Clementin Seedorf are excited to announce a solo exhibition of photographs by Doris Guo, ‘Visitor’ opens on Friday 27 June from 6-9 pm in Cologne, and will be on view through 8 August 2025.
madame leniou returns—briefly—to Athens, to a domestic space: a 1936 apartment designed by Dimitris Pikionis, everything you ever wanted. Convince yourself that’s what you want. After a brief winter and unnaturally sunny but cruel spring she comes back to a life she used to have. The lifestyle spoiled. The spoils of lifestyle. […]
Participating artists include: Steve Bishop, Anna Clegg, Ian Law, Erasmia Kadinopoulou, Will Sheridan Jr., Vunkwan Tam, Constantin Thun
opening in Athens: Saturday 07 June, 2025, 3–7pm. Open through June, by appointment.
Galerie Khoshbakht is thrilled to announce the opening of the exhibition Portrait II – presenting works by Beth Collar, Behrang Karimi, Mitchell Kehe, René Kemp, Yoora Park and Raha Raissnia.
“With this exhibition we are presenting our programme to New York City. Bringing together a group of artists undoubtably will put things into perspective. Lively conjugations, visual languages, memories, material histories; they fold into each other, dragging one another by the hand. The system will be put in place. However, living these ways of instituting, putting the distant thinking on the side and allowing our own lived experience to take centre, we slowly come to the realization that institutions and programs, no matter how they express themselves, are a beautiful thing; not because we must be critical of them but because we live in them.”
Opening: Friday, May 23, 6–8 pm May 24 – June 28, 2025
ZHI Foundation in Beijing has opened a new exhibition inspired by Giovanni Boccaccio’s The Decameron, on view from May 20 2025 through March 30 2026. Participating artists include Fei Erqi, Wang Hui, Yu Zhiding, Gai Qi, Mai Trung Thu, K.C. Chww, Cheung Pak Kan, Wing-Tong Lee, Luigi Ghirri, Robert Mapplethorpe, Martin Wong, David Rappeneau. Liu Xiaodong, Liu Ye, Elizabeth Peyton, Kai Althoff, Yuichi Yokoyama, Izumi Kato, Wang Xingwei, Urs Fischer, Anri Sala, Mika Rottenberg, Allison Katz, Evelyn Taocheng Wang, Sanya Kantarovsky, Yu Nishimura, Chen Fei, Firenze Lai, Tao Hui, Raphaela Simon, Brook Hsu, Sasaoka Yuriko, Taro Masushio, Hiroka Yamashita and Henry Shum.
A new wallpaper and three wall-based works by Tishan Hsu are on view at the exhibition “360°: why we paint?” at BY ART MATTERS, Hangzhou, curated by Stefano Collicelli Cagol and Sun Man, running from 16 May to 12 October 2025. A collaboration between BY ART MATTERS and Il Centro per l’Arte Contemporanea Luigi Pecci in Italy, the exhibition presents over a hundred works by 39 artists internationally.
Drawing inspiration from Butoh, the artist’s show at Empty Gallery, Hong Kong, features collages of queer bodies
“We know we’re in a haunted house: Slug Sex (2025) – a video projection of two encircling slugs – is our first sight in ‘The Garden of Loved Ones’. Its cast light catches in the cobwebs of the gallery’s darker corners. The slug who deigns to top pushes out a goopy blue phallus that runs the length of its body, slugs being a hermaphroditic species. And this, being a Richard Hawkins joint.
Around the bend hang the 2012 ‘Ankoku’ collages, exhibited in that year’s Whitney Biennial. These compositions – hastily cut archival materials and notes taped intuitively beside printouts and calligraphy – mimic the notebooks of Tatsumi Hijikata, founder of the postwar Japanese dance form Butoh. Their posthumous publication disclosed how Hijikata approached choreography with a collage-like glom, pasting gestures torn from Western art history books alongside handwritten directives. Bruce Baird and Rosemary Candelario write in The Routledge Companion to Butoh Performance (2019), Butoh – which roughly translates to ‘waltz of darkness’ – is a loosening of signification that champions ‘arbitrary chains of movement [and] diseased or socially dispossessed peoples, or bodies in pain’.”
