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Celebrated my 40th in NYC, the ultimate portal gift to myself, thank you 🌊😽🌃🫧🎀

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Some of my favorite magicians and a lot of love at my third and last summer of grad school

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Opening today at the @focusartfair (May 21-24 at Chelsea Industrial in NYC), Art in General presents “What time is it on the clock of the world?” a group presentation of works curated by @sofia.thieu across film, sculpture, and painting by:

Covey Gong @cvygng
Akira Ikezoe @imakira
Simon Liu @cyi_liu
Helena Tan @hs1an

Titled after an infamous provocation by labor and civil rights activist Grace Lee Boggs, the works on view consider the increasingly blurred lines between artists’ daily employment and their creative labor within the studio. Across material conditions, these artists probe the infrastructures that contain their production—namely time, geography, and constructed space—as the physical and psychological scaffolds of their lives.

Images: Covey Gong “Dream of the Red Chamber” 2023. Courtesy the Artist and Derosia | Akira Ikezoe, “Not So Still Life with Blood” (detail) 2024. Courtesy the Artist | Simon Liu, “E-Ticket” 2019. Courtesy the Artist | Helena Tan, “Reel Fantasy” 2024. Courtesy of Ashley Berlin

#ArtinGeneral #FocusArtFair

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$Helena Tan's solo exhibition, Ajar, continues tomorrow and next weekend, open Friday and Saturday 12-5pm Trisha Low writes: Helena tells me that it is strange to her that none of her friends or interlocuters will be able to see the show because it is in a home estranged from her many other homes, in Melbourne, Australia. I won’t be able to either. Instead, Helena sends me some photographs of half-constructed cabinets over WhatsApp to direct my writing.I look at my phone. I put it down. I look at my phone again, trying instinctively, impossibly try to catch a glimpse of myself or any partial figure in the diagonal metal cut of the cabinet’s doors. I swipe my thumb across a hairline fracture in my screen protector, and it catches on a shard of glass at the corner. A drop of red smears across the photograph-cabinet’s surface. I extract the splinter. I tilt the screen. I can’t see anything in the facsimile of the structure’s opaque pewter. I am bereft by the neediness I feel, to encounter a reflective image of myself doubled and deferred within this digital image. Helena tells me that soon the metal doors of these half-made cabinets will become two-way mirrors. She tells me about the rouge test, which involves drawing a red mark on the faces of children or animals. If, when they look in the mirror, they rub the red mark off their face, then this is evidence that they recognize themselves. I look down again at my phone. I cannot locate myself in the onscreen representations of mirrored cabinets that Helena has sent me. I am not marked for recognition. But soon, the cabinet will be able to watch me watching myselftry to find in its generic emptiness, some kind of a form. Pictured: Helena Tan Fronts 2026 Wood, aluminum, stainless steel, mirror, monitors , media player 50 x 124 x 35 cm @hs1an @tuhreesha$

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