Shows

Installation view of

“Post-Human Narratives: In the Name of Scientific Witchery”

<b>MIRE LEE</b>, <i>Horizontal Forms</i>, 2020, four different sculptures, mixed media, dimensions variable. Photo by Yeonje Kim. Courtesy the artist and Art Sonje Center.

Tina Kim Gallery Presents Mire Lee’s “Carriers”

Installation view of

“Elsewhere and nowhere else” and “The house is full”

<b>HAEGUE YANG</b> next to <i>Sonic Rescue Ropes</i>, 2021, nickel plated bells, stainless steel chains, split rings, 11.45 m. Photo: Dan Leung. Courtesy of M+, Hong Kong.

Haegue Yang’s “Sonic Rescue Ropes”

Installation view of

Pause, Rewind, “Play and Loop” at Blindspot Gallery

Photo documentation of <b>DUTO HARDONO</b>'s <i>Variation & Improvisation</i>, performance, duration variable, at

“Scoring the Words” at the Seoul Museum of Art

<b>TAO HUI</b>, <i>Being Will</i>, 2021, still from single-channel video with sound and color: 12 min 3 sec. Courtesy the artist and Kiang Malingue, Hong Kong.

What’s Showing in Seoul, September 2022

Installation view of <b>SHEN XIN</b>,<i> The Earth Turned Green</i>, 2022, multi-channel video installation with sound: 38 min 39 sec. All images courtesy the artist.

Shen Xin’s Theater of Verbal Imagery

Photo of <b>MOTOHIKO ODANI</b>'s<i> Surf Angel (Provisional Monument 2)</i> (2022). Photo by Keisuke Hirai. All images courtesy the artists and Reborn Art Festival.

Reborn Art Festival: “Altruism and Fluidity”

A selection of <b>TARING PADI</b>'s <i>wayang kardus</i> outside their exhibition venue, Hallenbad Out, which is a disused swimming pool. Photos by Frances Arnold for <i>ArtAsiaPac

Highlights from documenta fifteen

<b>JES FAN</b>, <i>Mother Is A Woman (Cream)</i>, 2019, estrogen, lotion, test tube, silicone, and pigment, 25 x 20 x 8 cm. Copyright Jes Fan. All images courtesy the artists and G

“Retrograde”: A Revival of Care

Photo documentation of <b>LEE MINGWEI</b>'s <i>Our Labyrinth</i>, 2015- , performance, duration variable, at Tate Modern, London, 2022. Photo by Oli Cowling/Tate Photography. Court

Lee Mingwei’s Our Labyrinth at London’s Tate Modern

Installation view of <b>THE FOREST CURRICULUM</b>'s <i>How Not To Build A Nation</i>, 2021, medium-density fibreboard, flags, Trevira fabric, and metal, dimensions variable, at

“Nation, Narration, Narcosis” at Hamburger Bahnhof

Installation view of <b>C&G ARTPARTMENT</b>'s <i>Indoor Charcoal Drawing Of The REAL Hong Kong Contest</i>, 2022, mixed media and public engagement, dimensions variable, at

“Minding the G(r)a(s)p” at Para Site