過往紀錄

Melanie Pocock, the curator of James T. Hong’s solo exhibition at Ikon Gallery, has written an essay: The Truth, the Whole Truth, and Nothing but the Truth, The Philosophical Films of James T. Hong, now live on the Ikon Gallery website.

“The first voice that the viewer hears in De Anima (2021) is the artist’s, Taiwanese-American filmmaker James T. Hong. Reverberating bass and buzzing synth set the tone for a disquieting disclosure: that “it has been twenty years since [Hong] has changed the prescription on his glasses”. Blurry scenes of a subway in Taipei evoke the vision – it’s as if we are seeing the world through his eyes. Hong’s gaze fuses with that of the camera, and we are drawn into a state of empathy with the artist. Yet there is also an irony to this opening statement. Why would Hong, a filmmaker for whom clarity of vision would seem a vital tool, neglect his optical health for twenty years? The logical question further clouds our perspective. Should we trust the artist? Especially one who can barely see?”

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.

Cici Wu was recently interviewed in the January-February 2022 issue of ArtAsiaPacific (The Almanac) by H.G. Masters.

“I’m more aware that the contemporary art world may not be the only world to share my work. In terms of production, I want to work more slowly. I still have a lot of feelings and thoughts that need to be processed first. I realized the goal for me in making art is primarily to become free—and to constantly think about what freedom means, for myself.”

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. Hong
Saturday 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 Anima
5-6pm – 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 music
Thursday 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

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.

James T. Hong’s first solo exhibition in Europe, at Ikon Gallery (Birmingham, UK) opens tonight on December 3rd. The exhibition will be on view through February 13, 2022.

“This exhibition presents two films by Hong which feature animals. The Duck of Nature/The Duck of God (2010) was originally made as an educational video for Dutch schoolchildren, and imagines the 17th-century philosopher Baruch Spinoza as a mechanical duck, who is snubbed by other birds on the canals of Amsterdam. The scenario reflects Spinoza’s own experience, who was excommunicated by the Jewish community for his humanist beliefs.

The second film, De Anima (2021), is a two-channel video installation. The first channel, filmed in Taiwan, presents three points of view: the artist’s, that of the “enemy” virus (Covid-19), and a dog’s. The second channel, shot in India at the historical location where the Buddha gained enlightenment, reinterprets the first channel and represents the artist’s search for insight during the pandemic. In both elements, animals provide this insight with witty observations about human behaviour.”

Vivian Chui in Ocula: “Rather than forcing artists into rooms organised by subthemes, works correspond to one another in a free-flowing exchange that runs through the show.

Jes Fan’s glass sculptures Networks (for Rupture) and Networks (for Expansion) (both 2021), containing a strain of black mould known for its asexual reproduction, are placed besides Iris Touliatou’s Untitled (Still Not Over You) (2021), an abstract installation of flickering, near obsolete fluorescent light tubes collected from defunct offices in Greece.

Although addressing unrelated themes—respectively, sexual identity and the temporality of human infrastructures—the pairing appears materially harmonious, united visually by the shared use of tubular materials.

One of the show’s greatest strengths is the notable subtlety of works on display: a refreshing respite at a time when so many artists have embraced brash, overt political agendas within their practices.”

Premiering at the CAC in Spring 2022, Breaking Water features contributions from Carolina Caycedo, Jes Fan, Paul Maheke, Carmen Winant and more, alongside a parallel film program. In May 2022, the Contemporary Arts Center (CAC) in Cincinnati will premiere BREAKING WATER, a group exhibition bringing together works in installation, video, photography, painting, sculpture, and performance that offer a range of approaches to the subject of water, liquidity, and feminism. The exhibition will debut four new commissions by PAUL MAHEKE, JOSÈFA NTJAM, CLAUDIA PEÑA SALINAS, and a collaborative work by CALISTA LYON and CARMEN WINANT alongside new and existing work by an international group of artists whose work explores themes of fluidity, connectivity, and resistance, and addresses timely concerns including water rights, climate change, and the effects of natural disasters. Co-curated by CAC Senior Curator Amara Antilla and independent curator and writer Clelia Coussonnet, Breaking Water will be on view at the CAC from May 6 through August 15, 2022. The exhibition will be accompanied by a parallel film screening program that extends the exhibition’s central themes.

“CHART is honored to present 8 Americans, an exhibition of eight multi-generational Asian American artists, whose work, across various mediums, comments on notions of shared identity and histories. While the number 8 has a significance in Asian culture as a sign of auspiciousnes, the impetus for choosing that specific number for the exhibition became more urgent following the tragic shooting in Atlanta earlier this year. The 8 here is meant to honor the eight victims of that tragedy in March.” The exhibition will be on view through January 22, 2022.

Curator: Clara Ha
Artists: Hyegyeong Choi, Tishan Hsu, Byron Kim, Antonia Kuo, Timothy Lai, Jennie Jieun Lee, Kang Seung Lee, Jean Shin

Opening today at Centre Pompidou-Metz in Paris: Toi et moi, on ne vit pas sur la même planète, a curated selection of works from the 2020 Taipei Biennial. Eighteen of James T. Hong’s storyboard series, “The Enemy of My Enemy is My Friend”, are included in the exhibition.

The biennial, with the theme “You and I Don’t Live on the Same Planet” was co-curated by French philosopher Bruno Latour and Paris-based independent curator Martin Guinard.

James T. Hong’s on-going series of storyboards centre on a speculative science-fiction film in which forces from China, the USA, and other nations engage in military conflict on the island of Taiwan. Hong’s choice of watercolor as a medium evokes histories tying together plein-air romanticism and the rise of militarism; the cult of sentiment and the cult of the dictator. Painted in collaboration with Yin-Ju Chen, these works often evoke a disarming sense of calm amidst depictions of total warfare.

Jacqueline Kiyomi Gork was recently featured in The Here and There Collective’s Instagram Live series. The Here and There Collective, founded by Steven Abrahram & Lisa Young, are an organization committed to connecting and uplifting contemporary artists, curators, and collectors from the AAPI/Asian diaspora.

View the Instagram Live below, with a walkthrough of Kiyomi Gork’s exhibition Olistostrome at Empty Gallery, with the artist’s commentary and context around the works.

“Soft Water Hard Stone,” the fifth New Museum Triennial, brings together works across mediums by forty artists internationally, including Jes Fan. It recognizes artists reimagining traditional models, materials, and techniques beyond established institutional paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The Triennial will be on view from 27 October, 2021 to 23 January, 2022.

Curators: Margot Norton, Allen and Lola Goldring Curator at The New Museum, and Jamillah James.

Tishan Hsu’s first solo exhibition with Miguel Abreu Gallery, skin-screen-grass, opens October 21st, on view until December 23. The exhibition is held at the gallery’s 88 Eldridge Street location.

“Over the last three years, with increasing focus and intensity, Tishan Hsu’s art has taken a turn towards exploring the vast possibilities of image production today, and how to introduce this all pervasive force into his work. With the steady development of ever more sophisticated image processing software, and quasi limitless access to photographic sources and electronic imagery afforded by new high resolution databases, Hsu’s palette has expanded exponentially to include a set of tools particularly well suited to engage with the concerns underlying his work since the beginning: How does the screen world affect cognition and our relation to our bodies? How can art channel omnipresent technological effects and reveal their immanent affective content? In other words, what kind of artistic forms might truthfully render this increasingly potent and palpable state of biomorphic affairs?”

“After a long summer of being closed for maintenance, Beijing Inside-Out Art Museum reopens with a new exhibition, The Principle of Hope. It is an exhibition that contemplates, envisions, summons and claims the “future.” By presenting the practices of Chinese and international artists and cultural practitioners, we demonstrate the future as a space full of potential, beckoning for the subjective individual, to confront the present with the courage and enthusiasm of a future-oriented outlook.”

