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Artemin Gallery Presents a Solo Exhibition By Jan Vallverdú: That’ll Hold
Poster credit: Artemin Gallery Artemin Gallery is delighted to present That’ll Hold, the Taiwan debut solo exhibition of Barcelona based artist Jan Vallverdú.
Thought tends to privilege finished forms while forgetting their genesis. We coexist with events, objects, bodies, and other organizations. Yet these outcomes may be nothing more than momentary actualizations: always provisional resolutions of a far more complex subterranean field, composed of intensive dynamics and multiple processes still open to different outcomes.
We see the crystal once it has crystallized, forgetting the physicochemical conditions that made its formation possible. We see the mature organism and forget the embryological dynamics that produced it. We see the reified institution and forget the historical tensions that gave rise to it. We see subjective identity and forget the series of affects, habits, memories, and experiences from which it is composed.
We will call this field a diagram.
For now, 2025, Oil on canvas, 205 x 133 cm The diagram is neither a form nor an image, and therefore cannot easily be understood through a simple notion of representation. It is a set of forces, relations, and tendencies that remain unresolved. A space of potentiality where different configurations compete to come into being. Like a turbulent, confused sea, traversed by vectors, eddies, and unstable equilibria.
It is precisely within this territory that Jan Vallverdú’s painting seems to operate, continuing this diagram.
His works do not simply represent bodies. They depict the moment in which a body manoeuvres. Form persists in a state of stability-in-motion; it exists only insofar as it continues to move, continually improvising. Figures emerge from luminous grounds crossed by chromatic tensions, axes, boundaries, and structures that contain them only provisionally. They are painterly organisms seeking a momentary equilibrium without ever fully settling into fixed form.
There is a certain playfulness—or perhaps cunning—to them. They do not appear to resist the diagram. Rather, instead of searching for a definitive form, they seem to have learned to negotiate with the forces that traverse them; to drift between them, in a kind of fleeting acceptance.
Shuffling II, 2026, Oil on canvas, 165 x 130 cm Across these large-format paintings, the pictorial field becomes a space where organization and drift are inseparable. Smooth passages collide with rough ones. A vertical axis functions as a structure of containment, while colour operates as force.
Bars, bands, and vectorial geometries temporarily organize what still retains a background of indeterminacy. Glazes and dragged layers generate depth without resorting to classical perspective. Figures emerge through processes of superimposition and erasure rather than through contour, in a continuous play of appearance and disappearance through light.
These works document the temporary stabilization of a diagram. They register an exploration that the artist directs into the interior of painting—one that continues to drift toward new territories.
Sleeping in the Leap, 2026, Oil on canvas, 198 x 148 cm Venue
Artemin Gallery, 1F., No. 32, Ln. 251, Jihe Rd., Shilin Dist., Taipei, TaiwanArtists
Donghoon RheeExhibition Dates
October 17 – November 21, 2026Gallery Hours
Tuesday – Saturday | 11:00 AM – 6:00 PMWebsite
http://www.artemingallery.com/Instagram
https://www.instagram.com/artemin.gallery/Contact
https://www.artemingallery.com/contact/About the Artist
Vallverdú’s paintings explore the space between form and movement, where figures emerge, shift, and find temporary moments of balance. Through layered colour, geometric structures, and gestural marks, his works capture a sense of constant transformation and possibility.
(Text and images courtesy of Artemin Gallery)
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Gajah Gallery Singapore Returns to: Art Jakarta 2026
Ibrahim, Untitled, 2026, Acrylic on Canvas, 240 x 180 cm Gajah Gallery returns to Art Jakarta 2026 this October with an intergenerational presentation, bringing together artists from across Southeast Asia, with a focus on practices from Indonesia alongside artists from Malaysia and Singapore. The presentation considers how artists across generations and contexts engage with and transform the possibilities of their chosen mediums. The works reflect a range of individual approaches to making: some draw from established visual languages and material traditions, while others disrupt or extend them, opening new directions within their practices.
The natural world emerges as a recurring point of departure across the presentation. Mangu Putra’s hyperrealist painting Stage frames nature as an enduring backdrop to the fleeting drama of human life. This tension between impermanence and ecological change also informs the work of Singaporean sculptor Han Sai Por, whose sculptural practice draws on organic forms. Dini Nur Aghnia embeds found objects within handmade resin beads to create tactile, landscape-like compositions, bringing fragments of the surrounding environment into focus, while Fika Ria Santika combines industrial materials with natural elements in sculptural works that reflect the accumulation of memories and experiences shaped by her environment. Drawing on the Minangkabau philosophy of Alam Takambang Jadi Guru (“Nature is an eternal teacher”), Erizal As distils the colours and rhythms of nature into richly textured abstraction, moving from landscape as image towards nature as a source of sensation and intuition.
