Cici Wu’s current exhibition at Rockbund Art Museum, running through September 28, has been covered recently:
Artists: Ryoko Aoki, Robert Beck / Buck, Anne Eastman. Zon Ito, Yoshiro Furuhashi, Takeshi Miyakawa. Monique Mouton, Tam Ochiai, Hiroyuki Oki, Ayano Shibata, Stephen Sprott, Chinatsu Yasuhara, Cici Wu Dates: August 2 (Sat) – August 31 (Sun), 2025
Troedsson Villa is pleased to announce a group exhibition at The Pawnbroker’s Museum in Nikko, Japan. Organized by Anne Eastman and Tam Ochiai, the exhibition is titled Zureta, a word that refers to something being slightly off, displaced, out of sync, or shifted just enough to catch our attention. Whether by design or accident, when an idea, person, place, moment, or material is dislocated, the resulting imperfection opens up countless possibilities. The artists in this exhibition respond to these shifting realities. Each work points toward a fugitive memory of a place or a sense of self dislodged from its point of origin.
“Located far from the city center, on the south side of Hong Kong Island, Empty Gallery is tucked into the upper floors of a commercial skyscraper. The black-and-white projection of Chan Hau Chun’s Map of Traces (2025), the sole work and namesake of the artist’s first solo exhibition with Empty, provides the only illumination in an otherwise dark, echoey space. The film’s cloistered presentation, with the feeling of a sparsely attended microcinema screening, heightens the intimate, hushed, and quietly demanding quality of its content.”
Cici Wu is participating in 47 Canal’s Summer Screening Program, which opens July 9 and runs through August 15, 2025. Other participating artists include: Martin Beck, Danielle Dean, Andrew Hawkes, Elle Pérez, Sung Tieu and Zheng Yuan.
Clementin Seedorf are excited to announce a solo exhibition of photographs by Doris Guo, ‘Visitor’ opens on Friday 27 June from 6-9 pm in Cologne, and will be on view through 8 August 2025.
madame leniou returns—briefly—to Athens, to a domestic space: a 1936 apartment designed by Dimitris Pikionis, everything you ever wanted. Convince yourself that’s what you want. After a brief winter and unnaturally sunny but cruel spring she comes back to a life she used to have. The lifestyle spoiled. The spoils of lifestyle. […]
Participating artists include: Steve Bishop, Anna Clegg, Ian Law, Erasmia Kadinopoulou, Will Sheridan Jr., Vunkwan Tam, Constantin Thun
opening in Athens: Saturday 07 June, 2025, 3–7pm. Open through June, by appointment.
Galerie Khoshbakht is thrilled to announce the opening of the exhibition Portrait II – presenting works by Beth Collar, Behrang Karimi, Mitchell Kehe, René Kemp, Yoora Park and Raha Raissnia.
“With this exhibition we are presenting our programme to New York City. Bringing together a group of artists undoubtably will put things into perspective. Lively conjugations, visual languages, memories, material histories; they fold into each other, dragging one another by the hand. The system will be put in place. However, living these ways of instituting, putting the distant thinking on the side and allowing our own lived experience to take centre, we slowly come to the realization that institutions and programs, no matter how they express themselves, are a beautiful thing; not because we must be critical of them but because we live in them.”
Opening: Friday, May 23, 6–8 pm May 24 – June 28, 2025
ZHI Foundation in Beijing has opened a new exhibition inspired by Giovanni Boccaccio’s The Decameron, on view from May 20 2025 through March 30 2026. Participating artists include Fei Erqi, Wang Hui, Yu Zhiding, Gai Qi, Mai Trung Thu, K.C. Chww, Cheung Pak Kan, Wing-Tong Lee, Luigi Ghirri, Robert Mapplethorpe, Martin Wong, David Rappeneau. Liu Xiaodong, Liu Ye, Elizabeth Peyton, Kai Althoff, Yuichi Yokoyama, Izumi Kato, Wang Xingwei, Urs Fischer, Anri Sala, Mika Rottenberg, Allison Katz, Evelyn Taocheng Wang, Sanya Kantarovsky, Yu Nishimura, Chen Fei, Firenze Lai, Tao Hui, Raphaela Simon, Brook Hsu, Sasaoka Yuriko, Taro Masushio, Hiroka Yamashita and Henry Shum.
