Eyrie Alzate, Jason de Haan, Nancy Lupo, Na Mira, Malcolm Mooney, Yuki Okumura, Hikari Ono, Francesca Percival, Bea Schlingelhoff, Jo-ey Tang, Cici Wu, Bruno Zhu and u
Opening: February 23, 7 pm
u is part artist, part vessel—a transferable personal alias, and a social interaction. u’s project spaces (2018–ongoing) are small boxes made of clear packing tape that act as a medium for collaborations with other artists and curators. u initiates the process by sending an empty project space to selected practitioners as an invitation to join an artistic dialogue, a new relationship and often a finished artwork. Thus u also performs the role of a curator by providing each participant carte blanche within an exhibition space that is small, but very flexible. As a result, the individual collaborators are foregrounded, while the initiator takes a backseat behind the easily overlooked lowercase letter ‘u’ (shorthand for the English word ‘you’). This collaborative way of thinking and working deliberately resists elaborate, commercial production mechanisms and allows for collaborations far beyond national borders. The heart of the project is to expand the concept of curating to include the interests of artists and to promote artistic exchange.
Petzel is pleased to present Multi-User Dungeon (MUD), a group exhibition opening Wednesday, February 21, 2024, curated by Simon Denny. The show will be on view through March 30, 2024, at Petzel’s Upper East Side location at 35 East 67th Street, Third Floor. Multi-User Dungeon (MUD) features works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Tishan Hsu, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The show features paintings and drawings by a group of 13 artists, along with a video work fragment by Jean-Luc Godard. The show will be held at our 88 Eldridge Street space.
At what precise moment in the last hundred years did artists become actively aware that images preceded their efforts to produce new ones? It remains a question for debate, but what is less uncertain is that the ubiquitous and incessant circulation of pictures now constitutes a kind of second nature, a psychological condition shared by all, and by painters in particular.
The exhibition will be on view through March 9, 2024.
For Small World Journal, Taipei Biennial editor William Smith has interviewed Jacqueline Kiyomi Gork on their new work, Not Exactly (Whatever the New Key Is), 2017–ongoing.
“Jacqueline Kiyomi Gork’s piece for TB13, Not Exactly (Whatever the New Key Is), 2017–ongoing, is a dynamic work of aural architecture. Black vinyl walls inflate and deflate in sync with a multichannel sound piece playing on speakers placed in precise locations throughout the space.
Editor of Taipei Biennial 2023, William Smith, spoke with Gork about the experience of refabricating her project in Taiwan, the avant-garde roots of her interest in sound installations, and the tangled histories of blow-up structures.”
Harry Burke covers Doris Guo’s Back in Mousse magazine:
“Existing in the interstices between embodied duration and affective labor, Guo’s practice coalesces around the cultural and material gestures which structure our attempts to form a communal life.
“Back” centers around a collaborative project of material care which Guo and her mother, Weili Wang, have undertaken to organize and conserve the latter’s artwork. Formerly lodged undisturbed around her Seattle home, Wang’s oil paintings and sketches—mostly executed between 1980 and 1990 around the Yangtze River Delta—bear witness to an artistic life partially abridged by circumstance. These works are presented as diptychs together with Guo’s pinhole photographs depicting the suburban interior of Wang’s study—replete with cardboard boxes, filing folders, and other marginalia. With their crowded, seemingly off-the-cuff compositions, Guo’s photographs channel domestic inertia into aleatory landscapes. Poised somewhere between comfort and claustrophobia, their gauzy surfaces and indefinite forms go beyond merely simulating the ambiance of memory to express something of the unconscious abstraction with which we move through the world. In parallel, Wang’s works in various media bear witness to a series of complex movements between the urban and the rural, the intimate and the official, personal expressivity and sanctioned style—during a now lost moment of social change.”
Empty Gallery congratulates Jes Fan on his participation in the 2024 Whitney Biennial, Even Better Than The Real Thing.
The Seventy-one visionary artists and collectives in the latest chapter of the exhibition—Whitney Biennial 2024: Even Better Than the Real Thing—will follow in the footsteps of hundreds of Biennial artists before them to interpret our current landscape and tell stories, spark discussion, and comment on issues across a variety of media and disciplines.
The curators of the 2024 Whitney Biennial are Chrissie Iles and Meg Onli, with Min Sun Jeon and Beatriz Cifuentes. Even Better Than The Real Thing will be on public view starting 20 March 2024, with previews from 12 through 17 March 2024.
In The New York Times, read Siddhartha Mitter’s coverage: Whitney Biennial Picks a ‘Dissonant Chorus’ of Artists to Probe Turbulent Times.
“Creative Capital, an organization dedicated to funding innovative artworks and promoting diversity, has announced the recipients of its 2024 “Wild Futures: Art, Culture, Impact” Award. This year, the organization selected 50 projects from 54 artists, 80% of whom are artists of color.
Each winner will receive up to $50,000 in direct project funding, advisory services, mentorship, and community-building opportunities.
Brooklyn-based artist Jes Fan was awarded for “Soy Skin,” combining performance art, sculpture, and video art to delve into the intersections of biology and identity.”
In Issue 78 of Spike Art Magazine, Ramona Heinlein has reviewed Tishan Hsu’s solo exhibition at The Secession, Vienna:
“Deliriously vibrating between wonder and unease, an exhibition in Vienna deepens the artist’s probe into the fusion of bodies and machines.
Experiencing Tishan Hsu’s exhibition “recent work 2023” feels like a rollercoaster ride: You get the rush of dissolving reality, the near weightlessness at the top, but also the nasty contraction of the viscera and the slight nausea that sits in the throat on the way back down. This is surprising as, except for one LED panel with an animated video and sound (grass-screen-skin: zoom 2, all works 2023), there is no actual movement involved in this show. Hsu manages to shake you up with static renderings of creature-like grids and mechanical nudes that combine abject carnality with dizzying digital illusion.”
Jaime Chu has reviewed Doris Guo’s Back for Spike Magazine online:
“What is a child’s duty to a parent’s past, and what is the appropriate distance between two lives? During a visit home to Seattle, the artist and erstwhile art handler Doris Guo (*1992) began preparing for storage a haphazard shipment of paintings her mother, Weili Wang (*1956), had made in Shanghai, before emigrating to the US. Guo, who had previously known little of her mother’s past life as an artist and art professor, said that materially caring for the paintings, while hesitating to organize them into an archive or to call her own involvement documentation, was the least she could do. After that, “I really don’t care what [my mom] does with the paintings,” Guo told me.”
Vunkwan Tam has been invited to participate in 118½, the inaugural exhibition of Emalin’s second exhibition space at The Clerk’s House in London, opening on January 13 , 2024 and on view through March 17, 2024.
The group exhibition will include works by Tolia Astakhishvili, Alvaro Barrington, Matt Browning, Laura Carralero, Nicholas Cheveldave, Adriano Costa, Matias Faldbakken, Stanislava Kovalcikova, Ceidra Moon Murphy, Karol Palczak, Matthew Peers, Coumba Samba, Vunkwan Tam, Sung Tieu, and Marina Xenofontos.
The Clerk’s House sits on the side of St. Leonard’s Church in Shoreditch, bearing the street number 118½ – a half-place between the church grounds and the secular world since the 16th century. Its current form, overlooking the cemetery and Shoreditch High Street, has been preserved since 1735. It is believed to have formerly been a watchhouse from which an invigilator looked out for body snatchers during the social, urban and moral turmoil of the 18th and 19th century’s East London.