From these engagements with nature and material, the presentation moves towards abstraction with works by Ibrahim, whose expressive compositions reflect an intuitive approach to painting. In comparison, Tantin Udiantara takes a more restrained approach, with repetition and balance lending his paintings a quiet sense of rhythm. At first glance, Arin Dwihartanto Sunaryo’s works read as abstract compositions, created through a materially driven process using resin and experimental pigments to form suspended fields of colour. Using materials ranging from volcanic ash to metallic compounds, Sunaryo considers how matter can accumulate histories and take on new meanings through transformation.
Tantin Udiantara, Horizontal Color Composition, 2026, Acrylic on Canvas, 180 x 300 cm Questions of memory and inherited images come to the fore in the works of Octora, Jemana Murti, and Ridho Rizki. Octora draws on archival and historical photographs to consider how images shape collective memory and the ways histories are remembered. Jemana Murti similarly looks to cultural memory, reworking traditional motifs through digital processes to consider their place in the present. Ridho Rizki turns instead to the act of looking, drawing on an affinity with Impressionism’s interest in light and perception while maintaining a distinctly contemporary approach. These concerns with representation extend from the image to the body in the practices of Satya Cipta and Dzikra Afifah, while Kayleigh Goh turns towards the built environment, incorporating materials such as wood and cement into contemplative works that reflect on the emotional textures of contemporary life.
The presentation concludes with artists who find new possibilities in familiar images and forms. Uji “Hahan” Handoko Eko Saputro examines how images are mediated and transformed in today’s digital age, while Rosit Mulyadi draws on existing imagery and popular culture to reflect on social and political realities. Rudi Mantofani introduces subtle disorientation into ordinary scenes, prompting viewers to reconsider their perception of reality. In Yunizar’s works, everyday encounters are rendered with wit and humour, revealing how the familiar can be continually reinterpreted.
Ridho Rizki, Untitled (A25b), 2025, Acrylic on Canvas, 100 x 130 cm Venue
JIExpo Kemayoran, Booth B3Artists
Arin Dwihartanto Sunaryo, Dini Nur Aghnia, Dzikra Afifah, Erizal As, Fika Ria Santika, Han Sai Por, Uji “Hahan” Handoko Eko Saputro, Ibrahim, Jemana Murti, Kayleigh Goh, Mangu Putra, Octora, Ridho Rizki, Rosit Mulyadi, Rudi Mantofani, Satya Cipta, Tantin Udiantara, YunizarExhibition Dates
October 2 to 5, 2026Website
https://gajahgallery.com/Instagram
https://www.instagram.com/gajahgallery/Contact
art@gajahgallery.comAbout Gajah Gallery
Founded in 1996, Gajah Gallery has developed a sustained, critically engaged commitment to Southeast Asian contemporary art, shaped through long-term collaboration with artists and the region’s leading academics and art historians. Operating across Singapore, Jakarta, Yogyakarta, and Manila, the gallery presents a rigorous year-round exhibition programme and maintains a strong presence across major regional and international platforms. Its activities extend to long-term research and scholarly engagement, as well as supporting the production of extensive printed publications on seminal artists and collectives, contributing to the scholarship and historiography of Southeast Asian art.
(Text and images courtesy of Gajah Gallery Singapore)
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Gajah Gallery Singapore Presents Source Code, a Solo Exhibition by Jemana Murti
ANASTYLOSIS (BAROQUE), 2026, 3D Printed ABS and Acrylic Gajah Gallery Singapore presents Source Code, the second solo exhibition by Balinese artist Jemana Murti, opening in October 2026. The exhibition presents a focused examination of Jemana’s evolving practice in response to his Balinese identity within modernity, exploring the tensions between cultural heritage and technological advancement.
Raised in a family of artists and deeply influenced by Balinese Hindu traditions, Jemana’s practice is rooted in an ongoing engagement with the cultural forms and knowledge systems of his home. His work is informed by his interest in ethnomathematics and by the use of proportion, repetition, and spatial relationships within Balinese artistic and architectural traditions.
In Source Code, Jemana brings these inherited forms into dialogue with technologies of the present, using 3D scanning, 3D printing, and artificial intelligence to create sculptural works marked by deliberate distortions and “glitches.” These visual disruptions signal the inherent limitations of technology in replicating the cultural and spiritual significance embedded within these forms. At the same time, he draws a parallel between the reverence once accorded to divine figures and the growing authority given to technologies that are increasingly perceived as “all-knowing.”
