Tishan Hsu graces the cover of issue 151 of ArtAsiaPacific (Nov/Dec 2026)with Michele Chan writing an extended feature on his practice titled “The Human Inside.”
“There is always something definitely nonhuman, yet almost definitely alive, inside the art of Tishan Hsu: a presence behind the screen, muffled yet persistent, pressing toward release. Across four decades, through a singular lexicon that fuses biomorphic and techno-machinic forms and textures, the 75-year-old artist has registered not simply the digital age’s effects on the body but its incursion into embodiment— the ways monitors, medical imaging, apparatuses of surveillance, and artificial intelligence enter perceptual and psychic life.”
Yuqian Fan has written about Ann Zhao in the ‘New Currents’ section of issue 151 of ArtAsiaPacific (Nov/Dec 2026).
“For her solo exhibition “Spillover” (2026) at Hong Kong’s Empty Gallery, Ann Zhao assembled a 20-something-page chapbook of sparks of inspiration and life dumps. A photo of her laptop on the couch, a screenshot of filmmaking notes, a snapshot of a few lines from a book— the content reads as if lifted from the artist’s social media or sketchpad, encapsulating the spontaneity that anchors her practice. That diaristic quality structures Ben Ming Nian (2026), 24 photographs from the year Zhao spent in Shanghai. The images fall just short of being autobiographical: opaque in their details and too fragmentary to cohere into narrative. She seems to leave the work unresolved, suspended on the threshold of completion.”
Screened at a special pavilion in the lobby of SMBC East Tower in the Marunouchi district, AWT Video (November 4–8, 2026) presents a selection of single-channel moving image works by Japanese and international artists drawn from Art Week Tokyo’s participating galleries. Overseen by X Zhu-Nowell, the executive director and chief curator of the Rockbund Art Museum, Shanghai, this year’s program, “Your Travel Guide To . . . ,” features works by 10 Japanese and international artists. Cici Wu will be screening her work Belonging and Difference (2023).
In conjunction with The Drawing Center’s current exhibition “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong”, Anthology Film Archives, New York will present a free screening on Wednesday, November 4 at 7PM. The program showcases a selection of artist pieces that extend the exhibition’s visual essay on shared historical, poetic, and philosophical concerns, with Hong Kong and New York as twin points of reference and Eastern thought and Western philosophy as its guiding frameworks.
“Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong” is organized by Olivia Shao, Burger Collection & TOY Meets Art Curator.
You can read more about the screening on Screen Slate in a review by Gladys Lou.
Cici Wu UNFINISHED RETURN OF YU MAN HON 2019, 19 min, 16mm-to-DCP Tang Kwok Hin GRANDPA TANG 2017, 13 min, DCP Chan Hau Chun THE MEMORY OF A CICADA IS LONGER THAN ITS LIFE 2024, 12 min, DCP. Music and sound: Chui Chi Yin. Simon Liu PROCEDURES 2026, 17 min, 16mm-to-DCP
Misako and ROHsen is pleased to share a collaborative presentation in Tokyo, 𝘋𝘢𝘯𝘤𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘛𝘳𝘢𝘴𝘩. The exhibition connects artists who approach trash as form and medium, with a recognition that looking closely at the discarded is another means of looking at everything else. The exhibition will be on view from November 3–13, 2026, and will take place at Rose Gallery, Park Nova Jingumae, 2-33-5 Jingumae, Shibuya-ku, Tokyo.
Artists: Aracha Cholitgul, Bagus Pandega, Barry Beagen, Calvin Miceli-Nelson, CFGNY, C&K, dpgp78, Dusadee Huntrakul, Faisal Habibi, Felix Tao, Gary-Ross Pastrana, Hikari Ono, ikkibawiKrrr, Ken Kagami, Ken Sasaki, Lawrence Leaman, Lydo Le, Maruto Ardi, Maxime Cavajani, Motoyuki Daifu, MW, Nanami Hori, Nicole Coson, Phung-Tien Phan, Pimlico Arts JAPAN, RAB, Reina Sugihara, Richard Aldrich, Rose Rei Warner, Ryohei Usui, SIDE CORE, Sollee Kim, Syaiful Aulia Garibaldi, Taeyoon Kim, Tith Kanitha, Tsuji Takafumi, Vunkwan Tam, and Yuyan Wang.
Opening November 4 through December 6, 2026. XYZ Collective will host a collaborative exhibition during Art Week Tokyo, inviting Olivier Mignon as curator. The project takes the form of a two-person exhibition by Taro Masushio and Sophie Nys. New York–based, Japanese-born photographer Taro Masushio addresses themes of queer embodiment and the politics of the gaze, while Brussels-based sculptor Sophie Nys investigates the relationship between language and objects.
Published October 15, 2026, in The New York Times, by Keridwen Cornelius: “In addition, Empty Gallery of Hong Kong is presenting camera-less photographs by the artist Taro Masushio, who lives and works in New York City.
Masushio explained in a video interview that his work explored the question, “What is a queer image?” Masushio was inspired by screentones — transparent adhesive sheets covered with dots, lines, clouds or other patterns that lend shading and atmosphere to comic books in his native Japan.
He scanned several screentones into his computer, then superimposed and manipulated the images. Next, he turned the digital files into negatives and used special chemicals in the darkroom that give the resulting photos the silvery, sepia-toned sheen of a daguerreotype.
The abstract images, printed with text such as “homo” or the Japanese character for sexuality, are so reflective that they have an ever-shifting fluidity. And they are streaked with iridescent colors from the haphazard flow of darkroom chemicals.”
A group exhibition organised by Fondation Tschuess featuring Pia Rosa Dobrowitz, James T. Hong, Monika Schwitte, Alex Winterstein opens at 6pm on October 3 at Halmet, Zurich. The exhbition will run until November 1, 2026.
Published October 13, 2026, in The New York Times, by Dennis Zhou, a compilation of films from Hong Kong curators, artists and writers. Selected by: Ellen Pau, 65, video artist 32+4, Chan Hau Chun (2014) This documentary isn’t exactly a detective story, but it’s about the filmmaker uncovering the trauma between her parents, and also between her and her stepfather. Watching it, it’s easy to tell it was filmed in public housing, but you can’t tell which complex – it’s kind of a nonplace. They’re all in this one tiny apartment, fighting for space, survival, status and love. There’s a lot of very deep emotion involved, but Hau Chun can capture that without using much dialogue — it’s in how she plays with her camera, what visuals she captures, how she pauses. One scene is very memorable for me: Hau Chun’s’s father is crossing the street, and she’s filming from the other side of the road. And then printed on the screen is something like “How come I can’t cross that road to him, to stand beside him?” The gap between them becomes visible through this road. The things that you can see in the film are only one-tenth of the story, but through them, you can feel the whole story in your heart.
47 Canal announces its inaugural exhibition at the gallery’s new Chelsea location: Auld Lang Syne (prelude), a solo presentation of new work by New York–based artist Cici Wu (b. 1989, Beijing; raised in Hong Kong). This is Wu’s third solo show with the gallery, following her previous exhibitions Lantern Strike (2021) and Upon Leaving the White Dust (2018). Across sculptures, drawings, film, and installations, she attends to migratory aesthetics and to individual and collective memories that refract across space and time. Auld Lang Syne (prelude) extends Wu’s inquiries into the social, cultural, and political through the ephemeral medium of light. This new body of work suggests that the act of returning can intimately contour and shape unfinished histories and elucidate relations between past and present generations, between the material and the ephemeral. The exhibition is on view until November 7, 2026.
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。