Participating artists: Francis Alÿs, Aram Bartholl & Nadja Buttendorf, Erick Beltrán, Chen Chen Yu, Chen Juanying, Karel Čapek, Carlomar Arcangel Daoana, Datong Dazhang, Péter Dobai, Fang Tianyu, Lawrence Abu Hamdan, Norma Jeane, Pauline Julier & Nicolas Chapoulier, Pope. L, Lei Lei, Li Jiaqi, Feng Kehui, Mak Ying Tung 2, Pedro Neves Marques, Meng Jinghui, Nabuqi, Phil Patiris, Gabriel Tejedor, Xingfu Peifang, Wang Xiyan, Xper.Xr, The Yes Men, Liam Young, Goang-Ming Yuan, Gary Zhexi Zhang, Zhong Ming

Artistic directors: Carol Yinghua Lu, Luo Xiaoming

Curatorial team: Huang Wenlong, Liang Chouwa, Yin Shuai, Jerome Zhang, Scarly Zhou, Zhu Siyu

Empty Gallery is pleased to open a dual-presentation of sculptor Jes Fan and painter Henry Shum at the Focus section of Frieze London, booth H10, from October 13 through October 17.

Fan’s ongoing Diagrams sculpture series features partial body-molded pieces of aqua resin covered in patches of color alluding to medical depictions of the epidermis, overlaid with hand-blown glass globules. These works continue Fan’s inquiry into what forms belie the body part that determines the majority of differences in human skin colors, and suggests that living beings are not bound entirely by the form of the skin.

Shum presents new oil paintings created in his home/studio in Tai Po. Building on his exploration of allegory, symbolism and spirituality in his recent exhibition Vortices, Shum extends his unique approach of wielding oil paint in an ink-like fashion, rendering elements from spiritual and mythological imagery in translucent, dripping layers. Shum’s material experimentation and dynamic approach to a familiar medium results in surreal, large-scale compositions at once dream-like and restrained.

The works of Shum and Fan involve the iterative layering of materials to dissolve unquestioned binaries, whether it be the collapsing of interior and exterior spaces in Shum’s paintings or the questioning of race and gender in Fan’s pieces. 

In conjunction with our Frieze London booth (H10) presenting Henry Shum and Jes Fan, Jes Fan will be in conversation with artist Rindon Johnson, moderated by professor and translator Ari Larissa Heinrich, at Frieze Talks curated by Jeppe Ugelvig. Professor Heinrich is currently working on Decolonial Melanin: Jes Fan’s Contagious Xenophoria (A Glossary).
This online discussion will take place on Saturday 16 October, 13:00 British Standard Time / 8:00am Eastern Standard Time/ 8:00pm Hong Kong Time.

This event is accessible to Frieze members and guests of the fair. Click the link below for more information.

Setting the Stage: Jacqueline Kiyomi Gork by Lumi Tan appears in the Tidbits section of Mousse Magazine #77, out now.

“For artists who center sound within their practice, sharing sonic space and attention within institutional environments is a familiar struggle: how to create a focused audience without merely encasing them in soundproof walls or imposing isolating headphones upon them. Jacqueline Kiyomi Gork has attuned her sound work to be fully integrated within group exhibitions, art fairs, and outdoor settings. Pointedly, they consider themself a listener, not a composer—in a sense, aligned with the individual visitor and the collective audience rather than with the maker.”

Tishan Hsu’s new wall installation and accompanying QR-linked video piece, “Grass-Screen-Skin: Bolzano” is now on view at  Museion, Bolzano, Italy, as part of TECHNO. The exhibition is on view until 16 March, 2022.

Articulated through three themes— Freedom, Compression and Exhaustion — the exhibition TECHNO puts the techno experience center stage, adopting it as a lens through which to capture a contemporary human condition and social order. Museion invites an international group of artists, thinkers and producers to explore how cultural phenomena related to techno have become interlaced with the ways we experience our identities today.

Artists: Riccardo Benassi, Paul Chan, Nicolò Degiorgis, Karin Ferrari, Massimo Grimaldi, CC Hennix, Tishan Hsu, Mire Lee, Ghislaine Leung, Isabel Lewis, Piero Martinello in Zusammenarbeit mit/in collaborazione con/in collaboration with Franco Ruaro, Sandra Mujinga, Nkisi aka Melika Ngombe Kolongo, Emeka Ogboh, Yuri Pattison, Daniel Pflumm, James Richards und/e/and Steve Reinke, James Richards, Jacolby Satterwhite, Leander Schwazer, Sung Tieu, Jan Vorisek among many others.

TECHNO is curated by Bart van der Heide, Director of Museion, in collaboration with an international research team including Francesco Tenaglia, art critic and curator, Florian Fischer, stage director and author and Frida Carazzato, curatorial assistant at Museion.

In Issue 125 Sep/Oct of ArtAsiaPacific, Editor at large HG Masters profiled Xper.Xr after his exhibition Tailwhip at Empty Gallery. “Though the show featured an abundance of archival materials—cases of magazine clippings, album covers, old correspondence, articles and zines that Chris published, musical scores, and various noise-making props including a megaphone and angle grinder—it can still be difficult to comprehend that Xper.Xr’s multipronged creative life really happened, and with such intensity.”

CAMP FIRES is a polymorphous project that centers around the exhibition of some twenty video works by international artists, dancers, singers, performers, and activists exploring the body as a performative interface to resist the normative gaze over dissident bodies—that which is queer in the broadest sense of the word. The project defends the idea that identity is not a definitive state but a continuous negotiation between the ontological self and the rest of the world, a form of constantly becoming rather than being. The exhibition opens on 2 September and runs until 23 October at Last Tango.

Artists: Fatima Al Qadiri & Khalid Al Gharaballi, James Bantone, Básica TV, Lukas Beyeler, Emilio Bianchic, Lex Brown, Cibelle Cavalli Bastos, Tianzhuo Chen, Jes Fan, House of Ladosha, Ivy Monteiro, Javier Ocampo, Tyler Matthew Oyer, Signe Pierce & Alli Coates, Bhenji Ra & Justin Shoulder, Florencia Rodríguez Giles, Jacolby Satterwhite, SOPHIE and more

Curated by Simon W Marin and Violeta Mansilla
Hosted and co-produced by Last Tango
Co-hosted by Tanzhaus Zürich and Shedhalle

The 11th Seoul Mediacity Biennale, One Escape at a Time, is slated to open from September 8 to November 21, 2021 at the Seoul Museum of Art (SeMA) and other locations across the city.

One Escape at a Time will present works and projects—many of them new productions—by 41 Korean and international participants: Bani Abidi, Monira Al Qadiri, Amature Amplifier, Richard Bell, Johanna Billing, Pauline Boudry / Renate Lorenz, Chang Yun-Han, Chihoi, Minerva Cuevas, Brice Dellsperger, DIS, Hao Jingban, Hapjungjigu, Sharon Hayes, Jinhwon Hong, Hsu Che-Yu, Geumhyung Jeong, Eisa Jocson, Kang Sang-woo, Kim Min, Sarah Lai, Oliver Laric, Li Liao, Life of a Craphead (Amy Lam and Jon McCurley), Lim Giong, Liu Chuang, Mackerel Safranski, Tala Madani, Henrike Naumann, ONEROOM, Yuri Pattison, Paul Pfeiffer, Hansol Ryu, Pilvi Takala, TASTEHOUSE × WORKS, Wang Haiyang, Ming Wong, Cici Wu, Chikako Yamashiro, YOUNG-HAE CHANG HEAVY INDUSTRIES, and Tobias Zielony.

