The 2025 Chicago Architecture Biennial, SHIFT: Architecture in Times of Radical Change, takes place from September 19, 2025 – February 28, 2026. Jacqueline Kiyomi Gork will be participating with her installation work Variations in Mass Nos. 5, 6, 7, 2024, vinyl, blowers, electronics, and speakers. Collaborators: Viola and violin, Daniel Jacobs; Cello, Zack Reaves; 3D design, Rhett LaRue.
Little Fluffy Clouds is on view at Lagune Ouest in Copenhagen, Demark from September 19 through October 18, 2025. Participating artists include: Rachel Fäth, Doris Guo, Mathias Toubro, Pol Wah Tse, Mille Qvist.
Vunkwan Tam’s solo exhibition, Clear Rivers, is now on view at Loong Mah, New York. Open on Saturdays and Sundays from 1-6PM and by appointment.
Cici Wu is participating in the 36th Bienal de São Paulo with her 2023 film Belonging and Difference. The exhibition will take place from September 6, 2025 to January 11, 2026 at the Ciccillo Matarazzo Pavilion in São Paulo, with free admission. This year’s theme, Not All Travellers Walk Roads – Of Humanity as Practice is inspired by the Afro-Brazilian poet Conceição Evaristo, and this year’s edition includes 125 artists and collectives.
There Is a Crack in Everything, on view from September 5 – December 14, 2025, brings together more than twenty-five international artists whose practices intertwine emotion and form with questions of belonging, identity, and memory. From visible violence to imposed silences, from damages to life to the vulnerability of surrounding environments, these artists explore the human condition in its tensions as well as its possibilities, transforming these realities into imaginings of resistance, displacement, and reinvention. This exhibition is a project of the Jewish Museum In/Out, led by its director Barbara Cuglietta, in collaboration with guest curator Martin Germann.
Raha Raissnia will be participating with her film installation Solaria 2022, as well as new paintings.
Generations of Hong Kong filmmakers have worked to find a cinematic language that could capture an environment so marked by contingency and ephemerality. In recent years, one particularly original and sustained such effort has come from Chan Hau Chun, who has made several works blurring the boundaries between documentary and video art, and whose newest film debuted at Hong Kong’s Empty Gallery this summer. An epistolary reflection on the city, partly addressed to a then-imprisoned friend, Map of Traces (2025) unearths fragments of Hong Kong’s collective history and forms them into an image of its present. “Memory,” she writes in one letter displayed over a black background, “is like a hidden shape, waiting for the right moment to resurface.”
Cici Wu’s current exhibition at Rockbund Art Museum, running through September 28, has been covered recently:
Artists: Ryoko Aoki, Robert Beck / Buck, Anne Eastman. Zon Ito, Yoshiro Furuhashi, Takeshi Miyakawa. Monique Mouton, Tam Ochiai, Hiroyuki Oki, Ayano Shibata, Stephen Sprott, Chinatsu Yasuhara, Cici Wu Dates: August 2 (Sat) – August 31 (Sun), 2025
Troedsson Villa is pleased to announce a group exhibition at The Pawnbroker’s Museum in Nikko, Japan. Organized by Anne Eastman and Tam Ochiai, the exhibition is titled Zureta, a word that refers to something being slightly off, displaced, out of sync, or shifted just enough to catch our attention. Whether by design or accident, when an idea, person, place, moment, or material is dislocated, the resulting imperfection opens up countless possibilities. The artists in this exhibition respond to these shifting realities. Each work points toward a fugitive memory of a place or a sense of self dislodged from its point of origin.
“Located far from the city center, on the south side of Hong Kong Island, Empty Gallery is tucked into the upper floors of a commercial skyscraper. The black-and-white projection of Chan Hau Chun’s Map of Traces (2025), the sole work and namesake of the artist’s first solo exhibition with Empty, provides the only illumination in an otherwise dark, echoey space. The film’s cloistered presentation, with the feeling of a sparsely attended microcinema screening, heightens the intimate, hushed, and quietly demanding quality of its content.”
Cici Wu is participating in 47 Canal’s Summer Screening Program, which opens July 9 and runs through August 15, 2025. Other participating artists include: Martin Beck, Danielle Dean, Andrew Hawkes, Elle Pérez, Sung Tieu and Zheng Yuan.
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。
