Vunkwan Tam’s F was recently reviewed by Cassie Kaixin Liu in Frieze magazine. “With simultaneously mournful and irreverent works, ‘F’ at Empty Gallery is haunted by our inability to process grief in the internet age.”
The opening of Signaling, a new group exhibition at KinoSaito NY, coincides with their one-year anniversary (September 10, 2022). Curated by Alexander Provan, the exhibition will run through 11 December. Participating artists include: Vivian Caccuri, Raven Chacon, Nikita Gale, Jacqueline Kiyomi Gork, L’Rain, Nicole Miller, and Jeremy Toussaint-Baptiste.
“To signal is to convey meaning through a gesture or expression—to communicate directly and artlessly, with the clarity of a traffic light or siren. In the realm of online posting and positioning, however, signaling has come to stand for the sharing of generic, fashionable statements, as opposed to genuine convictions, much less complicated opinions. Behind this new, negative definition is the strange expectation that every utterance somehow relay the speaker’s true meaning, or even true identity. But why should signaling be either sincere or performative, reflecting selfhood or groupthink? Why should people always reveal (or even know) what they mean and who they are, rather than expose or conceal themselves based on who is listening and what is at stake?”
Susanne M. Winterling’s new solo exhibition, A threshold-game of proximity, cluster and heat, opens at Kunsthall Trondheim tomorrow (September 7, 2022). “In recent years, Winterling has explored the cultural, biological, and medicinal aspects of temperature. In their recent work, heat features as energy often indiscernible to the human eye, which nonetheless makes bodies quiver—from desire as much as fear—and which causes landscapes to surrender to drought or transform to ashes.”
A collaboration between Pivô Brazil and KADIST Art Foundation, de montañas submarinas el fuego hace islas [from the underwater mountains fire makes islands] is a new exhibition, publication and seminar series curated by Yina Jiménez Suriel. Two of Jes Fan’s Diagram works will be on view in the exhibition, which opens today (September 3, 2022) and will be on view until November 6, 2022.
With Frieze Seoul opening on September 2, Ocula magazine has highlighted eight galleries’ presentations. From Alexander Lau, Director of Empty Gallery:
“The selection of works we are bringing to Seoul includes a number of our core gallery artists, Cici Wu, Tishan Hsu, and Taro Masushio, who we are introducing to the Korean market for the first time, as well as Vunkwan Tam, a young artist from Hong Kong who has just joined the gallery.
These artists all deal with the intersection between technological modernity, imperialist legacies, and contemporary East Asian identity in important ways.”
Opening on September 2, 2022, Cloud Walkers is a group exhibition opening at the Leeum Museum of Art in Seoul. Tishan Hsu will be one of the featured artists. The exhibition will be on view until January 8, 2023, and was curated by June Young Kwak.
James T. Hong’s Apologies v2016.2 will be presented at the Jewish Museum Vienna from October 12, 2022 until January 8, 2023, curator: Marcus G. Patka.
Transactions With Eternity at Kraupa-Tuskany Zeidler was recently reviewed by Noushin Afzali for Ocula Magazine. The exhibition closes on August 20, 2022.
“On the other side of the gallery space is a sturdy pale-greenish frame; an interlocking resin-coated metal skeleton with three bloated glass pieces attached, given near-erotic shapes.
Standing at almost 1.43 metres tall, Rack II (2022) is the latest work by multidisciplinary artist Jes Fan, whose similar juxtapositions of soft, fluid forms with rigid structures, are also on view in the Venice Biennale‘s central exhibition, The Milk of Dreams (23 April–27 November 2022).”
“The Pollock-Krasner Foundation revealed that it would award grants totaling nearly $2.7 million to 106 artists and nonprofit organizations across the globe. The recipients represent sixteen countries and sixteen states.” Jes Fan has been awarded a Pollock-Krasner Foundation 2021–22 Artist Grant.
The full list of grantees and Lee Krasner Award Recipients can be viewed at the link below.
Jes Fan was profiled by Drew Zeiba for the August 2022 issue of Wallpaper* magazine. “Can art and biology come together to break down social constructs?
Multidisciplinary artist Jes Fan uses fungi, bacteria and hormones to produce unique pieces exploring the intersections of biology, identity and creativity.”
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。