One Escape at a Time builds on ideas of escapism in relation to currents in today’s popular media—especially the US sitcom One Day at a Time (2017–). First produced and made available for streaming worldwide by Netflix, One Day at a Time is a contemporary update of the 1970s sitcom of the same name. It charts the life of a three-generation Cuban American family sharing the same roof in Los Angeles. Despite its seemingly conventional format, the sitcom flips the norms of media representation and disguises its central concerns with laughter while tackling some of the most urgent and human questions today: racism, gender, class, sexuality, identity, migration, gentrification, and violence, among others.

For Spike Art Magazine, contributing editor Jaime Chu and art researcher Michelle Wong teamed up to explore Tailwhip, Empty Gallery’s exhibition of pioneering Hong Kong noise musician, Xper.Xr. “NOISE IN THE DARK: A CONVERSATION ON XPER.XR: Active in Hong Kong’s underground for three decades, Xper.Xr defies description. Fanzines, experimental sounds, and hammers all come together under one roof for the multifaceted (and more than occasionally dangerous) artist’s first retrospective.”

The Art + Technology Lab at LACMA has announced its 2021 grant recipients.

Emphasizing iteration and risk-taking over the completion of a finished work, the Lab continues to support artist projects that engage emerging technology. Selection criteria includes artistic merit, opportunities for public engagement, and the suggested forms of data, methods, and/or models that might be of interest to other artists. LACMA issued the 2021 Request for Proposals in December of 2020 and received over 900 submissions.

Among the four winning projects: Jaqueline Kiyomi Gork and Rhett LaRue will develop a multiplayer game space that uses sound as its main modality for navigation and interaction. Giving consideration to empathy and intimacy, they will disrupt the traditional structure of gaming experiences, developing an experience based on collaboration and listening. Gork and LaRue’s project is called Inhabit360.

We are pleased to announce that two recent sculptures by Jes Fan, Diagram IX (2021) and Diagram X (2021), have joined the Collection of the Mount Holyoke College Art Museum. Empty Gallery would like to thank the team at MHCAM who made this possible. A work from Fan’s ongoing Diagram series exploring the epidermis, Diagram X (2021) features two undulating forms of aqua resin fused in three points, above which a glass globule is situated in a custom-molded form. The organic geometry and fluctuating joinery of this piece evoke the permeable, semi-transparent layers of skin covering human bodies. In his deliberate openings and closings of skin-like waves, Fan questions where a body begins and ends.

The group exhibition Zeros and Ones investigates the ways artists operate within their surrounding institutional structures. Taking the algorithmic paradigm in scripting, scoring, instruction, or command, the works selected systematically complicate these procedures through lived experience. Tools and tasks are mobilized without measurable outcome while always returning to the material conditions of their labor. Through subtle redistributions, infrastructure and the body are both intimately as well as violently situated towards each other.  The practices of artists such as Lutz Bacher, Jay Chung & Q Takeki Maeda, Hanne Darboven, Jana Euler, Jef Geys, Tishan Hsu, Ilmari Kalkkinen, Silvia Kolbowski, Pope L., Louise Lawler, Carolyn Lazard, Lee Lozano, Henrik Olesen, Sarah Rapson, Margaret Raspé, readymades belong to everyone®, Ketty La Rocca, Sturtevant, Otto Wagner, and Martin Wong, prompt us to question the metrics and hierarchies that are being reproduced in the field of art and beyond. The exhibition will be on view until 19 September, 2021.

Curators: Kathrin Bentele, Anna Gritz, Ghislaine Leung

Opening on Friday, June 25 in New York: Lantern Strike (Strong Loneliness) is a prelude on the dissolution of light. For her second solo exhibition at 47 Canal, Cici Wu begins an embarkation on the imagining and reconstruction of a proto-cinema. The works installed in this exhibition––paper lantern sculptures, drawings, and projection––embody trajectories made between an undetermined past and an unforeseeable future. The exhibition duration is June 25 through July 30, 2021.

ALIEN NATION, a group exhibition curated by Kenta Murakami opens at von ammon co (Washington DC) on Sunday, June 20th and runs until August 1, 2021. The exhibition’s artists include: Gretchen Bender, Colette, Catharine Czudej, Tishan Hsu, Helmut Lang, Peter Nagy, Kayode Ojo, Pope.L, Puppies Puppies (jade kuriki olivo),Julia Scher, SoiL Thornton and WangShui.

In collaboration with the film and video platform Normal Screen (Tokyo) led by Sho Akita, Taro Masushio will have a virtual-showcase of his recent Empty Gallery exhibition Rumor Has It online. This online presentation will include film programming (June 14—21) as well as on June 18th (10PM Japan Standard Time) a conversation between Masushio and graphic designer-publisher Yo Katami of loneliness books. The program will be conducted in Japanese.

Now on view at Miguel Abreu Gallery’s 88 Eldridge Street and 36 Orchard Street locations until July 24, 2021:

In a world increasingly described and experienced as regulated by immaterial forces – the digital revolution – there exists a discrete counter force, one fueled by what can be referred to as a renewed materiality. A tripartite condition of opportunity for artists has been in place for some time, but now might be the moment for an exhibition to focus on how 1. new materials, 2. advanced software, and 3. innovative fabrication techniques constitute a rare point in history in which, taken together, the availability of radical new tools offers the ‘Poet-Engineers’ working today a compelling invitation to explore unknown content and invent new forms.

Participating artists: Yuji Agematsu, American Artist, Nairy Baghramian, Dexter Sinister, Trisha Donnelly, Isa Genzken, Tishan Hsu, Pierre Huyghe, Flint Jamison, Jonathan Lasker, Sam Lewitt, Scott Lyall, Helen Marten, K.R.M. Mooney, Jean-Luc Moulène, Florian Pumhösl, R. H. Quaytman, Wacław Szpakowski, Cheyney Thompson.

We are thrilled to share that Tishan Hsu’s Outer Banks of Memory has joined the permanent collection of The Whitney Museum of American Art. We would like to express our gratitude to everyone involved who made this possible. It is significant that Hsu, a Chinese-American artist, is taking a place in the art historical canon during this pivotal moment when Asian-Americans are re-asserting their presence in American culture.

“Outer Banks of Memory (1984) is one of the prescient works [Tishan Hsu] created to address screen-based interaction and was just acquired by the Whitney. The large-scale painting-sculpture hybrid depicts illusionistic, organic folds and wrinkles in addition to orifices that resemble technological input/outputs. It brings together the artifice of the screen and its self-reflexivity with the contortions of the human body—the body that responds to and integrates with the technology it has created.”

Now on view until June 27, 2021: Jes Fan presents three new works at The Lewis’s Building titled Network (For Staying Low to the Ground) (2021), Network (For Survival) (2021) and Network (For Dispersal) (2021), as part of his series Networks (2020-ongoing). The sprawling new work takes the form of an entangled network of borosilicate tubing, punctuated with biomorphic forms. The sculpture also acts as an incubator for black mould, which reflects on Fan’s sustained interest in racialised fear of contamination, as well as his engagement with interspecies kinship – as allegorized by the fungal mycelium. It describes a way of learning to care for what is not human.

Supported by Empty Gallery, Canada Council for the Arts, Hong Kong Economic and Trade Office, London, and The High Commission of Canada in the United Kingdom.

Para Site and Rockbund Art Museum are thrilled to continue their fruitful collaboration with the new exhibition, Curtain,
opening on 14 May 2021 at Para Site’s home and on 15 May 2021 at the institution’s temporary venue in Hong Kong’s
Sheung Wan. Curtain is a continuation of the unique dialogue and partnership between the two institutions, which began in 2019 with An Opera for Animals that premiered at Para Site, with a jointly curated edition travelling to Rockbund Art
Museum subsequently.

