Shows

LINDY LEE, Dewdrop (Fathomless), 2013, splash bronze, 100 cm diameter. Courtesy the artist and 10 Chancery Lane Gallery, Hong Kong.

Lindy Lee’s “Universal Record of the Flame”

Haegue Yang's Strange Fruit (2013) foregrounds Laurent Grasso’s, Visibility is a Trap (2012) in

“You Promised Me, and You said a Lie to Me” at Anna Schwartz Gallery

Installation view of

“Taiping Tianguo” and “Show Flat 04”

FLORIAN MAIER-AICHEN, Untitled (Infrared Industries), 2011, chromogenic print, 177 × 220.3 cm. Courtesy the artist and Gagosian Gallery, Hong Kong.

Florian Maier-Aichen at the Gagosian Gallery

ROSANNA RAYMOND, still from Da SaVAge K’lub, 2013. Photo by Michael Young for ArtAsiaPacific.

“Towards the Morning Sun”

HONG-KAI WANG, still from Music While We Work, 2011, multi-channel sound and two-channel video installation. Courtesy the artist.

“Soundings: a Contemporary Score "

JANET LAURENCE, Ash and Pollen, 2013, duraclear on acrylic, mirror, earth and pigment in oil, 125 x 61 cm. Courtesy the artist and Cat Street Gallery, Hong Kong.

Janet Laurence’s “Plants Eye View”

EIKOH HOSOE, “Man and Woman” (1960), gelatin silver print, 16.8 x 29.8 cm. Courtesy the artist and Miyako Yoshinaga Gallery, New York.

Eikoh Hosoe’s "Curated Body: 1959–1970"

NICKY NODJOUMI, Inspector's Scrutiny, 2012, oil on canvas, diptych, 215. 9 x 330.2 cm. Courtesy Taymour Grahne.

Nicky Nodjoumi’s “Chasing the Butterfly and Other Recent Paintings”

In and Around Istanbul’s Biennial Week

SLAVS AND TATARS, installation view of ωXXX (“ekh”), 2013, at Art Space Pythagorion, Greece, 2013. Photo by Orestis Argiropoulos. Courtesy Art Space Pythagorion.

Slavs and Tatars’ “Long Legged Linguistics”

TEJAL SHAH, still from Between the Waves, 2012, five-channel video installation, channel I,

“My Dear You Shouldn’t Believe in Fairytales”

YAM LAU, installation view of Between Past and Present: Lived Moments in Beijing, 2012, at Darling Foundry, Montreal, 2013. Courtesy Darling Foundry.

Yam Lau’s “The World is a Model of the World”

Installation view of

“The Artist, the Book and the Crowd”