The exhibition Cosmological Critique showcases the complex work of Catherine Christer Hennix (1948, Stockholm – 2023, Istanbul), whose five decades of artistic activity involved the amalgamation of music, mathematics, language and spirituality into a singular space of thought. Hennix conceived her works as ‘semiotical objects’ – such as signs, diagrams and texts, as well as sound and light compositions – through which she sought to investigate and to transform perception and the processes of meaning generation.
Beginning in the late 1960s, and with points of departure in the experimental music scenes of Stockholm and New York, Hennix developed an approach that shifted between minimalist composition, mathematical research and metaphysical speculation. Formative for her development were encounters with La Monte Young, Marian Zazeela and Pandit Pran Nath, whose ideas about time, sound and continuity had a lasting influence. In parallel, she was intensively preoccupied with the philosophical, logical and linguistic bases of mathematics, and was, among other things, a guest professor at the first lab for artificial intelligence at MIT.
Cosmological Critique is the most extensive presentation of this artist to date, and ranges from early graphic scores and immersive installations to abstract Nō dramas, paintings and sculptures, as well as questions of transfeminist aesthetics and politics. Recurring concepts drawn from mathematics and psychoanalysis function here less as references, and instead actually structure the works themselves. These are interpretable as manifestations of a radical conceptual and critical project that interweaves poetic, mathematical, musical and artistic forms of knowing to transcend Western categories of thought and medial boundaries in pursuit of cosmic perspectives.
Curated by Anja Casser, Lawrence Kumpf and Moritz Nebenführ
The exhibition is produced in collaboration with Malmö Konsthall, The Etymon Foundation (New York) and Empty Gallery (Hong Kong) as well as Marcus Pal as artistic advisor.
Funded by the German Federal Cultural Foundation and the Federal Government Commissioner for Culture and the Media.
Jacqueline Kiyomi Gork and James T. Hong are amongst the 43 artists and collectives participating in the upcoming 16th Gwangju Biennale. Titled You Must Change Your Life, this edition is led by Ho Tzu Nyen with curators Che Kyongfa, Park Gahee and Brian Kuan Wood and will run from 5 September to 15 November.
Taro Masushio’s second solo exhibition, Goldfish, at Ulrik; New York will be on view from May 9 through June 12. The gallery will host an opening reception from on Friday, May 15, 6-9pm. For further details, visit the gallery’s Instagram at the link below.
Doris Guo will open her first solo exhibition at 15 Orient in New York City on Friday, May 8, from 6 through 9pm:
15 Orient presents “Still Human”, a solo-exhibition by Doris Guo. Centered on a large slideshow video projection, the show features a constellation of new opaque projector sculptures, cast foam supports, imploded metal compositions, and photographs of an elusive mountain.
Empty Gallery was recently featured in the April 2026 issue of The Art Journal in a feature on art initiatives in the Southern district of Hong Kong island, written by Rachel Yang.
The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins. Since the early 1990s, the Los Angeles–based artist has developed a singular practice centered nerdy research, the dynamics of fandom and desire, and on the intense pleasure of looking. Comprising more than 100 works across eight bodies of work, the exhibition offers the first major institutional overview of Hawkins’s oeuvre in more than a decade. Potentialities focuses on works produced over the past twenty years, spanning painting, sculpture, ceramic reliefs, and AI-generated videos that draw on online subcultures and shared memes.
Empty Gallery has been featured in the Australian publication “Broadsheet” exploring Hong Kong’s spaces for art.
On view from April 16–August 17, 2026, this edition of Greater New York will mark PS1’s 50th anniversary, and rather than bringing on any outside curators, the museum has this time leaned on its staff to organize the show. The exhibition’s curatorial team includes director Connie Butler, chief curator and director of curatorial affairs Ruba Katrib, associate curators Jody Graf and Elena Ketelsen, assistant curator Kari Rittenbach, curatorial assistant Sheldon Gooch, and curatorial coordinator Andrea Sánchez.
Taro Masushio and Cici Wu are amongst the participating artists of this year’s exhibition. Please see the link below for further information.
In an excerpt from her book Calamities (2016), which hangs on the wall of Empty Gallery in Hong Kong, the poet Renee Gladman attempts to configure a diagram of poetry for her students—a grid hovering over a “subterranean container where meaning might lie”—before realizing that her schematics are off, that “poetry comes from nothing.” Her subsequent advice may well function as the primary directive of this exhibition, organized by San Francisco–based curator Jordan Stein: “Read the nothing.”