Artists: Chantal Akerman, Xyza Cruz Bacani, Leigh Bowery, Theresa Hak Kyung Cha, Felix Gonzalez-Torres, Cao Guimarães, Ho Sin Tung, Hu Yinping, Hu Yun, Derek Jarman, Shuang Li, Minouk Lim, Gustav Metzger, Ocean & Wavz, Jacolby Satterwhite, Daniel Steegmann Mangrané, Tan Jing, Robel Temesgen, Jason Wee, Cici Wu, Wu Jiaru, Stella Zhang, Jasphy Zheng, and Zhou Tao

Curators: Cosmin Costinas, Larys Frogier, Celia Ho, Anqi Li, Billy Tang, and Xu Tiantian
Collaborators: Biljana Ciric and Mathieu Copeland

James T. Hong was awarded the Grand Prize in the Taiwan Competition of the 2021 Taiwan International Documentary Festival for Opening Closing Forgetting (2018). This film is a visual record of long-lasting open wounds and the disappearance of collective memory. Hong examines the current plight of a group of elderly Chinese peasants, who, as civilians, have been made victims of the Imperial Japanese Army’s lethal human experimentation in Northeast China, suffering from festering wounds for over 70 years. Hong also visits some surviving soldiers of Unit 731——Japan’s notorious regiment devoted to biological warfare during World War II.

In the competition judge Dimitris Kerkinos’ words: “[Opening Closing Forgetting is] a powerful, courageous and well-researched film which brings to light an unknown historical trauma that seventy years later hasn’t healed yet. A topic with universal resonance, a visual record of the horror of biological experimentation and warfare on humans, that comments, at the same time, on the disappearance of memory and the denial of assuming responsibility.”

The Liverpool Biennial plans to launch its Second Chapter on 19th May, 2021. “Liverpool Biennial 2021 opens the second ‘inside’ chapter of exhibitions across the city on 19 May, bringing together the complete presentation of the 11^th edition, The Stomach and the Port. In line with Government guidance, this final chapter will open the doors to the city, welcoming visitors from across the country to safely enjoy the UK’s largest free festival of contemporary art.”

Jes Fan presents three new works at The Lewis’s Building titled Network (For Staying Low to the Ground) (2021), Network (For Survival) (2021) and Network (For Dispersal) (2021), as part of his series Networks (2020-ongoing). The sprawling new work takes the form of an entangled network of borosilicate tubing, punctuated with biomorphic forms. The sculpture also acts as an incubator for black mould, which reflects on Fan’s sustained interest in racialised fear of contamination, as well as his engagement with interspecies kinship – as allegorized by the fungal mycelium. It describes a way of learning to care for what is not human.

Supported by Empty Gallery, Canada Council for the Arts, Hong Kong Economic and Trade Office, London, and The High Commission of Canada in the United Kingdom.

Pavel S. Pyś explores Jes Fan’s work in the Futurity issue (#36) of CURA magazine:

“In 1986, performance artist Stelarc wrote: “skin has become inadequate in interfacing with reality […] technology has become the body’s new membrane of existence.” While Stelarc posited on the cybernetic—hybridizing the bodily with the robotic—his assessment shares common ground with the work of New York-based artist Jes Fan, whose works often begin with a contemplation of skin. Drawing on laboratory processes of distillation, ex- traction, and injection, Fan turns our attention to the skin as a coded boundary that conceals a vast unseen molecular world inextricably linked to our assumptions of identity, race, and gender.

The fifth iteration of the Hammer’s acclaimed biennial opens on April 17, bridging east and west with complementary presentations at the Hammer and The Huntington. Free, advance reservations are required. Capacity is limited. Reservations are made available on a first come, first served basis every other Tuesday. Jacqueline Kiyomi Gork’s installation the input of this machine is the power an output contains (2020) will be on view at The Hammer Museum. Register for admission at the link below.

On the occasion of Hello America at Karma International, curator Gianni Jetzer will talk to artist Tishan Hsu on Karma International’s Instagram Live on April 6, 12PM EST. View a recording of the discussion at the link below. The exhibition is on view until May 8, 2021.

We are pleased to share that two new works by Henry Shum, Sol and Memory Fallacy, are on view in Fifteen Painters at Andrew Kreps Gallery’s 22 Cortlandt Alley location from April 2 – May 8. Occupying both floors of the gallery, the exhibition brings together fifteen artists born after 1980, who each take distinct and diverse approaches to the medium of painting. From those that use painting for its immediacy to those who utilize it for project-based investigations, the exhibition does not aim to identify a specific theme or trend. Instead, it demonstrates the continued mutability of painting as a practice, and its malleable nature that extends beyond its physical application. The exhibition features works by Han Bing, Gabriella Boyd, Guglielmo Castelli, Bendt Eyckermans, Daisuke Fukunaga, Lewis Hammond, Behrang Karimi, Dominique Knowles, Dana Lok, Megan Marrin, Leslie Martinez, Matt Morris, Sophie Reinhold, Henry Shum, Kate Spencer Stewart.

The 13th Gwangju Biennale opens today (April 1), and will run through May 9, 2021.

Minds Rising, Spirits Tuning sets out to examine the spectrum of the extended mind through artistic and theoretical means. Directed by Defne Ayas and Natasha Ginwala, the 13th Gwangju Biennale (1 April–9 May, 2021) will feature a dynamic program encompassing an exhibition, a performance program, an online publishing platform and publications, and a series of public forums bringing together artists, theoretical scientists, and systems thinkers. The Biennale argues for the primacy of plurality, positing that points of origin and influence ought to be accessed not only through the dominant technological systems and machinic vocabularies traceable to the West but also relate to heterodox ancestries.

Tishan Hsu is one of the 70+ artists featured in the exhibition. Outside the installation in Gwangju, visitors can also support the exhibition with their robust online programming.

Opening today Karma International in Zurich— Hello America, a group exhibition featuring Jennifer Bolande, Jessica Diamond, Tishan Hsu. Curated by Gianni Jetzer, it will be on view through 8 May 2021.

Thinking Through the “Malleable Body”: Tuesday, March 23, 6:30–8:00 PM EDT

Who are we? What are we? Are we always the same? Why? How not? Humans can change how we appear in the world, both physically and virtually. We are malleable. Tishan Tsu and Jes Fan, artists included in The Body Electric, discuss their approaches to the challenge of our “malleable body” in their creative practice and work. Organized by the Miami Dade College of Art and Design. Click below to watch the recording of the event.

Jes Fan will be presenting at the University of California Los Angeles as part of their Visiting Artist Lecture Series on March 19, 2021 06:00 PM Pacific Time. Please click the link below to register for the online event.

On March 6, 2021 Empty Gallery is pleased to present an online dialogue between professor Taro Nettleton (Temple University Japan) and artist Taro Masushio. Masushio and Nettleton will explore the constructed nature of photography, Japanese aesthetics, the relation of seeing and knowing, and the politics of vision.

View the recording here.

For the inaugural South South OVR, Empty Gallery presents a solo presentation of the early films of Yokahama-based artist Rei Hayama. Hayama’s films expand our field of vision to include alternative ways of living and seeing, especially in relation to non-human species. This online presentation explores the thematic and formal concerns underpinning her practice over the past decade: humanity’s relationship with the natural world, the instability and mutability of vision, and the influence of early and structuralist-materialist cinema. Spanning 2009 through 2015, these are the visions of a filmmaker solidifying her commitment to “a humble cinema’” that articulates a non-human gaze to uncover the strangeness of being human.