FUTURE RELIC: CHIDRA, 2026, Bronze, 40 x 31 x 28 cm, Ed 2 of 6 This tension takes on a new material dimension in a recent expansion of Jemana’s practice, through a series of bronze sculptures created in collaboration with Yogya Art Lab. The works begin as digitally reconstructed and warped forms, which are then translated into bronze, carrying the distortions of the virtual realm into physical form. The resulting sculptures bring together the instability of digital manipulation with the weight and permanence of bronze, a material long associated with durability. Through this process, Jemana brings a central tension within his practice into sharper focus: the fluidity of technological systems alongside the persistence of cultural forms, and how technological transformation might nevertheless carry forward or reconfigure something of their cultural and material continuity.
Venue
39 Keppel Rd, #03-04, Singapore 089065Artists
Jemana MurtiExhibition Dates
October 1 to 25, 2026Gallery Hours
Tuesday – Saturday | 11 AM – 6 PMMonday – Friday | 11 AM – 7 PM
Saturday, Sunday & PH ｜ 12 PM – 6 PMWebsite
https://gajahgallery.com/Instagram
https://www.instagram.com/gajahgallery/Contact
art@gajahgallery.comAbout Yogya Art Lab
Co-founded by Gajah Gallery Director Jasdeep Sandhu and Indonesian artist Yunizar, Yogya Art Lab (YAL) was established to provide artists with a dedicated space to experiment with new mediums and to ensure access to high-quality materials. Under the direction of Foundry Director James Page, YAL has evolved into a world-class foundry and production house, enabling artists to realise new dimensions in their practice.
About The Artist
Jemana Murti (b. 1997, Bali, Indonesia) explores the relationship between cultural heritage and digital technologies through his practice. In 2022 and 2023, Murti participated in the National Gallery Singapore Benefit Auction and was awarded the bronze prize in the 2023 UOB Painting of the Year. His works are held in both private and public collections across Europe, Asia, and Australia, with notable placements at the Tentrem Hotel, the Louis Vuitton flagship store in Jakarta, and Morgan Stanley Singapore. Jemana lives and works in Bali, Indonesia.
(Text and images courtesy of Gajah Gallery Singapore)
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Third Space Is a Verb, Shifts of Memory, Identity and the Moving Adaptation
Text: Jianing Lu, Asian Art Contemporary™
Li Tang presents Third Space Is a Verb International Juried Exhibition from August 17 to October 30, 2026. The exhibition approaches the third space as an ongoing condition that is continually produced. Within this framework, identity becomes a shifting process shaped by memory, language, movement, cultural experience, and one’s relationship with the environment.
Poster credit: Li Tang Community Selected by guest jurors Matilda Lin Berke, Oorja Garg, and Abhishek Tuiwala, the exhibition brings together works by fourteen artists: Unimuke Agada, Andi Bierlein, Raisa Raquel Durandi, Hsiao-Chu Hsia, Yujin Hur, Ningyi Jiang, Leekyung Kang, Eunha Kim, Hoho Kuo, Colby Lamson-Gordon, Lu LEI, Chen Liu, Arete Xu, and Zixuan Zhao. Across these different practices, hybridity emerges as a method rather than a label, while belonging is understood as something actively created rather than inherited. Together, these perspectives reflect that identity is less a fixed category than a space of continual exchange and negotiation.
Diasporic experience is often described through nouns such as “migration,” “identity,” “home,” or “hybridity,” but lived experience is rarely static. People are constantly translating, remembering, adapting, negotiating, and reconstructing themselves. The third space, then, is not a place that naturally exists, but a process formed through these ongoing actions. This is the core of Third Space Is a Verb: it shifts attention from “who we are” and “where we are” to “what we are doing.” Identity is no longer simply an object waiting to be defined and classified, but becomes an ongoing practice. “Translation” and “memory” therefore emerge as important threads.
Colby Lamson-Gordon, I Can See The Moon and Sometimes I Wonder, 2026, Found box, HD video with sound, Variable Translation is not only a matter of moving between languages, but also of how individuals bring existing experiences into new cultural and social environments and continually adjust the ways they understand them. Memory, likewise, is not a stable record of the past, but something reorganized each time it is recalled. Colby Lamson-Gordon’s I Can See The Moon and Sometimes I Wonder places moving images within a temporarily constructed cardboard structure, turning an everyday object into a medium for distant scenes, memory, and imagination, and emphasizing how experience can be reorganized across different spaces.
