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.
Exhibition view: Taro Masushio, Rumor Has It, Empty Gallery, Hong Kong (23 December–20 February 2021). Courtesy the artist and Empty Gallery. Photo: Michael Yu.
Ocula Insight Taro Masushio’s Homage to the Uncle from Osaka at Empty Gallery By Nick Yu, Hong Kong Taro Masushio confronts the 'expression of a queerness from the past' at Hong Kong's Empty Gallery.
Ocula Insight Hong Kong Spotlight: Six Artists to Watch By Stephanie Bailey, Hong Kong Hong Kong Spotlight is Art Basel's first physical presentation in 2020.
Related Press Enter the Void: Henry Shum's Mystical 'Vortices' 3 December 2020, ArtAsiaPacific 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.
Related Press Psychic Time of Handicraft: ektor garcia 24 November 2020, Mousse Magazine Craft has historically found itself thrust into heated disputes relating to the materiality of gendered and racialised labour.
Related Press Tishan Hsu: Liquid Circuit in Brooklyn Rail 23 November 2020, The Brooklyn Rail 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?'
Related Press Tishan Hsu in conversation with Kelly Akashi and Matthew Ronay, moderated by curator Sohrab Mohebbi 22 November 2020, Sculpture Center '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.