Jes Fan will be speaking about their work at the University of Wisconsin–Madison next week as part of their Visiting Artist Colloquium. Wednesday, February 24 at 5 – 6:15pm CST. The event is free and open to the public. It can be accessed online at Blackboard: bit.ly/uw-art-talk

A Conversation with Jes Fan, Jota Mombaça, Iki Yos Piña Narváez, and Tuesday Smillie is now live on the Guggenheim blog

For this four-part series, X Zhu-Nowell, Assistant Curator, invited four artists—Jes Fan, Jota Mombaça, Iki Yos Piña Narváez, and Tuesday Smillie—to participate in a discussion about decoloniality, transfeminism, and what is at stake when discourses about transgender personhood center on white, Western, or cisgender feminist and queer perspectives

In print and online with the February 2021 issue of The Brooklyn Rail: Tishan Hsu speaks with art historian and critic Martha Scwhendener about his painting and sculpture practice, the relationship of the screen to the body, and Vilém Flusser’s prescient theories of photography. This conversation was held on the occasion of Hsu’s survey exhibition at SculptureCenter, Tishan Hsu: Liquid Circuit (September 25, 2020 – January 25, 2021), which was curated by Sohrab Mohebbi. It was originally recorded as a New Social Environment and has been edited for clarity, concision, and readerly pleasure.

Jacqueline Kiyomi Gork was recently in conversation with Ikechukwu Onyewuenyi, The Hammer Museum’s assistant curator of performance, about her installation at the Made in L.A. Biennial. Click here to view the talk from January 14th. Additionally, she also spoke on Episode 21 of the Contemporary Art Review LA Carla podcast with Aria Dean and Harmony Holiday, the recording of which can be found here.

Nick Yu writes in Ocula: At the entrance to Rumor Has It, Taro Masushio’s current exhibition at Hong Kong’s black-box Empty Gallery, a giant, meekly illuminated pumice stone is supported by a steel structure—a sparse signifier of a subterranean cave. The atmosphere is mysterious, mythological, almost transgressive; not so much a Dionysian cruising club or a lascivious sauna than a mise-en-scène constructed with restraint.

Single rows of framed black-and-white silver gelatin photographs line black walls: still-life captures that include a camera stand, flowers, soap, and erotic hand-drawn sketches.

Long in gestation, Taibach’s first recordings were recently released as an LP on Empty Editions, a record label that I run together with my colleagues from Empty Gallery in Hong Kong. Composed of two Asian Americans who wish to remain anonymous, Taibach’s deliberate engagement with the ideological minefield which is US-Taiwan-China relations feels necessary during a moment defined by rising ethno-nationalism and the flattening of complex political narratives. With a nom de guerre that references both the infamous Slovenian proto-industrial group Laibach and their mythologized homeland of Taiwan, Taibach restages the classic thematics and aesthetic strategies of industrial music for a contemporary moment in which shifting balances of power between East and West herald new hegemonies and exhume old grievances. I spoke with the members of Taibach over email, iMessage, and WhatsApp about music, politics, and Asian American identity.

Andrew Russeth on Taro Masushio’s newly opened Rumor Has It: One recent morning in Hong Kong, while in the last hours of his quarantine, the New York–based artist Taro Masushio recounted a visit he made to a vast, little-seen archive of homoerotic photographs by Jun’ichi En’ya, who had worked as a photo-technician in Osaka, Japan. “I had just never seen anything like it,” Masushio said on a video call, as he recalled flipping through hundreds and hundreds of En’ya’s analog prints. “It was this very surreal and visceral experience.”

Xper.Xr is a legendary, if poorly documented figure in Hong Kong’s experimental music scene. He first became active in the late ’80s “after a steep learning curve and gobbling up every piece of musical rebellion [he] could get [his] hands onto,” and put out his debut cassette Murmur in 1989. For the majority of his recording career he lived abroad—mostly in the UK and France—but he returned to Hong Kong in 2013 to open the short-lived underground venue CIA, his “payback to the HK arts and music scene.” CIA put on gigs that would be hard to imagine happening elsewhere in the region, like an Aktion for Austrian artist Hermann Nitsch, and a rare Asia booking for Slovenian industrial band Laibach.

(Dis)Embodying the biomolecular sex: The lapse of identity in Jes Fan’s hormone works (2017-2018) by Sophie X. Guo now on the Courtauld Gender and Sexuality Group blog:

To borrow the terms of the American feminist Donna J. Haraway, the twenty-first-century body is a technoliving system, the result of an irreversible implosion of modern binaries (female/male, animal/ human, nature/culture).

— Paul. B. Preciado, 2013^[1]

The contemporary condition of the body as a ‘technoliving system’ is meticulously mapped onto Jes Fan’s precarious sculptures, through which the artist wishes to challenge binary conceptions of gender, race, and identity. In their 2018 sculptural series titled Systems, Fan isolates testosterone, estrogen and melanin from the human body and lets them float freely in their hand-blown glass globules. Rendered in biomorphic shapes recalling human organs and drops of body fluids, the limpid glass objects slothfully hang on a piping system which the artist called ‘lattice’, as if in the process of leaking, or seeping out (Fig. 1). Not dissimilar to lattice normally used as a support for climbing plants, the vine-like pipeline used in Fan’s works is, for them, a ‘living shelf’— or at least, a semi-living one, for the sex hormones and melanin contained in the glass vessels are perpetually in flux.

Online event with SculptureCenter: Sat, Dec 12, 2020, 11am–12:30pm. Tishan Hsu’s work appears prescient and influential for younger artists working today, which we can now understand (at least partially) as a product of his idiosyncratic and forward-reaching relationship to the aesthetics, media, and theory of the 1980s.

Referencing the work of scholar Elaine Scarry, Tishan Hsu has remarked that while the critical theory of the 1980s interrogated the subject and saw its autonomy emptied out, pain remained the nagging anchor that kept it from dissipating into thin air. In other words, it was pain that kept the genie in the bottle of embodiment. In Hsu’s work, the body in pain, administered through the institutions of modern life (the office, the hospital, the prison, the factory), manifests itself as fragmented, sundered, and wounded.

Stephanie Bailey writes in Ocula, “Showing in partnership with Fine Art Asia at the Hong Kong Convention and Exhibition Centre between 27 and 30 November 2020, Hong Kong Spotlight is Art Basel‘s first physical presentation in 2020. Ocula Magazine highlights six artists on view among the curated booths of 22 participating galleries. Empty Gallery‘s black box was the perfect setting to showcase the impressive hand of Hong Kong-born painter Henry Shum, who graduated with a BA in fine art from Chelsea College of Arts only in 2020.”

OPHELIA LAI writes in ArtAsiaPacific, “The vortex-as-portal is a recurring motif that conjures the irresistible yet terrifying pull of the unknown. For poet and artist William Blake (1757–1827), it takes on a spiritual dimension as a symbol of transfigurative passage. These mysterious connotations suffuse painter Henry Shum’s “Vortices,” a fever dream of perilous journeys and mystical awakenings in Empty Gallery’s darkened sancta.”

James T. Hong’s work The Enemy of My Enemy is My Friend is in the 12th Taipei Biennial, on view at the Taipei Fine Arts Museum from now until March 12, 2021. Curated by Bruno Latour and Martin Guinard with Eva Lin, it is titled “You and I don’t live on the same planet” and explores how “people around the world no longer agree on what it means to live ‘on’ Earth.”

Hong’s work is a series of concept art storyboards for a speculative science fiction film set in the near future. The film presents a military conflict in Taiwan which involves forces from China, the USA, Japan, Taiwan, and other nations.