Andi Bierlein, Peel, 2026, 35mm, 3 x 2 in The idea of the third space shifts attention away from fixed categories and toward the relationships that emerge across different experiences. Andi Bierlein’s Peel presents an everyday object through a grainy 35mm image, making the familiar appear strange and suggesting how identity and memory shift over time. Understanding the third space as a “verb” also keeps hybridity from becoming another fixed label, allowing diasporic experience to remain open rather than predetermined by cultural categories.
Lu LEI, Untitled, 2025, Hand embroidered text on organza, 135 x 100 cm Rather than asking, “What kind of identity does this person represent?”, it may be more useful to consider how a person navigates the relationship between identity, memory, cultural experience, and present circumstances. Lu LEI’s Untitled places hand-embroidered text on translucent organza, allowing the words to shift in visibility depending on light and background. Language no longer functions as a fixed carrier of meaning, but as something continually reinterpreted through environment, viewing, and relation.
Li Tang Panel: Third Space Is a Verb, 2026, Panelists: Jenny Wang, Abhishek Tuiwala, Matilda Lin Berke, Webson Ji, Accent Sisters, New York, Photo credit: Asian Art Contemporary™ These questions were further extended beyond the exhibition through Li Tang Panel: Third Space Is a Verb, held in New York on August 23, 2026. Initiated by Li Tang and co-produced with Accent Sisters and IMPULSE Magazine, the public program was moderated by Jenny Wang and featured Abhishek Tuiwala, Matilda Lin Berke, and Webson Ji. The support of Accent Sisters and IMPULSE Magazine also contributed to Li Tang’s long-standing nonprofit mission of connecting creative communities, expanding visibility, and fostering shared dialogue. As an extension of the exhibition, the panel transformed questions of identity, diasporic experience, and contemporary cultural practice from a curatorial proposition into a live public conversation.
This shift from exhibition to discussion is important. If the third space is truly understood as a verb, then it should not remain only within a theoretical or exhibition framework; it should also take place between people. The third space begins to form when individuals from different backgrounds exchange experiences, explain their perspectives to one another, or question a given definition. It is equally present when writers, curators, artists, and cultural workers search for new language to describe experiences that existing categories cannot fully contain.
Li Tang Panel: Third Space Is a Verb, 2026, Event view, Accent Sisters, New York, Photo credit: Asian Art Contemporary™ The panel extended the exhibition’s central idea by allowing different experiences to coexist without forcing a single conclusion. Instead of defining “diaspora,” “identity,” or “third space,” the discussion kept these concepts open to reinterpretation. Ultimately, Third Space Is a Verb presents the third space as something continually shaped through communication, negotiation, and shared experience.
(Image courtesy of Li Tang Community)
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Alisan Fine Arts Presents Group Exhibition: A New Horizon
Poster credit: Alisan Fine Art Alisan Fine Arts is pleased to present A New Horizon, featuring artists Fong Chung-Ray and Hung Hsien. Both artists immigrated to Taiwan as teenagers and later settled in the US, where they reside today; Fong in California, and Hung in Texas. Fong and Hung were part of the Fifth Moon Group, a prominent Taiwan art collective that promulgated a move towards modernism while retaining a clear Chinese identity. The focus of this exhibition, however, is the evolution of each artist’s work during their subsequent time spent in the US. Both were influenced by their new surroundings, and as their styles matured, they introduced elements of their cultural tradition in different ways, each creating their own unique contemporary artistic language.
Fong Chung-Ray
Fong studied fine arts at a newly established military academy in Taipei, and in 1959, he was among the artists representing Taiwan at the São Paulo Biennial. Two years later, he joined the Fifth Moon Group, and over the course of the 1960s, his paintings toured the world, including in the American exhibition The New Chinese Landscape. A Rockefeller Foundation (Asian Cultural Council) fellowship in the early 1970s enabled Fong to visit museums across Europe and the United States. The experience broadened his exposure to Western art yet deepened his confidence in his Eastern roots. Shortly afterward, Fong and his family relocated to San Francisco in 1975.
In 1987, a friend introduced Fong to Buddhism. He took up meditation and read canonical texts, beginning with the Diamond Sutra, which declares, “All appearances are illusory.” To Fong, this suggested that the beauty of art lies in its essence, not its form. He began to use collage in his work, developing an unorthodox technique where acrylic is applied onto thin sheets of plastic to produce patterns that are then transferred onto paper or canvas.
Fong also began to merge his daily practices of art and Buddhism, painting sacred scriptures in some of his collages. Though these passages reflect his cosmic contemplations, Fong intends such textual elements to be appreciated visually without being deciphered. Occasionally, he writes in oracle bone script – the oldest form of Chinese writing, carved on ox bones and turtle shells.
