Empty Gallery is a 4,500-square-foot space located at the edge of Aberdeen Harbour in Tin Wan, Hong Kong. Founded by Stephen Cheng, the gallery showcases both established and emerging artists alongside a program of pioneering multimedia commissions, performances and music. With a special commitment to ephemeral, time-based and non-object-oriented practices, Empty Gallery is committed to fostering conversation across cultural, geographic, and medium-specific boundaries while serving as a regional hub for the flourishing East Asian art scene.
Taro Masushio confronts the 'expression of a queerness from the past' at Hong Kong's Empty Gallery.
The vortex-as-portal is a recurring motif that conjures the irresistible yet terrifying pull of the unknown. For poet and artist William Blake (1757–1827), it takes on a spiritual dimension as a symbol of transfigurative passage.
Craft has historically found itself thrust into heated disputes relating to the materiality of gendered and racialised labour.
Simon Wu writes: For the last four decades, Tishan Hsu has worked across sculpture, video, painting, and photography to consider the question: 'How do we embody technology?'
'We, humans under the influence of technology, are desperately trying to recapture a feel for our skin, to be reembodied, to prove that we are still here.' Matthew Ronay writes in a recent Artforum essay on Tishan Hsu.
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