Empty Gallery congratulates Jes Fan on his participation in the 2024 Whitney Biennial, Even Better Than The Real Thing.
The Seventy-one visionary artists and collectives in the latest chapter of the exhibition—Whitney Biennial 2024: Even Better Than the Real Thing—will follow in the footsteps of hundreds of Biennial artists before them to interpret our current landscape and tell stories, spark discussion, and comment on issues across a variety of media and disciplines.
The curators of the 2024 Whitney Biennial are Chrissie Iles and Meg Onli, with Min Sun Jeon and Beatriz Cifuentes. Even Better Than The Real Thing will be on public view starting 20 March 2024, with previews from 12 through 17 March 2024.
In The New York Times, read Siddhartha Mitter’s coverage: Whitney Biennial Picks a ‘Dissonant Chorus’ of Artists to Probe Turbulent Times.
Now on view at Yokohama Museum of Art, Former Daiichi Bank Yokohama Branch, from March 15 – June 9, 2024: 8th Yokohama Triennale “ Wild Grass : Our Lives”.
The Artistic Directors: Liu Ding and Carol Yinghua Lu
Vunkwan Tam and Xper. Xr are two of the ninety-four participating artists in the exhibition.
The Artistic Directors, Liu Ding and Carol Yinghua Lu, started conceptualizing the theme with the Chinese writer Lu Xun’s anthology Wild Grass, penned from 1924 to 1926, during a turbulent period in Chinese history. In 20th-century China, Lu Xun was a singularly solitary individual who constantly rebelled against existing situations and simultaneously a thinker who stayed attentive to the movements of the world, contemplating the fate of individuals and humanity within them. In Wild Grass, Lu Xun affirmed his conviction to confront desperation and to find a way out of complete darkness. The exhibition theme Wild Grass: Our Lives aspires to Lu Xun’s philosophy of the universe. It signifies a way of life that elevates the unquenchable force of individuals to a respectable existence that transcends all systems, rules, regulations, and forms of control and power. It is a model for flexible expression of individual subjectivity.
Drawing inspiration from the legendary Zaha Hadid, the architectural brilliance behind The Henderson, the exhibition showcases a collective of eight multidisciplinary women artists from diverse cultures, each forging visionary paths in their use of light as an artistic medium.
Date: 9 March – 6 April 2024 Address: G/F, H Queen’s, 80 Queen’s Road Central Opening hours: 11am – 8pm
Participating artists: Chila Kumari Singh Burman, Carla Chan, Jacqueline Hen, Sarah Lai, Betty Ng / COLLECTIVE, So Wing Po, Raha Raissnia and Liz West. Raha Raissnia’s Nour will be on view.
Cassie Packard profiles Jacqueline Kiyomi Gork in Frieze: ‘This city has a hum – a Manhattan-specific drone music – that I love,’ Jacqueline Kiyomi Gork tells me when we meet in New York, after installing her first institutional solo show on the East Coast – ‘Poems of Electronic Air’– at Harvard University’s Carpenter Center for the Visual Arts. ‘Different parts of the city are characterized by markedly different sounds, down to patches where you can hear whooshes from the subway below.’ Sound – as material, process, system and event – is a phenomenon to which the Los Angeles-based artist is emphatically attuned. Born in Long Beach, California, Kiyomi Gork was ‘one of those kids who was always making art’ to make sense of the world, she says. She cut her teeth in a San Francisco noise band, playing homemade instruments like plastic inflatables rigged with contact microphones. After studying sound art at the now-defunct San Francisco Art Institute, she entered the MFA program at Stanford University, where she researched military sound technologies, and also became involved with the university’s Center for Computer Research in Music and Acoustics, which was working to reconstruct original experiences of sound at archaeological sites.
Opening March 5th in collaboration with the Secession in Viennia, MAMCO Geneva is proud to present a solo exhibition of Tishan Hsu. The exhibition will be on view until June 9th, 2024.
“For more than four decades, Tishan Hsu (b. 1951 in Boston, lives and works in New York) has used art to explore the relationship between technology and the human body. His sculptures, wall pieces, silkscreen prints and, more recently, videos examine the cognitive, physical and social implications of everyday encounters between people and machines. The spring 2024 exhibition at MAMCO will bring together pieces from various stages of Hsu’s career – from his earliest works in the 1980s to the present day. Developed with extensive input from the artist himself, the show is also a collaborative effort with the Secession in Vienna, which will host an exhibition of Hsu’s newer productions in late 2023. Some of these recent pieces are also on display at MAMCO.”