Diaries: Era of Good Feelings is an online exhibition curated by Mark Pieterson with an essay by Rizvana Bradley, featuring Antoine Catala, Julien Creuzet, Tishan Hsu, Heesoo Kwon, Christopher Meerdo and Philipp Timischl. On view now until December 20, 2020, this special online presentation brings together various works by six artists that extend the affective possibilities for empathy, care, and connection through the haptic. Also featured is a newly commissioned essay “The Vicissitudes of Touch: Annotations on the Haptic” by Rizvana Bradley.

Now online at Artsy: Para Site: Benefit Auction 2020. Founded in 1996, Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Empty Gallery is pleased to donate two works this year, No Smoking (2020) by John Ziqiang Wu and Dr. Pimple Popper (2020) by Jes Fan.

Simon Wu writes in The Brooklyn Rail: “For the last four decades, Tishan Hsu has worked across sculpture, video, painting, and photography to consider the question: “How do we embody technology?” Hsu was born to Chinese parents in Boston, trained as an architect at MIT, and active in the NY art scene in the 1980s where he worked with gallerists like Leo Castelli and Pat Hearn.”

The Mead Art Museum is partnering with the Department of Art and the History of Art and the Queer Resource Center to host a virtual artist talk and a virtual lunch with contemporary artist Jes Fan. Jes Fan was born in Canada and raised in Hong Kong. Speculating on the intersection of biology and identity, his trans-disciplinary practice emerges from a sustained inquiry into the concept of otherness as it relates to the materiality of the gendered body.

Ysabelle Cheung writes in ArtReview Asia’s Winter 2020 issue: “In these canvases, we also see hints at more subconscious terrain. Shum’s figures are translucent and embryonic, their presence ambiguous among trees, mountains and lakes… This sense of dream logic is further embedded through architectural elements: two archways in a cloisterlike passage, newly constructed for the show, lead only to dead-end walls, and several of the paintings feature similar archways or brick partitions, complicating the viewer’s perception of place in the exhibition. Are we looking into our own psyche, or out into the world?”

Ingrid Pui Yee Chu writes in Artforum: “Shadowy figures congregating in groups and in pairs, on boats and in nocturnal groves, inhabit “Vortices,” Henry Shum’s first solo exhibition at Empty Gallery. Largely rendered in a palette of blue, brown, and orange alongside hints of green, fourteen paintings slowly and steadily captivate the eye through the artist’s restrained repertoire of gestural drips, stains, and veil-like washes, guiding visitors through the labyrinthine corridors and darkened rooms of the Hong Kong gallery. The black box installation, a hallmark of the space, here lends Shum’s compositions a mysterious aura, their subjects adrift among natural and supernatural settings.”

Jes Fan’s Systems II (2018) and Tishan Hsu’s Being Blue (1986) are in THE BODY ELECTRIC, a major exhibition that looks at our fraught relationship to technology, particularly the increasingly inescapable interface between our bodies and screens, opening today at the Museum of Art and Design at Miami Dade College. 
The remarkably varied art in the exhibition examines the last 50 years of artists addressing the way technological mediation has come to dominate our interactions with the world, with each other, and with ourselves. THE BODY ELECTRIC will be on view from Nov. 5, 2020, through May 30, 2021, and was organized by the Walker Art Center.

John Ziqiang Wu’s No Smoking (2020) and Jes Fan’s Dr. Pimple Popper (2020) are featured in Para Site’s 2020 Benefit Auction online on Artsy, and will be on view at their auction preview from November 12 through November 18 at Soho House, Hong Kong.

Closing soon on November 7: “We (You) Are Beautiful” at @shinokubo_ugo「新大久保UGO」in Tokyo. Curated by Kensho Tanbara, the exhibition features fifteen contemporary artists and collectives responding to the context of Tokyo’s Korean Town, Shin Okubo, located near Shinjuku. Featuring Elliot Jun Wright and Michelle Ceja’s 2020 ∞ (2020).

For Mousse Magazine issue 73’s TIDBITS section, curator Billy Tang reflects on ‘Poetic Justice for Yu Man-hon: Cici Wu.’ “New York-based artist Cici Wu is interested not only in the materiality of the tools and machines we use to observe the world, but also in the myriad ways our worldly experiences are propelled by subtle interactions among language, memory, rituals, sociopolitical structures, and different states of awareness and emotions that can be triggered by moving images and their ambient effects. Turning increasingly toward the supernatural, Wu’s work alternates between drawing, film projection, and sculpture, skillfully interweaving the human and the nonhuman into surrealistic, dreamlike installations…”

For Mousse Magazine issue 73’s TIDBITS section, cultural critic and curator Jeppe Ugelvig wrote about ektor garcia’s ‘Psychic Time of Handicraft.’ “Craft has historically found itself thrust into heated disputes relating to the materiality of gendered and racialized labor. More recently, it’s found new currency in the art world, which in turn has developed a proclivity for reducing its makers to simple tropes of identity. In his practice, ektor garcia wrestles with these stratified positions of production with a restless poetry that defies fixed meanings, whether formal or subjective…”

Join artists Kelly Akashi and Matthew Ronay in conversation with Tishan Hsu on the occasion of Tishan Hsu: Liquid Circuit at SculptureCenter. Moderated by exhibition curator Sohrab Mohebbi.”We, humans under the influence of technology, are desperately trying to recapture a feel for our skin, to be reembodied, to prove that we are still here.” Matthew Ronay writes in a recent Artforum essay on Tishan Hsu. “But perhaps we aren’t here any longer. We’ve dominated nature completely, and now we’re running a simulation. There is a harmony between the body and the mind somewhere, but not in Hsu’s works, which feel so accurate to me because harmony is so hard to find. His art is not pessimistic; it just offers a humbled perspective—a seductive warning.” Register at the link below.

On Tuesday, October 20, 7:30 pm EDT, Tishan Hsu will lecture online as part of Boston University’s Tuesday Night MFA Lecture Series. Hosted by the MFA programs in Painting, Sculpture, and Graphic Design at Boston University, the Tuesday Night Lecture Series brings practicing artists and curators to Boston University to present their work. Register on Zoom at the link below.

美報 (Art and Piece), a new Cantonese arts publication established in 2020, has sat down with HENRY SHUM to discuss the process behind his debut exhibition at Empty Gallery, ‘Vortices‘. Read the full Q&A in Cantonese （廣東話）, by CUSSON CHENG, at the link below.

Samwai Lam profiled John Ziqiang Wu for the October 2020 Art issue of MING’S Magazine. Their conversation discusses whether art can be taught, how to live and work as an artist, and Wu’s background as an educator and painter. Read the full interview in Cantonese (廣東話) below.

Many Imaginary Returns: Screening and artist talk with Cici Wu in conversation with Michelle Wong, October 8, 7:30PM HKT. The Unfinished Return of Yu Man-hon (2019) focuses on Cici Wu’s cultural imaginary and extensive research into the unaccountable disappearance of Yu Man-hon, a mentally disabled and an autistic boy who crossed the Hong Kong-Shenzhen border into the mainland and disappeared on August 24, 2000.His case remains unsolved to this day. Filmed in both Minneapolis and Hong Kong, the work follows an abstract narrative where Man-hon returns to the material world, retrieving lost memories of his disappearance in the process. The artist’s camera floats through the city’s myriad pedestrian spaces, lingering at certain familiar places to which Man-hon felt particular attachment –a swing set or favorite restaurant, a local supermarket or bus-depot, a ferry or market. The short film highlights the emotional fragility of our memory, attempts to challenge the familiar interpretation of Man-Hon as an embodiment of loss, and to perceive his image as an enlightened being rather than a ghost.

After the screening, we will connect with Cici Wu in New York with art researcher and academic Michelle Wong for a conversation on the making of the film, Yu Man-hon in relation to lost time and space, and the possible meaning of imaginary returns.

