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Alison Nguyen’s exhibition “Perforation, Ellipse” is still on view through March 28. Staging a collage of performance on 16 millimeter film, animated translations, bolero music, and archival footage across ten channels of video, Nguyen peers into holes in the archive and their potential for new possibilities. Tap the link in our bio to learn more and plan your visit. Composer: Scott Kiernan (@ZenithFoundation) Video documentation: Peter Peregrine (@PHPeregrine)
Alison Nguyen’s exhibition “Perforation, Ellipse” is still on view through March 28. Staging a collage of performance on 16 millimeter film, animated translations, bolero music, and archival footage across ten channels of video, Nguyen peers into holes in the archive and their potential for new possibilities. Tap the link in our bio to learn more and plan your visit. Composer: Scott Kiernan (@ZenithFoundation) Video documentation: Peter Peregrine (@PHPeregrine)
Preview of a video presentation for Sprung 10. The introduction reflects the narrative concept of coexistence, followed by selected works from the series. Sprung 10 New York Big Screen Exhibition at Big Screen Plaza, New York Presented by Arthouse.NYC @arthouse.nyc #Gyeol #PilgrimBaekja #InstallationArt #moonjar #koreanartist
Preview of a video presentation for Sprung 10. The introduction reflects the narrative concept of coexistence, followed by selected works from the series. Sprung 10 New York Big Screen Exhibition at Big Screen Plaza, New York Presented by Arthouse.NYC @arthouse.nyc #Gyeol #PilgrimBaekja #InstallationArt #moonjar #koreanartist
I'm happy to finally share the original video of the interview I gave with curator Vickie Zhang at the Pingshan Art Gallery and Museum in Shenzhen, on the occasion of the fourth edition of "Splendors of the Sun and Moon," a group exhibition curated by Tong Yanrunan in 2025. In this reel, you can watch the video "Calanchi Bruciati", one of three videos I exhibited as part of my research project "Greetings from the Anthropocene!" What an incredible experience it was to have an entire room dedicated to my video installation, in such an extraordinary exhibition and in such an evocative building! @qiutongvzhang @tongyanrunan Thank you so much 💜 #art #contemporaryart #artinchina #artgallery #artcollector
I'm happy to finally share the original video of the interview I gave with curator Vickie Zhang at the Pingshan Art Gallery and Museum in Shenzhen, on the occasion of the fourth edition of "Splendors of the Sun and Moon," a group exhibition curated by Tong Yanrunan in 2025. In this reel, you can watch the video "Calanchi Bruciati", one of three videos I exhibited as part of my research project "Greetings from the Anthropocene!" What an incredible experience it was to have an entire room dedicated to my video installation, in such an extraordinary exhibition and in such an evocative building! @qiutongvzhang @tongyanrunan Thank you so much 💜 #art #contemporaryart #artinchina #artgallery #artcollector
Talking about installation as an element in my solo show “An Unfound Door” @flatbedpress . From my conversation with art historian @agoosetine. Watch the full interview at the link in my bio.
Talking about installation as an element in my solo show “An Unfound Door” @flatbedpress . From my conversation with art historian @agoosetine. Watch the full interview at the link in my bio.
A Memory that Watches Back 2026 mixed media installation memory as feedback memory as surveillance memory as something that refuses to stay still #installationart #crt #newmedia #sculpture #projection
A Memory that Watches Back 2026 mixed media installation memory as feedback memory as surveillance memory as something that refuses to stay still #installationart #crt #newmedia #sculpture #projection
Visual Abjectness Lenses dilate vision. As the spectator peers through the field of “compound eyes,” random details are magnified while also dislocated, altered and dispersed, all at once. But they also coalesce into a dynamic atlas of ever-shifting boundaries, if momentarily. Such “discontinuous ways of seeing” (Sontag, 1977), at the cost and in isolation from the whole, produces an optical de-composition. A visual abjectness. Kaleidoscopically cut up, the lenses turn order into disarray, flatness into depth, the singular into the multiple, and the static into the kinetic (even without rotation). Artwork Details: Suzann Victor, Sea Lantern II, 2025, Kinetic Sculpture; Materials: 3787 Fresnel Lenses, Backlit Printed Image, Rotator, Lighting Cage, Stainless Steel Column & Base, Stainless Steel Rings, Pins, Cables; Dimensions: 300 x 400 (diameter) cm; Video: Gajah Gallery #FemaleArtistsofAsia #KineticSculpture #ArtAsResistance #DecolonialArt #RefractedHistories
