過往紀錄

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!