‘100 Drawings from Now’ is an exhibition and benefit event supporting participating artists and The Drawing Center. Featuring drawings made by an international group of artists since early 2020, ‘100 Drawings from Now’ provides a snapshot of artistic production during a period of profound global unrest that has resulted from the ongoing health and economic crises, as well as a surge of activism in response to systemic racism, social injustice, and police brutality in the United States. Together, the works in the exhibition spotlight the urgency, intimacy, and universality of drawing during moments of upheaval and isolation.

Tishan Hsu’s recent painting ‘signal.noise/membrane’ (2020) is included in the benefit ‘Artists for New York’ at Hauser & Wirth until October 22, 2020. ‘Artists for New York’ is a major initiative to raise funds in support of a group of pioneering non-profit visual arts organizations across New York City that have been profoundly impacted by the COVID-19 pandemic.

“Notes for Tomorrow” is an experimental exhibition conceived by Independent Curator’s International and made up of artworks selected by curators from around the world to reflect on a new global reality ushered in by the COVID-19 pandemic. In this cultural moment of transition, each work is a source of inspiration from the recent past and a guiding perspective for the future. Rei Hayama’s film On the colinear and reflected on the water (2018) of a crying emu is included in the exhibition.

Curated by Charles Campbell, Freya Chou, Giulia Colletti, Veronica Cordeiro, Allison Glenn, Tessa Maria Guazon, PJ Gubatina Policarpio, Ivan Isaev, Ross Jordan, Drew Kahuʻāina Broderick, Josh Tengan, Esteban King Álvarez, João Laia, Luis Carlos Manjarrés Martínez, Fadzai Veronica Muchemwa, Lydia Y. Nichols, Marie Hélène Pereira, Balimunsi Philip, Josseline Pinto, Florencia Portocarrero, Shahana Rajani, Rachel Reese, Marina Reyes Franco, Mari Spirito, Alexandra Stock, Eszter Szakács, Abhijan Toto, Fatoş Üstek, Su Wei, Sharmila Wood.

ektor garcia is part of sunthread, an exhibition also featuring Astrid Terrazas and Olivia Neal at Gern en Regalia, an artist-run project space. The show space located in the back of Aeon bookstore at 151 East Broadway New York, NY. Open hours from 12 – 8pm Tuesday – Sunday.

garcia is also participating in There Will Come Soft Rains, the inaugural exhibit at Candice Madey Gallery’s new Rivington Street space, on view until Thursday, November 5, 2020. The exhibition examines the tenuous logic of human lexica—such as language, architecture, taxonomies, or timelines—and the anthropic arrogance inherent to systems that are created to uphold existing hierarchies. Artists in the exhibition explore the tensions between structure and chaos, culture and nature, reason and instinct—ultimately embracing a strategy of fissure, decay, chaos, and rebirth. Featured artists: Uri Aran, ektor garcia, Julia Haft-Candell, Adam Henry, Steffani Jemison, Sahar Khoury, Marlene McCarty, Joan Nelson, Em Rooney and Didier William.

On September 22 at 11:00AM – 12:15PM PST, John Ziqiang Wu will speak online as part of Otis College of Art and Design’s Fine Arts Visiting Artist Lecture Series. Click below register for the event. Wu will speak about his experiences as a painter and teacher, and the intersections between art and learning. He currently operates an art tutoring studio, Learning Art & Art Learning Studio, with his wife.

Marking the reopening of SculptureCenter in Long Island, New York, Thursday 24 September is the opening of “Liquid Circuit”, TISHAN HSU’S first museum survey exhibition in the United States. After a celebrated summer at the Hammer Museum, the exhibition lands on the East Coast with over fifty of his most representative works. “Tishan Hsu: Liquid Circuit” is organized by SculptureCenter, New York, and is curated by SOHRAB MOHEBBI, Curator-at-Large, with KYLE DANCEWICZ, Interim Director. Also look out for Hsu speaking at Boston University’s Tuesday Night MFA Lecture Series on October 20.

Rei Hayama’s collaboration with Zai Tang (SG), Dormant Soil / Concrete Reflections (2020, 5.1 channel sound, 2 channel video) in now on view at the 2020 Busan Biennale “Words at an Exhibition —An Exhibition in Ten Chapters and Five Poems”, from September 5 through November 8, 2020. Hayama and Tang’s collaboration is featured in Chapter 3 of the biennale, and is a collaborative response to the poem Haeundae Texas Queen Kong by Kim Hyesoon. This marks the first collaboration between Rei Hayama and Zai Tang with their respective foundations in film and sound.
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Their approach aimed to triangulate between Hyesoon’s text, Rei’s image and Zai’s sound, navigating towards a third space in the middle. Rei and Zai initially engaged in a parallel process: In response to the personal affects and thematic resonances each of them felt from Hyesoon’s poem, both of them collected material from their respective surroundings of Yokohama and Singapore.

The biennale was directed by Jacob Fabricius, and it is located by the Museum of Contemporary Art Busan and hosted by Busan Metropolitan City, Busan Biennale Organizing Committee.⠀

Artist Jes Fan is fascinated by the beautiful and the repulsive. His exploration of the contrast between them leads him to question our standards of beauty, shaped as they are by consumerism. “In the age of Teslas and Brazilian waxes, everything has to be smooth and [without corners]. Beyond feminine beauty, in architecture you see highly digitally rendered curvature,” he says. “Why are we thinking about beauty without edges? It stoops to consumerist needs, it’s a very accessible idea of beauty.”

As an artist and art educator, JOHN ZIQIANG WU finds himself at the nexus of two industries severely impacted by the pandemic. He and his wife, Yinan, co-founded and run an art-tutoring workshop in Chino, east of Los Angeles, while John continues his practice that revolves around different conceptions of art found in society. For the June Art Fair, which is being hosted online during August 20–31 by Hauser & Wirth on its website, Empty Gallery is presenting ten of Wu’s recent watercolor paintings from a 2019–20 residency at the Hammer Museum as well as the early months of the pandemic. ArtAsiaPacific caught up with Wu on the phone last week to talk about his interest in teaching art and in learning other people’s stories.

Sammlung at TOWER MMK Museum für Moderne Kunst, Berlin runs August 22 through May 30, 2021, featuring works from their collection including TISHAN HSU’S Cordless (1989). “The exhibition highlights works dating from the early 1960s to the present, including some of the museum’s newest acquisitions.” Hsu’s earlier works examine how the pressures of an increasingly technological world acted on the body of the individual subject.

Empty Gallery is pleased to present our inaugural presentation of works by Los Angeles-based conceptual artist and educator, JOHN ZIQIANG WU at this year’s online edition of June Art Fair. The fair opens on August 20 and will be on view through to August 31, and is co-hosted by Hauser & Wirth and ArtReview Magazine. Founded as an independent project by galleries VI, VII (Oslo) and Christian Andersen, (Copenhagen), June Art Fair is an initiative led by pioneering galleries working at the forefront of contemporary art. It is a platform to promote the work of emerging artists and to encourage rediscovery of more established but under-recognized figures.

A photograph by DIANE SEVERIN NGUYEN, Coral Offspring, is now in an online exhibition When Sun Comes Out hosted by our friends at Blank Forms NYC through September 18, 2020. The show is their “first benefit exhibition including works by over 40 artists, nearly all of whom are collaborators or friends of the organization.”

Right before the pandemic hit the U.S., C. SPENCER YEH adopted a cat: Mikki. His photograph, Mikki’s Mansion, is featured in the New York gallery Carriage Trade’s new exhibition: Social Photography VIII (until September 20). Check out Yeh’s print for sale at in the link below.