Visual Abjectness Lenses dilate vision. As the spectator peers through the field of “compound eyes,” random details are magnified while also dislocated, altered and dispersed, all at once. But they also coalesce into a dynamic atlas of ever-shifting boundaries, if momentarily. Such “discontinuous ways of seeing” (Sontag, 1977), at the cost and in isolation from the whole, produces an optical de-composition. A visual abjectness. Kaleidoscopically cut up, the lenses turn order into disarray, flatness into depth, the singular into the multiple, and the static into the kinetic (even without rotation). Artwork Details: Suzann Victor, Sea Lantern II, 2025, Kinetic Sculpture; Materials: 3787 Fresnel Lenses, Backlit Printed Image, Rotator, Lighting Cage, Stainless Steel Column & Base, Stainless Steel Rings, Pins, Cables; Dimensions: 300 x 400 (diameter) cm; Video: Gajah Gallery #FemaleArtistsofAsia #KineticSculpture #ArtAsResistance #DecolonialArt #RefractedHistories
Between 1983–84, Tehching Hsieh and Linda Montano carried out 'Art/Life: One Year Performance'—one of the most radical endurance works in contemporary art. Tied together by an 2.5 metre rope for an entire year, they lived side by side without ever touching. Everyday actions became the performance, shaped by distance, tension and constraint. A key figure in durational art, Hsieh’s work has been exhibited at institutions like Museum of Modern Art, redefining the boundary between life and art. #performanceart #conceptualart #artnews #artgallery #contemporaryart
Between 1983–84, Tehching Hsieh and Linda Montano carried out 'Art/Life: One Year Performance'—one of the most radical endurance works in contemporary art. Tied together by an 2.5 metre rope for an entire year, they lived side by side without ever touching. Everyday actions became the performance, shaped by distance, tension and constraint. A key figure in durational art, Hsieh’s work has been exhibited at institutions like Museum of Modern Art, redefining the boundary between life and art. #performanceart #conceptualart #artnews #artgallery #contemporaryart
A test install tonight for a new body of work… all cameraless salt prints, moving toward Chicago soon. These works come from a practice of long exposure, attention, and surrender—sunlight, chemistry, paper, and time meeting each other slowly. I’m interested in what becomes visible when looking stops trying to dominate and begins to receive. This installation is part of a larger unfolding, and I can’t say much yet, except that it will open in Chicago the same weekend as EXPO at a gallery I’m very excited to share when the moment is right. For now: a glimpse. A field. A record of light becoming matter. #saltprint #alternativeprocess #cameralessphotography #contemporaryart #installationart
A test install tonight for a new body of work… all cameraless salt prints, moving toward Chicago soon. These works come from a practice of long exposure, attention, and surrender—sunlight, chemistry, paper, and time meeting each other slowly. I’m interested in what becomes visible when looking stops trying to dominate and begins to receive. This installation is part of a larger unfolding, and I can’t say much yet, except that it will open in Chicago the same weekend as EXPO at a gallery I’m very excited to share when the moment is right. For now: a glimpse. A field. A record of light becoming matter. #saltprint #alternativeprocess #cameralessphotography #contemporaryart #installationart
‘torsion wave’ was a challenge to embrace technology and to try a lightweight substrate for a dramatic balance point it plays on the texture and form lines of a previous work entitled ‘torsion field’, however the toroidal language is twisted open, liberating the negative space many thanks to @lauracarwardine for the speedy print, clear communication (with visuals!), and brilliant slicing that allowed us to print without a support structure
‘torsion wave’ was a challenge to embrace technology and to try a lightweight substrate for a dramatic balance point it plays on the texture and form lines of a previous work entitled ‘torsion field’, however the toroidal language is twisted open, liberating the negative space many thanks to @lauracarwardine for the speedy print, clear communication (with visuals!), and brilliant slicing that allowed us to print without a support structure
