From ARTnews: Opening on April 16, 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.
On February 6 and 7, Vunkwan Tam will be exhibiting new works as part of an exhibition, 野有死蘭, in Room 303 at the Jockey Club Creative Arts Centre, Hong Kong. Venue support from Crash.
Jaime Chu reviews La Moustache in issue #86 of Spike Magazine, Salad Days: “What is the fine line between undiagnosed paranoia and collective psychosis? Emmanuel Carrère’s 2005 film La Moustache, adapted from his own 1986 novel of the same name, portrays Marc, a Parisian architect who decides to shave off his mustache before a party one night. To spiraling consequences, it turns out: for neither his friends, nor his coworkers, nor his wife acknowledge the difference, even denying that he ever had a mustache to begin with. When his wife threatens to send him to a psychiatric institution, Marc, in a moment of panic, makes an escape, boarding the next plane out of Paris to Hong Kong.
A reality without consensus, and the destabilizing effect an experience of it might prompt, is the subject of a formally attentive and hermeneutically provocative exhibition curated by Jordan Stein, a longtime fixture of Bay Area arts, at Hong Kong’s Empty Gallery. His riff on Carrère begins in a kind of foyer, where a trio of found-object works set the table for a negotiation between the dissemination and containment of uncomfortable knowledge.”
Cici Wu is participating in Theresa Hak Kyung Cha: Multiple Offerings at Berkeley Art Museum and Pacific Film Archives, which is on view from January 24 until April 19, 2026.
Theresa Hak Kyung Cha: Multiple Offerings is the first retrospective in twenty-five years dedicated to the groundbreaking work of the artist Theresa Hak Kyung Cha (b. 1951, Busan, South Korea; d. 1982, New York City). Cha produced an expansive range of works across text-based media, video, and performance, including her posthumously published book, Dictée (1982). The artist’s interdisciplinary practice gave shape to the experimental art scenes in San Francisco, New York City, and beyond.
After emigrating from South Korea to the United States, Cha enrolled in 1969 at UC Berkeley, where she studied art practice, comparative literature, and film. Keenly attuned to the active role that audiences play in the creation of meaning, she prioritized nonlinear narratives to allow for more open-ended forms of interpretation—what she termed a method of “Multiple Telling with Multiple Offering.” The retrospective adopts this framework to allow for a range of entry points into Cha’s work, guiding visitors through the themes—memory, displacement, and the mutability of language, among others—that recur in her oeuvre.
Since 1992, owing to a generous gift from the Theresa Hak Kyung Cha Memorial Foundation, BAMPFA has served as the steward of Cha’s art and archives. Gathering over one hundred artworks and archival materials from across her short but prolific career, as well as select loans of works by Cha and other artists, Multiple Offerings highlights the inventive, playful, and meditative methods of Cha’s practice while also situating her work within a constellation of artistic forebearers, peers, and contemporary artists for whom she has long been a lodestar.
The exhibition is accompanied by a richly illustrated catalogue—the first museum monograph dedicated to the artist in over twenty years.
Not With Symbols is now on view at Bodenrader, Chicago through February 28, 2026.
“Metaphor cannot supplant the legible image and assume the role of descriptor. Ours is a distorted reality, in which images are compressed, flattened beneath glass and gloss, and lit from behind. Here, images and their meanings or representations are slippery, as are the ocular and cognitive processes we rely on to perceive and comprehend them. Despite this, logic is not abandoned altogether in favor of a nonsensical miasma of free association. Rather image itself is probed and worked to such a degree that it both dissolves and reifies within (or in spite of) its own physical, technological, political and social structures.
Ideas of legibility and readability are often at odds with the level of access granted by each of these artists. Some achieve this internally by preventing a clear understanding of their content through omission, redaction, and dilution. Others pack in detail, clarity, and specificity to such a degree that viewers are subconsciously compelled to decode the image through pure visual recognition. No matter the approach, these artists each exploit the innate structures of image and representation to expose our social and biological compulsions for resolution.”
Participating artists include Eberhard Havekost, Taro Masushio, Alan Michael, Josephine Pryde and Raha Raissnia.
A new exhibition at Layr, Vienna, titled “…each thing is itself in not being itself, and is not itself in being itself…” and curated by Boris Ondreička, is now on view through February 28, 2026.
“The exhibition “…each thing is itself in not being itself, and is not itself in being itself…”[1] departs from the foundations of the religious/spiritual and ontological philosophy of Keiji Nishitani (1900–1990). The Japanese thinker explained that things exist only in relation to other things and understanding them therefore also requires exploring what they are not. His thinking was significantly shaped by his studies with Martin Heidegger in Freiburg, Germany, and ultimately made him a key figure in intellectual exchange and mediation between the hemispheres who could critically compare and synthetise various schools of thought of the West and the East.”
Participating artists include Anchan/Anna Daučiková, Anna Andreeva, Jędrzej Bieńko, Igor and Ivan Buharov, Stano Filko, Denisa Lehocká, Yutaka Matsuzawa, Luboš Plný, Kazuna Taguchi, Philipp Timischl, Petr Válek, Cici Wu, Guan Xiao and Leah Ke Yi Zheng.
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Calling the Lights is now on view at Chahmberlin in Zurich from 13 December 2025 until 8 February 2026. Address: Haldenstrasse 87, Zürich, Switzerland 8045 Opening: 13 December 2025, 6–9 pm
Participating artists include Ketuta Alexi-Meskhishvili, Ericka Beckman, Camille Clair, Emma Guareschi, Doris Guo and Megan Plunkett.
Emalin is pleased to present Means of Reproduction a group exhibition of artist merchandise co-organised by Stanislava Kovalcikova and Jeppe Ugelvig. Dates: 6 December 2025 – 19 February 2026
Means of Reproduction brings together a selection of everyday products by an intergenerational group of contemporary artists — garments, kitchenware, home accessories, jewellery, furniture, and countless other things one might more accurately call ‘merchandise’. By engaging merchandise from thirteen artists and placing it alongside their ‘originals’, the exhibition asks both gallery and audience to question the stability of distinctions between fine artists, fine artworks, and their tiered product lines.
Opening on December 3, 6-8 PM, the exhibition Under Light of Moon and Sun, organised by Cici Wu and Karen Wang and presented at 99 Canal, will be on view from December 4 –22.
“They blink for less than a heartbeat. Not reflected light, but light made within the body. Each is a message—a lure, a warning—turning darkness into a language of attraction. To see them is to witness light as instinct, a small defiance against disappearance and censorship. Illumination, then, is not only about being seen, but about sending and receiving: forming constellations of fragile connection across distance—an ethics of relation rather than exposure, a modest reciprocity rather than spectacle. It is from these small and scattered lights that this exhibition begins and ends: showing how light passes through darkness—sometimes playfully—and binds solitude and disparate voices into a horizontal weave of interconnectedness.
Under Light of Moon and Sun features 18 artists from the Uyghur diaspora, Hong Kong, and mainland China, and unfolds through an assemblage of moving image works, textile sculptures, installations, and works on paper including drawings, zines, and woodcut prints.”
Taro Masushio’s exhibition Naked will be on view at Scheusal, Berlin from November 21 through December 14, 2025.
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。