Fong titles his paintings according to the date of completion; they take months and sometimes years to finish. One of Fong’s most recent works, 2025-7-14, undulates in serene earth tones, with areas of orange and blue emerging beneath the many layers of acrylic. A quote from the Diamond Sutra can be made out amongst the patches of color: “One should give rise to the mind that dwells nowhere” – an apt description of the meditative state that Fong enters when creating his art. Apart from the characters that appear in his work, Fong’s paintings are usually wholly abstract, but in some cases, figuration will appear, as in 2004-41, where the image of chrysanthemum flowers appear in the top right section of the piece. Delicately rendered, they look as if they are carved directly into the surface, almost like fossilized forms uncovered in a rocky cliff face.
Fong’s works have been acquired by institutions such as Los Angeles County Museum of Art, Denver Art Museum, Harvard Art Museums, USA; Centre Pompidou, Musée Cernuschi, France; Ashmolean Museum, UK; and Taipei Fine Arts Museum, Taiwan.
Hung Hsien
Hung Hsien moved to Taiwan with her family in 1948, where she had the unique opportunity to study with Pu Ru, the former Manchu Prince who oversaw the court painting tradition of the late Qing Dynasty. She went on to study at National Taiwan Normal University, where she was taught by artists including Chao Chung-Hsiang and Chu Teh-chun. Hung immigrated to the US in 1958 and enrolled in graduate courses at Northwestern University, studying painting with George Cohen and Ted Halkin, prominent members of the postwar artist group “Monster Roster”. These new influences, coupled with her discovery of Arshile Gorky at the Art Institute of Chicago, led to a transformation in her style: her works became more abstract, and she began to hone a practice of creating work in an automatic, near dream state of mind.
In 1966, artist Liu Guo-Song, founder of the Fifth Moon Group in Taiwan, was visiting the US and reconnected with Hung Hsien, who had been a classmate at NYNU. They found a kinship in their return to the use of ink, and the encounter brought Hung back to Asia. She was officially invited to join the Fifth Moon Group in 1969, and took part in their annual exhibitions from 1971 to 1974 in Taipei, as well as a Fifth Moon group exhibition at the Denver Art Museum in 1973. Hung was invited to teach in Hong Kong at the Chinese University in 1978. It was during these years that her own unique vocabulary and style emerged.
This style can be seen in the works Scudding Clouds & Rocks (1970) and Mountain Peaks (1971), which fuse her expressive brushstrokes with flowing, abstract forms. Hung’s use of color is striking, not only because of the vibrant hues she uses, but because they appear within areas of open space that give her blocks of color a sense of intention. As the titles suggest, Hung often bases her compositions on nature, and she treats them as highly abstracted landscapes. In later works like Beach Rocks (1985), recognizable forms once again appear in her compositions, although they are executed, as always, in her highly personalized, lyrical manner.
In 1984, after spending a few years in Hong Kong and Taipei, Hung Hsien returned to the US. She settled in Houston, Texas, where she still resides today and continues to paint and teach. A solo show of her work was held at the Portland Art Museum in 1987, and recently, nearly 3 decades later, a major retrospective of her work was shown at Asia Society Houston in 2025, traveling to Asia Society Hong Kong in 2026.
Her work is held in the collections of the Smithsonian Museum, the Portland Art Museum, Hong Kong Art Museum, Cleveland Art Museum, Nelson Atkins Museum of Art, and the Art Institute of Chicago.
Venue
Alisan Fine Arts, 120 East 65th Street, New YorkArtists
Fong Chung-Ray, Hung HsienExhibition Dates
September 16 – November 7, 2026Gallery Hours
Tuesday – Saturday | 10 AM – 6 PMWebsite
https://www.alisan.com.hk/Instagram
https://www.instagram.com/alisanfineartsnyc/Contact
info@alisan.nycAbout the Artists
Fong Chung-Ray
Born in 1934 in Nanyang, China, Fong Chung-ray moved to Taiwan 1949. In the 1960s, he became a key member of the Fifth Moon Group, who represented a new wave of modernist art in Taiwan. In 1971, Fong was awarded a grant by the John D. Rockefeller III Foundation (currently known as the Asian Cultural Council grant), enabling him to travel across Europe and the United States. His exposure to Western art during that time shaped his aesthetic sensibilities, leading him to his original abstract visual language that draws from both the Chinese ink tradition and modern Western art. Shortly after his stint abroad, Fong immigrated to the US, settling in the San Francisco Bay Area, where he has been based since 1975.