Eyrie Alzate, Jason de Haan, Nancy Lupo, Na Mira, Malcolm Mooney, Yuki Okumura, Hikari Ono, Francesca Percival, Bea Schlingelhoff, Jo-ey Tang, Cici Wu, Bruno Zhu and u
Opening: February 23, 7 pm
u is part artist, part vessel—a transferable personal alias, and a social interaction. u’s project spaces (2018–ongoing) are small boxes made of clear packing tape that act as a medium for collaborations with other artists and curators. u initiates the process by sending an empty project space to selected practitioners as an invitation to join an artistic dialogue, a new relationship and often a finished artwork. Thus u also performs the role of a curator by providing each participant carte blanche within an exhibition space that is small, but very flexible. As a result, the individual collaborators are foregrounded, while the initiator takes a backseat behind the easily overlooked lowercase letter ‘u’ (shorthand for the English word ‘you’). This collaborative way of thinking and working deliberately resists elaborate, commercial production mechanisms and allows for collaborations far beyond national borders. The heart of the project is to expand the concept of curating to include the interests of artists and to promote artistic exchange.
Petzel is pleased to present Multi-User Dungeon (MUD), a group exhibition opening Wednesday, February 21, 2024, curated by Simon Denny. The show will be on view through March 30, 2024, at Petzel’s Upper East Side location at 35 East 67th Street, Third Floor. Multi-User Dungeon (MUD) features works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Tishan Hsu, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The show features paintings and drawings by a group of 13 artists, along with a video work fragment by Jean-Luc Godard. The show will be held at our 88 Eldridge Street space.
At what precise moment in the last hundred years did artists become actively aware that images preceded their efforts to produce new ones? It remains a question for debate, but what is less uncertain is that the ubiquitous and incessant circulation of pictures now constitutes a kind of second nature, a psychological condition shared by all, and by painters in particular.
The exhibition will be on view through March 9, 2024.
For Small World Journal, Taipei Biennial editor William Smith has interviewed Jacqueline Kiyomi Gork on their new work, Not Exactly (Whatever the New Key Is), 2017–ongoing.
“Jacqueline Kiyomi Gork’s piece for TB13, Not Exactly (Whatever the New Key Is), 2017–ongoing, is a dynamic work of aural architecture. Black vinyl walls inflate and deflate in sync with a multichannel sound piece playing on speakers placed in precise locations throughout the space.
Editor of Taipei Biennial 2023, William Smith, spoke with Gork about the experience of refabricating her project in Taiwan, the avant-garde roots of her interest in sound installations, and the tangled histories of blow-up structures.”
Harry Burke covers Doris Guo’s Back in Mousse magazine:
“Existing in the interstices between embodied duration and affective labor, Guo’s practice coalesces around the cultural and material gestures which structure our attempts to form a communal life.
“Back” centers around a collaborative project of material care which Guo and her mother, Weili Wang, have undertaken to organize and conserve the latter’s artwork. Formerly lodged undisturbed around her Seattle home, Wang’s oil paintings and sketches—mostly executed between 1980 and 1990 around the Yangtze River Delta—bear witness to an artistic life partially abridged by circumstance. These works are presented as diptychs together with Guo’s pinhole photographs depicting the suburban interior of Wang’s study—replete with cardboard boxes, filing folders, and other marginalia. With their crowded, seemingly off-the-cuff compositions, Guo’s photographs channel domestic inertia into aleatory landscapes. Poised somewhere between comfort and claustrophobia, their gauzy surfaces and indefinite forms go beyond merely simulating the ambiance of memory to express something of the unconscious abstraction with which we move through the world. In parallel, Wang’s works in various media bear witness to a series of complex movements between the urban and the rural, the intimate and the official, personal expressivity and sanctioned style—during a now lost moment of social change.”
Feed Forward, 1989
Image courtesy of the artist and Empty Gallery.
Slotted Reptile, 1990
Bloody Mary 2, 1983
It’s Not the Bullet but the Hole 2, 1991
White Noise, 1985
巴塞爾藝術展 香港展會 2019 3月29日至31日 亞洲視野 | 3C43
Empty Gallery 是次將從徐梯善1980年代中至1990年代初的作品中精選一系列作展示,當中好些作品在過去二十多年間從未作公開展示。徐梯善自1979年搬到紐約生活及工作後,整個1980年代定期與著名的畫廊經營者Pat Hearn合作舉行展覽。他的作品在過去十多年間雖然被廣泛收藏及作展出,但他自1990年代起逐漸淡出藝術圈,加上他創作實踐中強烈的反傳統及顛覆性,令他的作品得不到應有的重視及評價。徐梯善的作品嘗試指向當時迫切的問題,現在看來極具先知意味,當中所關切的議題在今天早已擴散至整個社會的層面,例如是在他藝術實踐中,以科技手法切入具體化意識的調解。Empty Gallery 將同時為徐梯善的新作在畫廊空間舉行個展,配合是次展出。