Jacqueline Kiyomi Gork’s first solo exhibition at François Ghebaly, Solutions to Common Noise Problems, will open at its New York location on January 29, 2022. The exhibition will feature a continuation of her Sound Blanket series featuring hand-felted wool sculptures.
A Través at James Cohan Gallery is on view from January 14 through February 19, 2022, at 52 Walker Street.
Participating artists include Simon Evans ™, Ellen Gallagher, Yun-Fei Ji, Jes Fan, Teresa Margolles, Wardell Milan, Jesse Mockrin, Wangechi Mutu, Brandon Ndife, Tuan Andrew Nguyen, Kathleen Ryan, Shinichi Sawada, Paul Mpagi Sepuya, Bill Viola, and Jesse Wine.
Collectively and individually, we pass through thresholds, periods of transitions, and states of indeterminacy in life. In the middle stage between birth and death, there is a “cloud of unknowing,” the Romantic idea of a psychic space with no boundaries; at once freeing and equally anxiety-provoking. If ever there was a time when ambiguity and disorientation are shared sensations, it is now. This exhibition is a meditation on this transitory state. Through performance, sculpture, painting, photography, and film, the artists presented offer glimpses into these subconscious states as they play out in figuration.
Screening and Talk: Philosophy in the films of James T. HongSaturday 22 January 2022 / 4.30pm — 6.00pm
4.30pm – Watch James T. Hong’s films The Duck of Nature/The Duck of God and De Anima5-6pm – Talk by Dr Steven Gambardella
This event takes place at Ikon Gallery and will also be live streamed via YouTube. To watch online please subscribe to Ikon Gallery’s YouTube channel. Booking essential (limited capacity).
James T. Hong screening and live musicThursday 3 February 2022 / 6.30pm — 8.30pm
Live music by Cristiana Ilie, Chromatouch, Steckdose, RBMK and Taibach With an in-person audience of up to 30 people, and unlimited numbers for online streaming (which is free to access).
Ysabelle Cheung reviews Jacqueline Kiyomi Gork | Olistostrome in the January 2022 issue of Artforum. “Twenty-four hypersensitive condenser and contact microphones, twelve strategically placed speakers, one Mac mini, six needle-felted wool sculptures, a carpet of weathered pebbles, and two fuzzy outsize sound blankets. At Jacqueline Kiyomi Gork’s recent solo exhibition “Olistostrome,” the stage was set. The only missing element? Its protagonist: the viewer.”
Jes Fan’s Diagram XI and Diagram XII from 2020 are now part of the Kadist Art Foundation collection, San Francisco. “The Diagram series relates broadly both to Jes Fan’s interests in body modification and gender hacking as well as the artist’s investment in destabilizing hegemonic categories such as gender, monogamy, and the classical individuated subject in favor of more creative, egalitarian, and communal modes of envisioning ourselves.”
Founder of Sunpride Foundation and pioneering collector Patrick Sun was recently profiled in Artsy Magazine regarding his collection of LGBTQIA+ artists.
“I have participated in Para Site’s benefit auctions through Artsy and successfully acquired a few works. Among them is Brooklyn-based artist Jes Fan Jes Fan’s 2020 video installation Dr. Pimple Popper. Jes is a wonderful artist. Their work often deals with the notion of the body and questions the concept of otherness by exploring materials with biological and social connotations. I went to see Jes’s solo exhibition at Empty Gallery in 2018 and acquired a large-scale work from the exhibition, and have been following the artist’s development ever since. When I saw Jes’s work appearing in Para Site’s auction catalogue, I immediately decided to go for it.”
What happens when technology extends life beyond its biological limits? How can we complicate traditional and normative ideas of identity? And what happens when artists interrogate bodies—their own, those of others, and those they imagine—to envision new forms of living?
Join The New Museum on December 16, 1PM EST for a panel discussion in conjunction with their 2021 Triennial, “Soft Water Hard Stone,” featuring participating artists Kate Cooper, Jes Fan, and Jeneen Frei Njootli, and moderated by Jeanette Bisschops, Curatorial Fellow at the New Museum.
Jahresgaben 2021 will be on view from December 9 – 23, 2021 at Bonner Kunstverein, Bonn.
“The group exhibition Sex Ecologies explores gender, sex, and sexuality in the context of ecology. The exhibition is founded in the belief that environmental and social justice go hand in hand. Through a transdisciplinary approach, the exhibition critiques understandings of nature, gender, sexuality, and race that attempt to objectify and naturalize them. For example, “laws against nature” used to criminalize queer sexuality, and in many places still do. These norms are justified through evolutionary narratives exclusively permitting heterosexual reproduction. Everything that does not fit this norm is considered unhealthy, polluted, or “degenerate.” These norms have proven detrimental to humans and to the thing we call nature alike.” Artists: Margrethe Pettersen, Alberta Whittle, Anna Tje,Anne Duk Hee Jordan, Ibrahim Fazlic, Jes Fan, Jessie Kleemann, Okwui Okpokwasili & Peter Born, Pedro Neves Marques
Curators: Stefanie Hessler, Katja Aglert, Carl Martin Faurby, Katrine Elise Pedersen, Kaja Waagen, Prerna Bishnoi
Cassie Packard has written about Hsu’s first solo exhibition with Miguel Abreu Gallery, skin-screen-grass, for the ArtSeen section of The Brooklyn Rail.
Tishan Hsu has been exploring the messy entanglement of bodies and technology for over three decades. Spanning painting, drawing, sculpture, photography, and video, his work is characterized by a slippery lexicon of biological and technological motifs—lingering on the touch in touchscreen and the face in interface—that probes the more visceral, affective, and lived aspects of our relationships to machines. A strong complement to Liquid Circuit, the artist’s first American institutional show staged at the Hammer Museum in Los Angeles and SculptureCenter in New York, Hsu’s first solo show at Miguel Abreu Gallery features 13 pieces made between 2019 and 2021, a pandemic period when, for many, physical isolation brought new manic intensity to our enmeshment with our devices.
