Taro Masushio’s exhibition Naked will be on view at Scheusal, Berlin from November 21 through December 14, 2025.
Opening on December 3, 6-8 PM, the exhibition Under Light of Moon and Sun, organised by Cici Wu and Karen Wang and presented at 99 Canal, will be on view from December 4 –22.
“They blink for less than a heartbeat. Not reflected light, but light made within the body. Each is a message—a lure, a warning—turning darkness into a language of attraction. To see them is to witness light as instinct, a small defiance against disappearance and censorship. Illumination, then, is not only about being seen, but about sending and receiving: forming constellations of fragile connection across distance—an ethics of relation rather than exposure, a modest reciprocity rather than spectacle. It is from these small and scattered lights that this exhibition begins and ends: showing how light passes through darkness—sometimes playfully—and binds solitude and disparate voices into a horizontal weave of interconnectedness.
Under Light of Moon and Sun features 18 artists from the Uyghur diaspora, Hong Kong, and mainland China, and unfolds through an assemblage of moving image works, textile sculptures, installations, and works on paper including drawings, zines, and woodcut prints.”
James T. Hong is participating in Black Water — 2025 Taiwan Art Biennial at National Taiwan Museum of Fine Arts (NTMoFA) from November 15, 2025 through March 1, 2026. Curated by Jay Chun-Chieh LAI, he is participating with his film Terra Nullius or: How to become a Nationalist (2015).
Lisson Gallery is pleased to present its first solo exhibition by Tishan Hsu, ’emergence’. For over four decades, Hsu has investigated the advancing intersection between the human body and technological systems, developing a singular material language that blends digital imagery, industrial surfaces, and biomorphic forms. His latest show features a range of wall-based pieces, sculptural LED screens, and large-scale visual environments, all of which reflect a heightened engagement with both computational and medical infrastructures. The exhibition will be on view from 30 October 2025 until 24 January 2026.
Jacqueline Kiyomi Gork is participating in the 2025 Singapore Biennale: pure intention, with a commissioned work located in Fort Gate titled HNZF IV. The exhibition is on view through March 29, 2026, and the curatorial team includes Hsu Fang-Tze, Selene Yap, Duncan Bass, and Ong Puay Khim.
Jacqueline Kiyomi Gork’s HNZF (Harsh Noise Zen Fountains) combines aerospace scrap from WWII-era military aircrafts, computer-controlled water pumps and hydrophones into sonic sculptures. Referencing the form of certain outdoor “zen” fountains typically associated with relaxation or meditation, Gork transforms these devices into disruptive generators of noise. HNZF IV draws on the artist’s research into the military history of sound technologies and the various limestone caves of Okinawa, where civilians sought refuge during World War II. At Fort Canning-once a site of British and later Japanese military command on the island-the amplified sound of water echoing through the old Fort gate draws parallels between the experiences of Okinawans, interred Japanese-Americans, and Singapore’s own violent occupation under Japanese rule during the war.
On view from October 22, 2025 through February 15, 2026, the group exhibition “ECHO DELAY REVERB: American Art, Francophone Thought” explores the history of the transatlantic circulation of forms and ideas through the works of some sixty artists, bringing together a wide variety of mediums and a number of new commissions. The exhibition features works by several generations of artists, from the 1970s to the present day: some attest to a direct dialogue between theory and practice, others are sometimes subversive tributes, and still others are more allusive correspondences. Key historical artists such as Dan Graham, Hans Haacke, Theresa Hak Kyung Cha, Renée Green, Cindy Sherman, Lorna Simpson and Glenn Ligon feature alongside younger artists such as Tiona Nekkia McClodden, Kameelah Janan Rasheed, Char Jeré and Cici Wu. The exhibition revisits some of the major figures in American art of recent decades from a fresh perspective. Archival materials throughout the exhibition meanwhile highlight individuals, institutions, and publishers that played a crucial role in disseminating these ideas in the United States.
Breakdown Playlist is on view from October 12, 2025 until March 1, 2026 at Inside Out Art Museum, Beijing.