Fong’s works have been acquired by institutions such as Los Angeles County Museum of Art, Denver Art Museum, Harvard Art Museums, USA; Centre Pompidou, Musée Cernuschi, France; Ashmolean Museum, UK; and Taipei Fine Arts Museum, Taiwan. In 2015, he received the Distinguished Artist Achievement Award from the Chinese Culture Center of San Francisco. His painting 2018-8-6 is on permanent display at the San Francisco International Airport’s Terminal 1. In 2025-26, his work was on display at Cernuschi Museum’s Inspired by the Sign: Contemporary Visions of Epigraphy in Paris; in addition, a monumental 5-panel work is currently on view in the atrium of the Asia Society in Hong Kong.
Hung Hsien
Hung Hsien (洪嫻, Margaret Chang) was born in Yangzhou, China in 1933. She moved to Taiwan in 1948, where she studied under revered scholar-painter Prince Pu Ru. She continued her studies at National Taiwan Normal University before relocating to the United States in 1958, where she engaged deeply with Abstract Expressionism, Surrealism, and other modernist movements while studying at Northwestern University and the School of the Art Institute of Chicago.
Living in the US in the mid-1960s, Hung Hsien invented a modern ink painting language entirely her own. She became one of a few women to exhibit with Taiwan’s avant-garde Fifth Moon Group, a collective dedicated to modernizing ink painting by synthesizing Eastern and Western approaches. Hung’s work is distinguished by her ability to merge the technical mastery of traditional Chinese ink painting with the expressive energy of Western abstraction.
A solo show of Hung’s work was held at the Portland Art Museum in 1987, and recently, a major retrospective of her work was shown at Asia Society Houston in 2025, traveling to Asia Society Hong Kong in 2026. Her work is held in the collections of the Smithsonian Museum, the Portland Art Museum, Hong Kong Art Museum, Cleveland Art Museum, Nelson Atkins Museum of Art, and the Art Institute of Chicago.
(Text and images courtesy of Alisan Fine Arts)
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Alisan Fine Arts Presents The Art of Chao Chung-hsiang at Asia Week New York
Poster credit: Alisan Fine Art Alisan Fine Arts celebrates 45 years of championing contemporary Chinese art in 2026. Chao Chung-hsiang, alongside notable artists like Zao Wou-ki, Chu Teh-chun, Walasse Ting, and Lui Shou-kwan, has been a vital part of the gallery’s history since our early days.
Chao studied under the renowned Lin Fengmian at the National College of Art in Hangzhou, graduating in 1939 before immigrating to Taiwan in 1948. His studies in Spain and experiences in Europe led him to New York in 1958, where he encountered the dynamic world of American Abstract Expressionism and other post-war art movements. His works explore themes of nature, spirituality, and abstraction, featuring flowers, fish, birds, and cosmic imagery.
Our presentation for Asia Week New York focuses on Chao’s black-and-white abstract ink paintings alongside his renowned “hybrid paintings” of birds and fish. The interplay of circles, squares, and geometric forms executed in bright acrylics atop traditional ink washes demonstrates Chao’s unique artistic approach, which incorporated abstract symbolism into ink wash painting. Chao’s integration of yin-yang symbols and references to Chinese philosophy enriches his work, embodying a hybrid quality and a conscious expansion to the traditional Chinese artistic language.
In the 1970s and 80s, Chao found institutional recognition through several important solo exhibitions in New York, including the Brooklyn Museum, the Arnot Art Museum, and the Parrish Art Museum. In 1972, Chao won the New York Creative Arts Public Service Program Award. From 1997-99, his works were exhibited in the traveling exhibition, Asian Traditions/Modern Expressions, organized by the Jane Voorhees Zimmerli Art Museum, Rutgers University. His work was also included in the seminal exhibition, China: 5,000 Years, at the Guggenheim Museum in 1998.
Chao’s works are in the collections of the Metropolitan Museum of Art, New York; The Art Institute of Chicago, Chicago; National Art Museum of China, Beijing; Shanghai Art Museum, Shanghai; Taipei Fine Arts Museum, Taiwan; Hong Kong Museum of Art, Hong Kong; and M+, Hong Kong.
Venue
Alisan Fine Arts, 120 East 65th Street, New YorkArtists
Chao Chung-HsiangExhibition Dates
September 12 – October 17, 2026Gallery Hours
Tuesday – Saturday | 10 AM – 6 PMWebsite
https://www.alisan.com.hk/Instagram
https://www.instagram.com/alisanfineartsnyc/Contact
info@alisan.nyc(Text and images courtesy of Alisan Fine Arts)
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Artemin Gallery Presents A Solo Exhibition By Lee Ji Eun: Elsewhere
Poster credit: Artemin Gallery This exhibition is a story about healing—for all of us. The worlds each of us carries are different, but artist Lee Ji Eun believes the exhaustion and uncertainty we feel within them are not so different after all. Through paintings filled with quiet stories, she wanted to gently ease this tired life and mind, even if only a little.
