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12月16日 | 下午5時
一年將盡，Empty Gallery 懷著興奮的心情邀請你出席一個非常特別的音樂會，帶來的是東京實驗音樂人杉本拓和佐伯美波的演出。
自2016年起開始合作，這兩個不太像能走在一起的音樂人共同創作了大量精巧的流行歌曲，堅定地感受著我們的當下。 繞過John Cage 及 Wandelweiser 的一段長路，來到了像不費吹灰之力而成的當地話語音樂，杉本拓和佐伯美波的作品具出色的滲透力，以樂器指示及輕柔的聲樂將寧靜與環境雜聲無縫地交織在一起。簡約主義味道濃重但感染力強勁，他們的創作展示出對實驗音樂世界不太熟悉的觀眾一種信心和慷慨。
杉本拓，來自東京的作曲家，策劃人及多樂器演奏家。1980年代中活躍於大大小小音樂項目，杉本首先為人所話說的是他在大碟Myshkin Musicu (1996) 和 Opposites (1998)中那單一化輕弱及斜歪旋律風格的即興吉他演奏。跟其他音樂家如Tetuzi Akiyama和Otomo Yoshihide一起，Sugimoto透過他在開創性音樂空間Off Site的參與，定義壓制聲量即興創作中的所謂「Onkyo」美學。在近年的創作中，他專注於在作曲領域中精進及擴展他獨特的美學取向。
佐伯美波，來自東京的演員及音樂人。作為一個活躍的表演者，她曾研習古典芭蕾舞、古典聲樂、現代舞及其他；也曾參演備受好評的獨立電影如Village On The Village (2016)和Uron Na Tokoro (2017)。作為一名歌手，她曾與實驗音樂及流行音樂範疇中的不同藝術家合作，例如杉本拓、池田昌子、Manfred Werder、Stefan Thut等等。