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.
“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.”