A new wallpaper and three wall-based works by Tishan Hsu are on view at the exhibition “360°: why we paint?” at BY ART MATTERS, Hangzhou, curated by Stefano Collicelli Cagol and Sun Man, running from 16 May to 12 October 2025. A collaboration between BY ART MATTERS and Il Centro per l’Arte Contemporanea Luigi Pecci in Italy, the exhibition presents over a hundred works by 39 artists internationally.
Drawing inspiration from Butoh, the artist’s show at Empty Gallery, Hong Kong, features collages of queer bodies
“We know we’re in a haunted house: Slug Sex (2025) – a video projection of two encircling slugs – is our first sight in ‘The Garden of Loved Ones’. Its cast light catches in the cobwebs of the gallery’s darker corners. The slug who deigns to top pushes out a goopy blue phallus that runs the length of its body, slugs being a hermaphroditic species. And this, being a Richard Hawkins joint.
Around the bend hang the 2012 ‘Ankoku’ collages, exhibited in that year’s Whitney Biennial. These compositions – hastily cut archival materials and notes taped intuitively beside printouts and calligraphy – mimic the notebooks of Tatsumi Hijikata, founder of the postwar Japanese dance form Butoh. Their posthumous publication disclosed how Hijikata approached choreography with a collage-like glom, pasting gestures torn from Western art history books alongside handwritten directives. Bruce Baird and Rosemary Candelario write in The Routledge Companion to Butoh Performance (2019), Butoh – which roughly translates to ‘waltz of darkness’ – is a loosening of signification that champions ‘arbitrary chains of movement [and] diseased or socially dispossessed peoples, or bodies in pain’.”
Empty Gallery榮幸呈現靈時小屋。靈時小屋位於畫廊入口門廳左側的獨立房間內。小屋將不定期呈現來自不同時空背景的單件作品,並提供人們深度思考的平台。穿越遙遠距離,在無限微觀的細節中爬梳——每次展覽都將有專人撰文,以動態的視角多層次地討論作品,從而照看我城獨特的歷史與社會情境。
靈時小屋之名戲仿自精神時光屋,在漫畫家鳥山明筆下,這是一個時空膠囊式的異次元自我修煉空間。項目藉此探索一種扎根在非西方哲學思想資源中的認識論思辨,也為懸崖峭壁般的全球化文化提出一個建設性地遊走其中的方法。
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。憑著共襄盛舉的精神,其名稱及概念無限期交付Empty Gallery使用。
靈時小屋的首展將呈現科隆藝術家Matthias Groebel的單件作品。Groebel在1989年至2006年間創作了一系列機器輔助的繪畫,將早期衛星電視的電子訊號轉化到神秘的矩形畫布上。進到電傳視覺這類輪廓未明的領域,他將自己對圖像的選擇讓渡給了直覺和偶然性——他將類比顯屏的截圖結合從字幕機調用的文字片段,創作出帶有如幻覺般表面密度質地的繪畫作品,它們有如具象謎團或是視覺公案。Groebel筆下這些既陌生又熟悉的廣播繪畫描繪出了直到近期才浮現在日常經驗中的社會空間、情感和地理空間方面的劇變。作品展現出了一個鈍化無生氣的景觀——此間的欲望錯位,恐懼蔓延。
Groebel的這件畫作猶如遠程傳輸至香港的訊號,有待進一步解碼與闡釋。《美國麗人#9》(2001)描繪一位不知名的男性人物在鏡頭前瞇著眼睛揮舞雙手,似是在抗議被拍攝,或者感到私隱被冒犯——同時,一行被挪用至此的繁體中文字幕,卻引領著觀眾說:來看吧。
Matthias Groebel, American Beauty #9 (2001). Courtesy of the artist, Ulrik and Empty Gallery. Photo: Michael Yu.