Tishan Hsu speaks with art historian and critic Martha Scwhendener about his painting and sculpture practice, the relationship of the screen to the body, and Vilém Flusser's prescient theories of photography.
Xper.Xr is a legendary, if poorly documented figure in Hong Kong's experimental music scene. He first became active in the late '80s "after a steep learning curve and gobbling up every piece of musical rebellion [he] could get [his] hands onto,"
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.
Shadowy figures congregating in groups and in pairs, on boats and in nocturnal groves, inhabit 'Vortices', Henry Shum's first solo exhibition at Empty Gallery.
The 'Unfinished Return of Yu Man-hon' focuses on Cici Wu's cultural imaginary and extensive research into the unaccountable disappearance of Yu Man-hon,
Artist Jes Fan is fascinated by the beautiful and the repulsive. His exploration of the contrast between them leads him to question our standards of beauty, shaped as they are by consumerism.
As an artist and art educator, John Ziqiang Wu finds himself at the nexus of two industries severely impacted by the pandemic.
Tishan Hsu's paintings and sculptures evoke nightmarish visions of the body's forced integration with its technological surrounds.
Ikebana's most irreverent practitioner, the 80-year-old finds beauty in the banal.