Looking back, Ji Eun feels her paintings have always held rest, stillness, and the process of healing. She finds herself drawing whenever life feels difficult or her mind grows weary, and within that act, she finds a quiet solace. As she sets her complicated thoughts aside and paints, she slowly looks inward, and gains a small strength to move forward again. In this way, painting has become more than simply making something for her—it has become a means of tending to her weary mind, and to herself.
Whether a painting holds humor or sadness, Ji Eun has consistently worked while dreaming of moments and spaces where one can rest for a while. Since she is already living a life full of stimulation, perhaps this is her way of picturing her own utopia—a process of slowly furnishing and arranging her own home and garden. She hopes the landscapes she creates within her paintings can become a comfortable place where someone else, too, can pause for a moment.
She hopes everyone who visits this exhibition can, for a moment, slow their steps and rest. Just as we pause on our way home at the end of the day to watch a beautiful sunset spreading across the sky, or unexpectedly encounter, on a journey, an unfamiliar blue landscape we might otherwise pass by without noticing, she hopes this exhibition can be a time to empty the mind and look back at oneself again.
Venue
Artemin Gallery, 1F., No. 32, Ln. 251, Jihe Rd., Shilin Dist., Taipei, TaiwanArtists
Lee Ji EunExhibition Dates
August 22 – September 26, 2026Gallery Hours
Tuesday – Saturday | 11 AM – 6 PMWebsite
www.artemingallery.comInstagram
https://www.instagram.com/artemin.gallery/Contact
info@artemingallery.com(Text and images courtesy of Artemin Gallery)
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Yeo Workshop Presents Group Exhibition: Scenes from Another Life: Imagined Narratives Inspired by Film, Art and Pop Culture
Poster credit: Yeo Workshop In conjunction with Singapore Gallery Month, Yeo Workshop is pleased to present Scenes from Another Life, a group exhibition curated by Chelsea Pettitt, Director of the Bagri Foundation at Gillman Barracks.
The mise-en-scène, a well-known French term that encompasses ‘what is put into the scene’, comes alive in this group exhibition. Featuring four artists Noor Mahnun (Anum), Hoa Dung Clerget, Justin Loke and Shayne Phua, the exhibition invites the visitor to explore a series of scenes which hint at recognisable cultural moments. From famous films to detective novels and pop ballads to Bollywood, each artist manifests a scene from another life.
Shayne Phua, Fragments of Performance, 2025, Ceramic, 26.5 x 18 x 19 cm.
Commissioned for Checkpoint Theatre gala dinner 2025. Image courtesy of the Artist.Ceramics, paintings and film are brought into new dialogue with their surroundings, combining historical and personal moments with expanded visions that emanate from the wall and onto the floor. Widely used in cinema, a mise-en-scène is made up of sets, people, lighting and props, arranged in a specific way to tell a story. The artists here were invited to share their cinematic world and allow us to populate their fictional tale. What is the narrative they are trying to convey through this method of ‘setting the scene’? Each object has its place, but what do the colours and patterns tell us? Can we imagine each artist’s state of mind as they materialise this space from their inner world?
Noor Mahnun (Anum), An Evening, 2025, Oil on linen, 84 x 76 cm. Image courtesy of the Artist and Yeo Workshop. Much like a Stephen King novel, Loke’s paintings keep you guessing, from the wayward shoe to the smears of blood – evoking a sense of ‘whodunnit?’. Whilst Phua’s ceramics and curtains invite you to liberate yourself from the confines of a fictional, apathetic Truman Show-like world into one where we take action, as seen in the reconstructed photo of her idealist grandfather with fellow activists.
Anum and Clerget’s worlds are inspired by song and dance, and of celebrations of the women and communities of which they are a part or imagine they can be. Sit with Anum’s joyful domestic colours, patterns and textures whilst enjoying a Bollywood moment or sing along to a Vietnamese anthem in a nail salon whilst celebrating community halls, theatres and restaurants of its diaspora.
Hoa Dung Clerget, Amazing nails, 2025, Single-channel digital video, 6 mins 53 secs, Edition of 3 + 2 AP
Image courtesy of the Artist.The story is only just beginning to be written. As American poet J.D McClatchy said, “Our prose was, well, / versed in poses no less real for being / mimic rushes of scenes from another life to come.”[1]
This exhibition is part of Yeo Workshop’s annual summer programming, which provides a platform for guest curators, foundations and artists to showcase alternative perspectives in contemporary art. The programme invites audiences to discover and engage with experimental voices outside the gallery’s roster, some of whom have never been exhibited in Singapore before.
