Shows

Installation view of *RANJANI SHETTAR*'s <i>_Seven Ponds and a Few Raindrops_</i>, 2017, muslin, stainless steel, tamarind, natural dyes, 581.7 x 566.4 x 243.8 cm, at The Metropoli

Ranjani Shettar's “Seven Ponds and a Few Raindrops”

Installation view of *LUKE CHING*'s <i>_Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool_</i>, 2017, pinhole photograph, 325 x 254 cm, at

“Presence: A Window into Chinese Contemporary Art”

Installation view of “Samson Young: Songs for Disaster Relief World Tour,” at M+ Pavilion, Hong Kong, 2018. All images courtesy the artist, West Kowloon Cultural District Authority

“Songs for Disaster Relief World Tour”

Installation view of the 2018 Triennial, “Songs for Sabotage” at New Museum, New York. Photo by Maris Hutchinson / EPW Studio. Courtesy New Museum.

“2018 Triennial: Songs for Sabotage”

Installation view of

“Made in North Korea: Everyday Graphics From the DPRK”

Installation view of

Kim Tschang-Yeul’s “Kim Tschang-Yeul”

Installation view of “Avant-Garde Shanghai” at Ming Yuan Art Museum, Shanghai, 2018. All photos by Andrew Stooke for ArtAsiaPacific.

“Avant-Garde Shanghai”

Installation view of

Lee Kit and Cui Jie’s “The Enormous Space”

Installation view of *ALWAR BALASUBRAMANIAM*'s

Alwar Balasubramaniam’s “Liquid Lake Mountain”

Installation view of *HEMAN CHONG*'s (foreground) <i>_The Straits Times, Tuesday, May 6, 2014, Page C6_</i>, 2018, UV print on unprimed canvas, 200 x 130 x 5 cm and (background) _T

Heman Chong’s “Abstracts from The Straits Times”

Installation view of HE XIANGYU's <i>The Yellow Swim Caps</i>, 2016, single-channel video with color and sound: 17 min 23 sec, at

He Xiangyu’s “Evidence”

Installation view of MIT JAI INN’s “Beautiful Futures” at H Gallery, Bangkok, 2018. Courtesy the artist and H Gallery.

Mit Jai Inn’s “Beautiful Futures”

Installation view of

“The Preservationists”

SRIWHANA SPONG, A Hook But No Fish, 2017, still from digitalized 16 mm film: 24 min 50 sec. Courtesy the artist; Michael Lett, Auckland; and Pump House Gallery, London.

Sriwhana Spong’s “A Hook But No Fish”