Artistic Director: Carol Yinghua Lu Curators: Clara Chavan, Na Rongkun Exhibition Coordinators: Rory Guan, Juri Mischler Exhibition Assistants: Li Huiyi, Cao Liyao, Li Zejun
Breakdown Playlist brings together works by sixteen artists from China and Switzerland. The exhibition is part of the 2025 cultural exchange projects commemorating the 75th anniversary of diplomatic relations between the two countries and grew out of the Embassy of Switzerland in China’s CH><CN Studios program. Beginning in August 2025, nine Swiss artists undertook residencies at six Chinese art institutions, namely in Beijing, Chongqing, Dehua, Yantai, Hangzhou, and Chengdu, creating new works based on local observations. Under the guidance of Carol Yinghua Lu, Director of Beijing Inside-Out Art Museum, The exhibition was co-curated by young Swiss curator Clara Chavan and Inside-Out assistant curator Na Rongkun. Building on the selection of Swiss artists, they invited seven Chinese artists to participate, fostering a dialogue between emerging contemporary artists from both countries.
Jonathan Griffin has interviewed Jacqueline Kiyomi Gork for Ocula magazine. “For nearly two decades, Los Angeles-based Jacqueline Kiyomi Gork has used sound as a sculptural and architectural medium, as well as sculpture and architecture as acoustic structures to support and manipulate sound. After an early career in noise music, she sidestepped into making installations that incorporate her complex sound works to powerful and atmospheric effect.”
The Gold Art Prize, a series of five awards given biennially to AAPI and Asian diaspora artists, has named this year’s batch of winners, including Dan Lie, Stella Zhong, Morehshin Allahyari, Jacqueline Kiyomi Gork, and Kenneth Tam. The prize awards each winner an unrestricted $25,000.
This is the third iteration of the prize, which was launched in 2021 by adviser Kelly Huang and Gold House, a Los Angeles–based organization with a focus on the AAPI community. As with the 2023 edition, the 2025 prize is funded by the Kahng Foundation.
In a statement, Huang said, “I’m proud that the Gold Art Prize has, since 2021, championed artists from the Asian diaspora, and its mission feels more vital than ever today. This year’s awardees reflect an even broader range of diasporic backgrounds, and it’s an honor to celebrate each artist’s contributions to shaping the future of contemporary art.”
Empty Gallery榮幸呈獻《靈時小屋》。小屋位於畫廊入口大廳左側的獨立房間內， 不定期展示來自不同時空和背景的創作，讓觀者對單件作品進行深度思考。該計畫有別於我們的恆常展覽，旨在從常規項目的邏輯、思維及壓力中開闢新的空間。展覽穿越遙遠距離，在無限微觀細節中爬梳，並每次委託文字工作者撰寫論文，以動態的視角從多層面討論作品，從而照看我城獨特的歷史與社會環境。
《靈時小屋》的名稱靈感來自精神時光屋：在漫畫家鳥山明筆下，精神時光屋是一個時空膠囊式的異次元自我修煉空間。項目藉此探索一種植根於非西方哲學的思辨性認識論，用於在懸崖峭壁般的全球化文化中漫步。
《靈時小屋》原為2018年至2021年間於皇后博物館開展的合作項目。博物館憑著共襄盛舉的精神，將其名稱及概念無限期交付Empty Gallery使用。
在第二個展覽中，小屋將聯手三藩市灣區最具影響力的藝術家和電影製作人之一Jordan Belson，展示他的一系列繪畫作品。Belson作為Harry Smith、Oskar Fischinger和John Cage的同代人，致力探索宇宙結構，並視擴展人類意識為終生任務，而他的創作亦源於這些抱負。Belson受到神秘主義和科學的深刻影響，發展出一套獨特的視覺語言，包括振動模式、幾何圖案和放射狀線條，表達他對超越主義運動的願景。
Belson的《孔雀之書》（Peacock Book）繪畫創作於1950年代初期，當時他正處於創作醞釀期，開始逐漸形成他後來最為知名的抽象電影風格。他運用墨水和粉彩，在中國紙上以書法般的筆觸完成作品，充滿活力和幻像般的動感——紙上彷彿上演著整部Belson電影，畫面似乎來自天外並轉瞬即逝，通通被濃縮進某個時刻的視覺密度之中。
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Jordan Belson（1926-2011）是二十世紀前衛電影的重要人物。他年輕時學習繪畫，1946年獲得加州大學伯克利分校的藝術學位。他最初以畫家身分取得成功，在1940年代末於三藩市現代藝術博物館和紐約古根海姆博物館（當時稱為非具象繪畫博物館）展出作品。然而，1950年之後，他定居在三藩市的北灘區，主要專注於電影製作。儘管他在餘生仍繼續創作繪畫和素描，但他再也沒有公開展出過這部分作品。