The All-Ingesting Gaze of Lenses The image conceals as it reveals. People are seen while hidden. The Lantern series physiologically and perceptually impedes the acts of hierarchical looking and representation in colonial-era photographs and postcard imagery. The imperial camera’s one directional gaze that human subjects were exposed to, fixed and shot by, is now dismantled by the all-ingesting gaze of thousands of lenses in a re-writing of colonial images into an ethnography of illegibility. The work’s 10m image re-develops the photographic surface into a site of resistance from within that defies the imperial order to be still, and be known. Artwork Details: Suzann Victor, Detail of Sea Lantern II, 2025, Kinetic Sculpture; Materials: 3787 Fresnel Lenses, Backlit Printed Image, Rotator, Lighting Cage, Stainless Steel Column & Base, Stainless Steel Rings, Pins, Cables; Dimensions: 300 x 400 (diameter) cm; Video: Gajah Gallery #FemaleArtistsofAsia #KineticSculpture #ArtAsResistance #DecolonialArt #RefractedHistories
The All-Ingesting Gaze of Lenses The image conceals as it reveals. People are seen while hidden. The Lantern series physiologically and perceptually impedes the acts of hierarchical looking and representation in colonial-era photographs and postcard imagery. The imperial camera’s one directional gaze that human subjects were exposed to, fixed and shot by, is now dismantled by the all-ingesting gaze of thousands of lenses in a re-writing of colonial images into an ethnography of illegibility. The work’s 10m image re-develops the photographic surface into a site of resistance from within that defies the imperial order to be still, and be known. Artwork Details: Suzann Victor, Detail of Sea Lantern II, 2025, Kinetic Sculpture; Materials: 3787 Fresnel Lenses, Backlit Printed Image, Rotator, Lighting Cage, Stainless Steel Column & Base, Stainless Steel Rings, Pins, Cables; Dimensions: 300 x 400 (diameter) cm; Video: Gajah Gallery #FemaleArtistsofAsia #KineticSculpture #ArtAsResistance #DecolonialArt #RefractedHistories
For Internal Landscapes, Peter continued his exploration of moulds as ‘instruments’, composing a score through repetition, pattern and space for unforeseen response. Drawing influence from Steve Reich, forms build incrementally. Each gesture is able to fall in and out of sync with the last. One morning in the studio at @dummerdownfarm , Hampshire. A short documentary by @lewisrscott exploring process, material and the development of new sculptural work. Watch the full film Making Spaces via the link in bio. #artistdocumentary
For Internal Landscapes, Peter continued his exploration of moulds as ‘instruments’, composing a score through repetition, pattern and space for unforeseen response. Drawing influence from Steve Reich, forms build incrementally. Each gesture is able to fall in and out of sync with the last. One morning in the studio at @dummerdownfarm , Hampshire. A short documentary by @lewisrscott exploring process, material and the development of new sculptural work. Watch the full film Making Spaces via the link in bio. #artistdocumentary
Strategy of Gestures 🫰 Analog Practice Exhibition @hippolytegallery 4.4.–3.5.2026 ✦ Opening Reception ✦ Thursday 2.4.2026 17:00–19:00 Strategy of Gestures explores memory, bodies, and history through hands-on processes. Images emerge, shift, and fade, carrying traces of presence. Memory is shaped through making and shared experience. Working without software or algorithms, gestures reconnect us to time, material, and a living cultural heritage. Curated by Clément Beraud @clementberaud & Natalia Kopkina @apartofawhole Featuring: Ali Uchida (JP) @uchidaali Clara Franke (DE/NL) @frankeclara Clare Samuel (UK/CA) @the_clare_samuel Hermione Russell (UK) @hermionegracerussell Joana Duarte (PT/NL) @joanarted Phoebe Kiely (UK) @phoebekiely_ Quinten Vermeulen (BE) @vermeulenquinten Shia Conlon (IE/FI) @shiaconlon Shou-An Chiang (TW/UK) @shouanfoto 📽️📷🩶Highlighting works by Clare Samuel, Phoebe Kiely, Hermione Russell & Shou-An Chiang
Strategy of Gestures 🫰 Analog Practice Exhibition @hippolytegallery 4.4.–3.5.2026 ✦ Opening Reception ✦ Thursday 2.4.2026 17:00–19:00 Strategy of Gestures explores memory, bodies, and history through hands-on processes. Images emerge, shift, and fade, carrying traces of presence. Memory is shaped through making and shared experience. Working without software or algorithms, gestures reconnect us to time, material, and a living cultural heritage. Curated by Clément Beraud @clementberaud & Natalia Kopkina @apartofawhole Featuring: Ali Uchida (JP) @uchidaali Clara Franke (DE/NL) @frankeclara Clare Samuel (UK/CA) @the_clare_samuel Hermione Russell (UK) @hermionegracerussell Joana Duarte (PT/NL) @joanarted Phoebe Kiely (UK) @phoebekiely_ Quinten Vermeulen (BE) @vermeulenquinten Shia Conlon (IE/FI) @shiaconlon Shou-An Chiang (TW/UK) @shouanfoto 📽️📷🩶Highlighting works by Clare Samuel, Phoebe Kiely, Hermione Russell & Shou-An Chiang
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