Born in New Zealand and now based in Los Angeles, the artist Emma McIntyre is no stranger to frequent travel. But the vibrant art scene of Hong Kong, the site of her second exhibition with David Zwirner, is a bit farther afield than even McIntyre ever imagined herself. Titled Among my swan, a name she’s borrowed from Mazzy Star, the show demonstrates the artist’s taste for chromatic abstractions that transcend the limits of language. “By introducing the swan motif,” McIntyre told Richard Hawkins last month, “I can connect to all the painted swans in art history.” She does so using oil paint alongside unconventional materials like oxidized iron, a gambit, Hawkins says, that suggests McIntyre’s granular attention to her artistic forbearers. “I think the difference is your investment in the history of painting,” he says, “but also how closely you look at other paintings.” Fresh off his own show at Hong Kong’s Empty Gallery, The Garden of Loved Ones, he and McIntyre got on a Zoom to discuss their shared obsessions: Baudelaire, art historian Michael Levey, and painting with your body, literally.
Cici Wu: Lanterns from the Unreturned marks the artist’s first institutional solo exhibition, bringing together key works from the past decade and centering on a new large-scale, site-specific commission of the same name.
Central to the exhibition is Lanterns from the Unreturned (2025), a newly commissioned site-specific installation occupying the museum’s East Staircase. Originally built in 1933 for the Royal Asiatic Society, the building was repurposed in the 1970s to store confiscated books during the Cultural Revolution. Wu reanimates this forgotten history through arrangements of lanterns in book form, handcrafted from bamboo and conservation-grade paper traditionally used in rare book restoration. These sculptures line the staircase’s windows and interior, echoing the bundled books that once filled the space. The installation imagines a spectral return, volumes drifting back into the building as flickering presences, alive with the possibility of being read once more. At dusk, the lanterns begin to glow, casting inward and outward light, illuminating the museum’s East Staircase like a vertical scroll. Visible from Huqiu Road even after the museum’s operation hours, these fragile vessels hold space for the unspoken and the unreturned, allowing stories once silenced to shimmer faintly back into view.
The exhibition is organized by X Zhu-Nowell, Executive Director and Chief Curator and Karen Wang, Assistant Curator and Researcher at Rockbund Art Museum.
On view through September 28, 2025 and a year-long, site-specific installation.
As part of Oslo Open ’25, Doris Guo and other artists will be opening their studios from April 26-27 this weekend.
As the roof caved in on the empire of the US dollar, a son of the diaspora returned to an art market buzzing despite censorship and mass exodus. Enter the Chinese century?
1.
Hong Kong, a Special Administrative Region of the People’s Republic of China, lives in an area of my mind with high green hills and banquet halls and concrete residential towers whose balconies jut like vertebrae along spines made of stone. Wild boar roam the hills in the dark. Political prisoners in the Stanley jail bake in humidity and sweat without any air-conditioning. Jet-lagged from New York, I was taking a nap one afternoon in our hotel on the southern coast of Hong Kong Island, and was dreaming that someone I loved was handing me a piece of paper. I began pulling at it with both hands – it was blank, no message – until I felt someone kissing my face.
