It is light is a group exhibition featuring Ada Frände, Blalla W. Hallmann, Julia Heyward, James T. Hong, Udo Lefin, Rachel Reupke, Bernard Szajner, Camilla Wills, curated by Fatima Hellberg. It is light is a two-part exhibition realised between Bonner Kunstverein and Haus Mödrath – Räume für Kunst, from May 11 – July 28, 2024.
Opening: Friday 10 May, from 7pm
Raha Raissnia is participating in Before Thunders, May 10-12 at Taipei Dangdai:
For the first time, Taipei Dangdai Art & Ideas will present a curated exhibition within the fair co-hosted by the Ministry of Culture. Titled “Before Thunders: An Exhibition of Taiwanese Artists” the exhibition focuses on the work of a dozen largely mid-career artists selected by four curators who will participate in the Ideas Forum 2024: Zian Chen, Martin Germann, Esther Lu, and Wong Binghao. This project supports the fair’s core goal of bringing art from Taiwan from across the spectrum—from those represented by the leading galleries participating in the fair to those working largely outside the market—to greater international attention and demonstrates the fair’s ongoing interest in building partnerships with public and private organizations throughout Taiwan’s vibrant art scene.
Raha Raissnia’s Untitled (2018) is on view at Nevers, Galerie Khoskbakht, Cologne, May 4 through 30.
Galerie Khoshbakht is delighted to announce Nevers, an exhibition with works by Beth Collar, Keta Gavasheli, Nicole Gravier, Raha Raissnia and Ulrike Schulze. Nevers brings together artists who deal with the question of the representable and the unrepresentable, who negotiate the interior and exterior of reality in relation to their media. Sometimes it seems that reality is too big to be experienced as a whole, that it is perhaps also too cruel to want to experience it directly. Thus, each artist explores the question of representation and the representable, the articulable, in their own unique way by using means of alienation and translation.
Opening May 23 through August 10: Artists Space is pleased to present an exhibition of new and recent work by Doris Guo, Matthew Langan-Peck, Isabelle Frances McGuire, and Ruben Ulises Rodriguez Montoya.
Artists: Kaari Upson, Jes Fan, and Lucas Blalock Dates: April 6 – May 26, 2024
Weight of Mind at Hessel Museum of Art, Bard College questions how memory is embodied and given new form in the works of three artists: Kaari Upson, Jes Fan, and Lucas Blalock. In divergent ways, their works—across sculpture and photography—examine how past experiences are transformed through different methods of translation, from molding and casting to pigmentation to digital manipulation. By thickening fragmented memories or past sensations, the artists invite the audience to examine moments of change that otherwise would be fleeting. The exhibition is curated by Thalia Stefaniuk.
Payal Uttam in Artsy: “Amid the glistening neon of Hong Kong’s iconic skyline this week, the M+ Museum façade was alight with an evocative black-and-white film by Yang Fudong—just one of many signs that Art Basel Hong Kong, and a flurry of other art events, had taken over the city… The first thing that catches your eye at Hong Kong–based Empty Gallery’s booth are Jes Fan’s sensuous organic sculptures made of hand-blown glass and carved gypsum. A rising star in the international art scene, Fan is known for taking CT scans of his body and creating printed casts of body parts to create his work.
Another highlight of the booth is Jacqueline Kiyomi Gork’s slick kimono-shaped wall sculpture made of stitched poured silicone, a sound-buffering material. The work functions as a “noise blanket” with the thick textured surface deflecting sound.
Taiwan-based Iranian American artist Raha Raissnia’s monumental oil painting inspired by experimental cinema is also a standout. Painted using the traditional method of grisaille, her ethereal painting appears to almost quiver and vibrate.”
“Jacqueline Kiyomi Gork’s work occupies a singular space at a nexus of visual arts and sound composition. With a multifaceted sphere of influences that includes textiles, club music, archaeoacoustics, and choreography, she has one of the most rigorous and unique practices in what is often termed sound art. Her work manifests as a generous space for audience exploration, where sculpture, sound, and interactive installation environments live and breathe in a symbiotic collaboration with viewer and architecture. Kiyomi Gork’s first East Coast institutional solo exhibition, Poems of Electronic Air, at Harvard University’s Carpenter Center presents an expansive survey of her ideas and work. In the conversation below, I speak with her about concepts explored in the show, including participation, feedback systems, surveillance, choreography, and sonic forms as expressive metaphor.”
—Byron Westbrook
New works by Jes Fan are now on view at Greater Toronto Art, the triennial at MOCA Toronto, from March 22, 2024— July 28, 2024. The curatorial team includes MOCA Curator Kate Wong and two invited guest curators, Ebony L. Haynes and Toleen Touq.
Greater Toronto Art 2024 (GTA24) is the second edition of MOCA Toronto’s recurring triennial exhibition, which was conceived in 2021 to look more closely and consistently at artistic practices with a connection to the Greater Toronto Area (GTA). Featuring a constellation of twenty-five intergenerational artists, duos, and collectives, GTA24 looks back as much as it looks forward. The exhibition presents work made between the 1960s and the present, allowing the comingling of art created in different decades to provide new ways of understanding the current moment and imagining the future.
Harrison Jacobs, in Artnews: “With Hong Kong Art Week set to take off Monday, art world jet-setters are officially en-route and eyes are squarely on the coastal metropolis…
The Covid years, as Empty Gallery director Alexander Lau told ARTnews in an email, were initially “shattering,” but isolation infused energy into the city, as it “gave every Hong Konger a reality check on how to move forward with life, both philosophically and emotionally.”
The result, numerous art dealers told ARTnews, is a renewed focus on strengthening the city’s cultural ecosystem through new institutions, galleries, and nonprofit art spaces, as well the confidence to invest in and elevate local artists.
“We’ve noticed more of a willingness to take meaningful risks with programming, beyond the typical more commercial route of transplanting blue-chip art trends to Hong Kong,” Lau said of the city’s galleries.”
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.
Jes Fan Whitney Biennial 2024: Even Better Than The Real Thing March 20– August 11, 2024
Tishan Hsu MAMCO Genève March 5 – June 9, 2024
Le Contre-Ciel Curated by Olivia Shao March 24 – May 26, 2024