyomi Gork, L’Rain, Nicole Miller, and Jeremy Toussaint-Baptiste.
“To signal is to convey meaning through a gesture or expression—to communicate directly and artlessly, with the clarity of a traffic light or siren. In the realm of online posting and positioning, however, signaling has come to stand for the sharing of generic, fashionable statements, as opposed to genuine convictions, much less complicated opinions. Behind this new, negative definition is the strange expectation that every utterance somehow relay the speaker’s true meaning, or even true identity. But why should signaling be either sincere or performative, reflecting selfhood or groupthink? Why should people always reveal (or even know) what they mean and who they are, rather than expose or conceal themselves based on who is listening and what is at stake?”
Susanne M. Winterling’s new solo exhibition, A threshold-game of proximity, cluster and heat, opens at Kunsthall Trondheim tomorrow (September 7, 2022). “In recent years, Winterling has explored the cultural, biological, and medicinal aspects of temperature. In their recent work, heat features as energy often indiscernible to the human eye, which nonetheless makes bodies quiver—from desire as much as fear—and which causes landscapes to surrender to drought or transform to ashes.”
A collaboration between Pivô Brazil and KADIST Art Foundation, de montañas submarinas el fuego hace islas [from the underwater mountains fire makes islands] is a new exhibition, publication and seminar series curated by Yina Jiménez Suriel. Two of Jes Fan’s Diagram works will be on view in the exhibition, which opens today (September 3, 2022) and will be on view until November 6, 2022.
With Frieze Seoul opening on September 2, Ocula magazine has highlighted eight galleries’ presentations. From Alexander Lau, Director of Empty Gallery:
“The selection of works we are bringing to Seoul includes a number of our core gallery artists, Cici Wu, Tishan Hsu, and Taro Masushio, who we are introducing to the Korean market for the first time, as well as Vunkwan Tam, a young artist from Hong Kong who has just joined the gallery.
These artists all deal with the intersection between technological modernity, imperialist legacies, and contemporary East Asian identity in important ways.”
Opening on September 2, 2022, Cloud Walkers is a group exhibition opening at the Leeum Museum of Art in Seoul. Tishan Hsu will be one of the featured artists. The exhibition will be on view until January 8, 2023, and was curated by June Young Kwak.
James T. Hong’s Apologies v2016.2 will be presented at the Jewish Museum Vienna from October 12, 2022 until January 8, 2023, curator: Marcus G. Patka.
Transactions With Eternity at Kraupa-Tuskany Zeidler was recently reviewed by Noushin Afzali for Ocula Magazine. The exhibition closes on August 20, 2022.
“On the other side of the gallery space is a sturdy pale-greenish frame; an interlocking resin-coated metal skeleton with three bloated glass pieces attached, given near-erotic shapes.
Standing at almost 1.43 metres tall, Rack II (2022) is the latest work by multidisciplinary artist Jes Fan, whose similar juxtapositions of soft, fluid forms with rigid structures, are also on view in the Venice Biennale‘s central exhibition, The Milk of Dreams (23 April–27 November 2022).”
“The Pollock-Krasner Foundation revealed that it would award grants totaling nearly $2.7 million to 106 artists and nonprofit organizations across the globe. The recipients represent sixteen countries and sixteen states.” Jes Fan has been awarded a Pollock-Krasner Foundation 2021–22 Artist Grant.
The full list of grantees and Lee Krasner Award Recipients can be viewed at the link below.
Jes Fan was profiled by Drew Zeiba for the August 2022 issue of Wallpaper* magazine. “Can art and biology come together to break down social constructs?
Multidisciplinary artist Jes Fan uses fungi, bacteria and hormones to produce unique pieces exploring the intersections of biology, identity and creativity.”
2018年10月27日 | 晚上7至11時
入秋之際，Empty Gallery 即為大家帶來一場喧鬧狂喜的音樂盛會，由玩世不恭的粵語硬蕊組合南洋派對（NYPD），到加泰羅尼亞噪音搖滾樂隊Billy Bao和工業音樂／極簡音潮怪客Taibach輪流登場。本地薑南洋派對會拉開當晚序幕，以非常態的龐克即興奏出主音Jon在大角咀渡過無數深宵的所思所想，聯繫到香港的人際關係及本地的飲食習慣等等。西班牙噪音搖滾樂隊Billy Bao會接力出場，送上他們在香港的首個演出。Billy Bao由人所週知的理論家，聲音藝術家和噪音樂手Mattin （Junko，Oren Ambarchi和Tony Conrad等人的合作者）成立，這樂團游刃於一種帶磨蝕質地，具儀式性和輕率化的 「墜落搖滾」，其演出肯定會擾亂在場每一位對聲音，體裁及音樂「技巧」的慣常期望。壓軸環節就是神秘電樂二人組合Taibach難得一遇的公開演出，乃其多年閉關密練所修成的音樂正果。Taibach是由兩位堅持匿名的知名藝術專業人士構思而成，其演奏的電子軍樂深受典型工業音樂，鐵克諾和電音的影響。組合名稱靈感來自成員祖上的故鄉台灣（Taiwan) 和聲名不輕的斯洛文尼亞工業音樂樂團Laibach。Taibach 重現工業音樂的經典主題和美學策略，並以一個適時精準的方式將它們置入東亞當下的政治狀態。而為了對我們一貫間或穩扎的實驗與前衛音樂節目作出一個必要的糾正，我們誠邀你來盡情享受這個精彩的週未晚上！