Empty Gallery 很高興為大家帶來紐約藝術家徐梯善在畫廊舉行的第二個個展《屏膚》。自1980年代起,徐氏的藝術創作探索訊息科學改變我們具體化經驗中情感、接收及政治輪廓的複雜方式。持續改進創作的實踐以跟上此等湧現的現象,徐氏的作品介乎於繪畫和雕塑,採用方法如UV印刷、鑄造和數碼照片處理創造處於物理與虛擬之間界限的物件。《屏膚》延伸了先是使用於展覽《刪》的創作模式,繼而在第59屆威尼斯雙年展及紐約Miguel Abreu Gallery的展出中更臻完熟,進一步拓寬徐氏的探究範疇以涵蓋生物政治學的擴展場域和數碼監控國家。
由裝置在畫廊19樓空間的六幅新畫作及一個標誌性雕塑組成,展覽《屏膚》中作品的高清表象躍動著一種安靜的威脅感。在作品如〈camera-screen-skin〉和〈double-breath 1〉中定義創作的整體光學性,曾首度在徐氏1980年代的作品中表現為擺動的掃描線(當時它們指向的是一種在屏幕虛幻空間中帶催眠性或暈眩感的吸併) ,但現已逐漸變形為無處不在的點與網孔。這些扭曲的地勢圖表現出一種降服於網絡或被其吞噬的感覺,而這個網絡在其力量與規模上皆接近迷異的幻覺。在這些圖案中疊蓋的是具像影像元素(身體部份的碎片,肉質褶皺和神秘小孔),它們的匿名性似乎指向把獨立主體簡約為可量化和可控數據的抽象單位這簡化過程。以有色矽膠形塑的未分化肉身物質,從這些表面冒出和鑽入,又或從當中滲出。這些元素訴說著物質軀體在一個它開始顯得日益過時的時代中頑固的存在。在這個時代中它只能以黏稠固態現身,被粒子化卻不能完全分解進符號資本的液態流。作為一個整體,這些作品似乎訴說著一種糾纏,一種來自當代主體置身在一個無處不在、又無處可尋、看不見但摸得到的網絡中,其神經生物學性的糾纏。這些作品表達著一種世俗的反烏托邦主義,在當中消費和愉悅(實際上,經驗自身的基礎)與監視、身體監管和更微妙的生物政治控制形式,皆是密不可分。它們在對身體監控和控制的關注這層面上,可回溯徐氏在1980年代末的作品,當中首次明確地表達了科技系統與官僚系統的交結。
展覽的重點作品〈phone-breath-bed 3〉是早前於第 59 屆威尼斯雙年展中展出的一系列雕塑作品的第三件。這件混雜結構作品結合醫院病床、個人計算設備和生命維持系統的元素,可說是徐氏對軀體與設備裝置之間的交接最深沉的探索。一個帶輪的金屬支架上躺著一具透明聚碳酸酯軀體,並用上矽膠鑄件和類似觸控屏幕的印刷面作點綴。在作品核心的概念中,是把醫療產業與功利主義考量連接到現代UI/UX設計中優化界面的深層邏輯。〈phone-breath-bed 3〉作品中的人臉(能聯想到死亡面具)與暴露的體腔召喚來閾限空間,在當中軀體創傷和身體衰退的分雜效應折疊進及強化了屏幕吸併的世界——數據中心與停屍房之間那不自在的交叉點。
在一個歷史性的時刻(1980年代)當徐氏許多藝術同行仍在匆忙追趕舊有影像循環系統影響之時,他對其時剛出現的數碼領域所會帶來的結果獨度的關注(不是對所謂新媒體單純的拜物主義,而是考慮到它對人類經驗不斷變化本質的多方面暗示)早已冠其先見之譽。《屏膚》重整這脈絡的探索,冀與科技樂觀主義的脈衝處於最低潮的時刻產生共鳴。在這樣的一個時刻,數碼民主曾被淹沒的威權主義充分顯現,但當中主體過於糾結,過度消化和量化,以致無法看清外界。有一種幾乎是無意識的擺盪,在網絡屏幕誘人的流暢性與有形軀殻多餘的意識之間,越過其自身淘汰而頑固地繼續存在。徐氏的創作或許比任何其他在世的藝術家都更清楚地表達出物件(或許甚至是物質本身)當從一個壓倒性消極政體虛擬地深陷進一種官僚主義控制論而要面對自身糾結之時所處於的這種不穩定和矛盾的狀態。但也許,甚至比這更重要的是,徐氏的創作代表了一種持續不斷卻永遠不會完成的嘗試,試圖理解和規劃當前經驗的本體。然而,不是從一個假構的全知定位或透過一種分析方法的研究手段來實踐,而是作為一種對內在的掌握,在液態流動和身體,數據,與屏幕之間。