Through video, installation, sculpture, poetry, performance and archival documentation, the works on view explore constructions of self and nation by sifting through the unstable terrain of the past. Drawing on histories and archives of feminist, queer, and Third World liberation movements and responding to the uneven forces of neoliberalization, the artists suggest the pursuit of a new life that is concomitant with new ways of being together. Curated by the 2019–20 Curatorial Fellows of the Whitney Independent Study Program,”After La vida nueva” consists of an expanded catalogue, available for download, and an online component, hosted by Artists Space, where a weekly series of “spotlights” of different works in the exhibition will include screenings, archival documents, images, and text. On view August 7 – August 31, 2020.

JAMES T. HONG was invited by Haus der Kulturen der Welt in Berlin to participate in a new digital exhibition titled CC: World: “Artists and researchers from all over the globe compose personal letters sharing their takes on the [current moment].” Hong shot a film in Taiwan of “his stories of a nihilist, a dog and a pathogen”, which premiered on August 6. “Can ideas make you sick? Who will control the narrative in the end?”

Featuring some of DIANE SEVERIN NGUYEN’S photographs from the Reoccurring Afterlife exhibition at Empty earlier this year, “Materia Medica” curated by Kelly Akashi is now on view by appointment at François Ghebaly until September 4, 2020.The exhibition questions: Can nature be a part of the human community? The artists in Materia Medica reject or critically amplify anthropocentric perspectives to interrogate the idea that humans hold authority over the natural world.

Empty Editions is pleased to release “Mein Corona,” a new single from legendary Hong Kong-based provocateur and pioneer of Cantonese industrial noise music XPER.XR. His first official release since 2006, “Mein Corona” is an ecstatic, darkly humorous, and ultimately hopeful document of life amidst the ongoing global Coronavirus pandemic.⁣
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The release was inspired by The Knack’s “My Sharona” written by Berton Averre & Doug Fieger (1979), produced by Empty Gallery and Xper. Xr., with saxophone by Jean-Luc Guionnet and additional arrangement from Alok Leung. Midi-sequencing, recording, mixing, and mastering is by Alok Leung at Lona Records Studio, Hong Kong, April 2020. Artwork is by Xper.Xr. and Michael Yu. Special Thanks to Feaston.⁣
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All proceeds of “Mein Corona” will be doubled through a matching grant from Empty Editions and donated to the Centre for Suicide Research and Prevention at The University of Hong Kong. The release can be listened to and purchased on Bandcamp.

SEAN RASPET and Shengping Zheng’s Hyperflor© (2-benzyl-1, 3-dioxan-5-one) (2018–19) takes the synthetic nature of parafiction further still through the creation of a new molecule, a fragrance to be commercialized under the brand name ‘Hyperflor’. Invisible yet immersive, Raspet describes the scent as something between flower petals and overripe vegetation. As part of the 2019 Okayama Art Summit, Hyperflor© (2-benzyl-1, 3-dioxan-5-one) was ‘exhibited’ via electronic diffusers placed across the city to function as ‘scene transitions’ between different spaces.

“Next Act: Contemporary Art from Hong Kong” features research-based works by 10 local artists (including CICI WU) that respond to the shared history and collective memories of Hong Kong. Throughout the creative process, each artist focused on different research methodologies as a starting point for their inspiration and thinking process. This process culminates in a collection of exciting works that are visually impactful, interactive, and performative. We encourage visitors to open their senses and imagination when viewing the works by delving into the past to form new perspectives, savor the present, and contemplate what the future holds.

TISHAN HSU’s paintings and sculptures evoke nightmarish visions of the body’s forced integration with its technological surrounds. After a spate of exhibitions in the 1980s at venues including Pat Hearn Gallery and Leo Castelli, the artist’s work largely disappeared from public view. Now, New York’s SculptureCenter has organized the survey “Tishan Hsu: Liquid Circuit.” The show debuted at the Hammer Museum, Los Angeles, this past winter and was slated to open at SculptureCenter in May before being postponed in the wake of Covid-19. To mark this occasion, Artforum invited artist MATTHEW RONAY and art historian LANE RELYEA to reflect on Hsu’s dark, prescient, and singularly weird oeuvre.

The Japanese Artist Turning Fruits and Vegetables Into Sculpture. Ikebana’s most irreverent practitioner, the 80-year-old Kosen Ohtsubo, finds beauty in the banal. On a January afternoon, in his stained-wood-floored studio in the Tokyo suburb of Tokorozawa, the artist Kosen Ohtsubo fingered a large cabbage leaf, its edges a bit too curled and droopy for a salad. “It’s about three days old,” he said. “Great material.”

‘A journey has to be arduous’ says Jes Fan, one of the artists shortlisted for this year’s BMW Art Journey, alongside sculptor Leelee Chan and artist duo Enzo Camacho and Amy Lien. Since 2015, BMW and Art Basel’s joint initiative enables an artist to develop a new project almost anywhere in the world. Previous winners have visited Jerusalem, the Bikini Atoll, the Southern Indian state of Kerala, and Ghana.

Book: In Praise of Shadows (1933) by Junichiro Tanizaki

This book-length essay led gallerist Stephen Cheng to reconsider what’s missing from our daily aesthetic experiences. In the work, Tanizaki—a famous Japanese novelist who was shortlisted for the Nobel Prize in 1964—espouses a mindful appreciation of the world around him. Tanizaki embraces darkness and obscurity, which can be deeply disconcerting to many of us—especially in times of crisis. Cheng’s favorite quote from the essay reflects on this theme. Tanizaki writes: “To snatch away from us even the darkness beneath trees that stand deep in the forest is the most heartless of crimes.”

Tishan Hsu: Liquid Circuit is the New-York-based artist’s first museum survey exhibition in the United States. The exhibition traces Hsu’s key ideas and demonstrates how they clearly resonate in the works of younger artists coming of age today. In the mid-1980s Hsu began a series of works that considered the implications of the accelerated use of technology and artificial intelligence and their impact on the body and human condition.

Perspectives: shaping the world through visual culture

The first talk of the program will be led by New York-based artist Jes Fan, with his lecture titled Leakages, Puddles, Discharge, Infections and Bubbles… Jes Fan’s trans-disciplinary practice emerges from a sustained inquiry into the concept of otherness. Primarily working in the field of expanded sculpture, Fan navigates the slippery complexities of identity as guided by the tactile and material histories of his chosen media.

Since its inception in 1973, the Biennale of Sydney has showcased the work of nearly 1,800 artists from more than 100 countries and holds an important place on both the national and international stage. JES FAN is exhibiting his sculptural and film works Form begets Function (2020) and Xenophoria (2020) at the Museum of Contemporary Art, Australia until September 6, 2020.

James T. Hong, an Asian American documentary filmmaker based in Taiwan, also makes sculpture and video projections. At Hong Kong’s Empty Gallery, Hong shows boxes made from frosted glass, illuminated from within and ostentatiously padlocked. Shifting shadow-play hints at creepy, undiscernible contents of a vaguely taxidermal sort secreted inside the boxes. A luminous video projection on a side wall is little more than a glowing blur.

Since the 1970s, Tishan Hsu’s practice has been nurtured by a cosmology that perceives a unity of heaven and humanity. His works often present clinical trials and tribulations where one can see the body exploded. The concern is not to locate the body in relation to technology, but to reconstitute the body anew. By Hera Chan

Co-organised by Empty Gallery’s long term friend Xper. Xr. and The Xevarion Institute. Tickets are available from the link below – hope to see you there!

January 22, 2020, 7 – 10PM

Chan Shu Kui City Hall, North Point 北角 陳樹渠大會堂

The gallery will be closed on 23 – 26, 29 – 31 Dec 2019 & 1 Jan 2020. Normal opening hours will resume on 2 Jan 2020.

Merry Christmas & Happy New Year!