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- Launch event - 
We’re excited to announce the launch party for our second printed issue “Unbounded Lines”, exploring Global South artistic and design practices ✴️

⏰ Join us on June 6, from 3–6pm at @gasworkslondon 

Drinks and nibbles will be provided. Everyone is welcome!

We’re grateful to all the contributors who made this issue possible 📗, and to Gasworks for hosting us.

~

While visiting Gasworks, you can also explore their latest exhibition by @itsgabrielabrantes

#londongalleryweekend
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Ají Vol. II: Unbounded Lines is out in the world! 🌶️

Thank you to everyone who joined us last Saturday at @gasworkslondon for the launch. Get in touch if you’d like a copy of the publication—we ship internationally 📦

Also, join us this Friday and Saturday at the Biblioteka Book Fair (@biblioteka_library) at @the_warburg_institute. We’ll have all of our publications and projects there!

#papersarchive
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I’m pleased to share my work in Opacity: On Viscous Surfaces, presented in collaboration with @latitudegallery_newyork and L@antipode Project.

Tindra Eliason, Yufei Huang, Shihao Lin, Vinícius Lopes, Yihan Pan, and Chris Shubat, curated by Weifan Mo and Xumeng Zhang. 

Regarder, c’est oublier les noms des choses que l’on voit.
(To look is to forget the names of the things one sees.)
— Paul Valéry, Degas Danse Dessin (1937)

Paul Valéry’s injunction serves as the point of departure, marking the threshold where the gaze is finally unburdened. There is a violence in naming—a swift, diagnostic strike that flattens the world into a series of transparent utilities, rendering the surface beneath our notice. We have been conditioned to read the world as if it were nothing more than glass, piercing through to a predetermined truth. Opacity is our manifesto against this clarity.

We embrace the act of seeing as forgetting. To see, truly, is to undergo an erasure: the shedding of the label, the syntax, and the name, until the object is stripped of its utility and returned to its primal, mute density.

The viscous is the medium of this un-naming. It acts as an interstitial depth—a sticky, tactile suspension between the eye and the object. Vision sheds its extractive habit, collapsing into an insidious, total submersion; the optical impulse is tethered to the terrain, dragged into a deepening friction where the surface dictates the rhythm of our own perception. It is a synesthetic weight: the way a shadow feels like oil, or a line gathers like a drop of heavy liquid, pulling the eye into the material’s own sluggish, internal time. Viscosity performs an unyielding geography of the immediate.
🩵
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𝙏𝙝𝙚 𝙒𝙝𝙞𝙩𝙚 𝙉𝙞𝙜𝙝𝙩
oil on wood, 30 x 40cm, 2026, Yihan pan
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I still remember that spring night.
Kacie, her rabbit, and the falling white cherry blossoms, until the ground became another night sky, and we wandered through it.
Memory softens hair, blurs the landscape.
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🐇My dear friend @colourless_sea 🤍🩶
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24🎂🦋
Closing 23 by trading the lens for the brush. Lately, painting transparent creatures and old dreams.
So grateful for the dear friends, mentors, and curators who’ve had my back this year. Ready to keep creating at 24. >
Wishing you all the best. ✨
yihan
/
📷by @jose.crd.l
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Honoured to be part of 𝘗𝘳𝘰𝘷𝘪𝘴𝘪𝘰𝘯𝘢𝘭 𝘞𝘦, curated with deep care by @albarnoor and @hyuwnoo.l .
This exhibition holds space for fragile connections and quiet dissonances where empathy doesn’t demand understanding, and difference isn’t something to resolve, but something to stay with.

Big thanks to everyone who came by, had a look, shared a moment, or helped along the way. So glad to be part of this gentle gathering:)
@aschandbagfactory 

@batoulian lovely shoot🫶🏻
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