From the outset, La Moustache presents itself as an aporia, given its stated desire to transcend the known tempered by the manifold means of arriving there. If, in our present moment, we are buckling under the weight of too much meaning, the competing impulses of spiritualist withdrawal and nihilist accelerationism both promise non-sense as a way out. Stein shows little interest in the endless scrolls and AI-powered image infinities that purport transcendence through distraction, submission to the Algorithm-as-God. In its stead, he has assembled a group of meditative works anchored around the Bay Area Conceptualists of the 1970s like Paul Kos and Stephen Kaltenbach, alongside Doris Guo, Mary Helena Clark, and other younger artists continuing their legacy of object-as-experience, resisting an analytical approach in favor of something more phenomenological. By resurrecting a uniquely Californian perspective on Minimalism, with its cadre of art-world dropouts and back-to-the-land enthusiasts, Stein is resisting not only a tradition of criticality but also the social apparatuses that sustain it.
GHOSTLY, GODLY/人間》opens in Hong Kong on March 21, supported by the Octone Foundation.
Contemporary art’s engagements with Modernity and Hauntology continue to provoke essential reflections on history and reality. This curatorial experiment explores their untapped possibilities within specific East Asian contexts. Set in Hong Kong—where Buddhism and Daoism thrive alongside deeply lived folk beliefs that shape not only spiritual life but also social, cultural, and political realities—the exhibition highlights the intangible yet constant presence of the ghostly and the divine in everyday human–world relations. The English title GHOSTLY, GODLY captures this spectral dimension, while the Chinese title 人間 (Human Realm, Ningenkai) evokes the unresolved, bittersweet present of Buddhist cosmology, where joy and suffering coexist and call for ongoing practice.
Curated by Chris Wan, the show presents newly commissioned works, existing pieces, archives, and documents by artists Simon Liu, Cici Wu, Tang Kwok-hin, Ha Bik Chuen, and On Kino. Fully supported by the Octone Foundation, this project fosters experimental curating and artistic creation outside conventional institutional frameworks.
Empty Gallery 懷著興奮的心情宣布，我們將參與於今年5月19-23日假香港灣仔會議展覽中心舉行的香港巴塞爾藝術展，為大家帶來徐梯善、增鹽太朗、Xper. Xr.和Jacqueline Kiyomi Gork以及洪子健的多組作品。結合我們兩位當代藝術家和歷史前衛一員的徐梯善，這次展示的作品，兼具政治視野和實驗實踐，模糊媒介之間的界線。
徐梯善多幅塑膠彩絲印亞麻布本作品包括《Thumb-Eye-Extended 1.0 》，藝術家回到他1980年代未期的創作實驗，嘗試以絲網印刷作為一種複製的方式，模擬早期螢幕科技的點矩陣美學。這些標誌性的作品預告了徐梯善近年來的關注，在創作中逐漸包裹及扭曲人類和科技的界線。再者，這次展示亦包括了徐梯善早期的紙本作品，詳細展現了他及後用於藝術創作中美學策略 的發展概念過程 。
同場展出的亦有洪子健的作品《我的敵人的敵人是我的朋友》，乃是一齣科幻電影的一系列想像分鏡圖， 電影圍繞中國和美國，及其他參與台海軍事競賽的國家。洪子健的創作由研究出發， 落墨於認識論與社政問題的交疊層面，質問權力操縱知識的行為。洪子健對種裔民族權力能動性（在美國及海外）的尖銳調查，在這中西關係愈趨緊張並預告一個未知未來的時刻， 可說別具前瞻性。
而增鹽太朗展示的攝影作品選自他近期於畫廊的展覽《聽聞說》。探源日本美學及剛陽之氣的概念，這些抽象特寫照像裡的是散發著神秘味道的味噌湯，挑起觀者想像日常生活隱藏的陌生感。增鹽透過反轉日本人熟悉的事物，暗示民族身份的延展性。
Empty Gallery 是一個四千五百平方呎的黑盒畫廊空間，位於香港仔海畔的田灣。畫廊由鄭成然創辦，展出包括成名及新晉藝術家的作品，並同步進行一系從先鋒多媒體委約計劃、表演及音樂項目。Empty Gallery 著重具時間性、短生及非以物為本的藝術實踐，致力推動各文化、地理和特定媒介間的跨界對話，並同時作為一個區域樞紐以躍活東亞藝術圈。
