Shows

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

<b>WEI-CHIEH KUNG</b> and <b>LYDIA YA CHU CHANG</b>'s <i>Blue House</i>, 2022, timber, at the TFAM Plaza, Taiwan. Photo by Annette An-Jen Liu. All images courtesy the artists and T

Wei-Chieh Kung and Lydia Ya Chu Chang’s Blue House

<b>RAGINI BHOW</b>, <i>Twin Flame</i>, 2022, crushed crystal, mica, acrylic, flashe on birch, 101.6 x 152.4 cm. All images courtesy the artist and Rubber Factory, New York.

Ragini Bhow’s “Second Wind”

Installation view of <b>AAAJIAO</b>'s <i>biubiu</i>, 2022, digital prints and film, dimensions variable, at

Aaajiao’s “I was dead on the Internet”

Installation view of <b>LAUREN BRINCAT</b>'s <i>Backstage</i>, 2022, rop cloths, brass eyelets, rope, and steel rods, dimensions variable, at

Lauren Brincat’s “women with fringes etc.”

Installation view of <b>TAUS MAKHACHEVA</b>'s <i>Charivari</i>, 2019/2022, mixed media installation, one-channel audio, dimensions variable, at

Taus Makhacheva’s “A Space of Celebration”