[1] https://www.poetryfoundation.org/poetrymagazine/browse?volume=130&issue=1&page=34
Justin Loke, Blue of Noon, 2026, Mixed media, 169 × 110 cm, Image courtesy of the Artist. PUBLIC PROGRAMME
ESPRESSO TOURS
Espresso & Conversation: Curator & Artist-Led Tour of Scenes from Another Life
Saturday 15 August 2026, 2 – 4 pm
Yeo Workshop, Gillman Barracks
Enjoy an espresso while artists Shayne Phua, Justin Loke, and Noor Mahnun (Anum) lead an intimate tour of Scenes from Another Life, sharing the stories, inspirations, and processes behind their works.
ARTISTS TALK
Scenes from Another Life: Artist talk with curator Chelsea Pettitt, Noor Mahnun (Anum), Justin Loke, Shayne Phua and Hoa Dung Clerget
Thursday 27 August, 8 – 9 pm
Online
ARTISTS AND CURATOR BIOGRAPHIES
NOOR MAHNUN (b. 1964, Malaysia), also known as ANUM, is known for adapting the traditional technique of oil painting into a style that has been praised for its simplicity and meticulousness. Beneath their guide of naivety and delicacy are carefully crafted compositions that weave subtle psychological narratives with dark wit and emotional depth. Born in Kelantan, Anum trained in architecture in the United States before pursuing her Master of Fine Arts in painting at Hochschule für Bildende Künste in Braunschweig, Germany in 1996. Anum was artist-in-residence at Rimbun Dahan in Kuang, Selangor (2000-2001) and received a scholarship from the Italian Ministry of Foreign Affairs for a printmaking course at Il Bisonte, Florence (2002-2003). During her time in Europe, she held solo shows in Florence and across Germany, and upon returning to Malaysia, became an active figure in the local art scene—not only as an artist, but also as a curator, educator, and arts manager. This year, her works were showcased at Painting Itself, ANU Drill Hall Gallery in Canberra and in Perth Institute of Contemporary Arts in Australia. Recent solo exhibitions include ‘ANUM’, Yeo Workshop, Singapore (2025); ‘September’, The Back Room, Kuala Lumpur (2021); ‘Disco Lombok Still Life’, The Edge Galerie, Kuala Lumpur (2017).
JUSTIN LOKE (b. 1979, Singapore) is a multidisciplinary artist and curator known for his storytelling-driven works, which blend installation, painting, theatre, and curatorial practice. He is the director of Vertical Submarine, an art collective acclaimed for its interdisciplinary projects.
Loke’s notable achievements include receiving the JCCI Japan Foundation Arts Award in 2009. He was also the creative director and writer of Cathay Hotel: The Curse of the Missing Red Shoe, the highlight act of the 2022 Singapore Night Festival. In 2023, he curated Benchmarks, a placemaking initiative commissioned by the Civic District Alliance. More recently, he completed an artist residency and exhibition at the Points Center for Contemporary Arts in Shanghai-Suzhou, organised by the Troy Foundation, London. He also curated Creative Intersections: Traces of Dragons at Funan Mall, as well as 8-Bit Word Cloud, a public art installation for the National Gallery Singapore’s Light to Night Festival during Singapore Art Week 2024. Vertical Submarine has received numerous awards, including the President’s Young Talent Award (Singapore, 2009), the Celeste Prize (New York, 2011), and finalist recognition for the Sovereign Asian Art Prize (Hong Kong, 2015). Featured in ROUNDTABLE at the 9th Gwangju Biennale, the collective’s work is distinguished by a distinctive visual narrative style that has garnered international recognition and acclaim. Loke will present a solo exhibition at Yeo Workshop in January 2027, coinciding with Singapore Art Week.
SHAYNE PHUA (b. 1997, Singapore) uses the medium of clay to narrate stories and turn a critical eye on everyday realities. Her ceramic objects employ history, myth and literature to reflect on the world around her. She graduated with a BA(Hons) in Communication Design from The Glasgow School of Art, Singapore. Phua enjoys observing the forms and functions of utilitarian objects. Her work focuses on these aspects of ceramics as the vehicle for exploring a host of discourses, including oral traditions, folklore, historical anecdote and socio-political ideologies. In a world increasingly flattened out by social media and cultural homogenisation, her practice is premised on a keen interest in the local and often overlooked – a register of things and tales that flicker beneath public attention. In 2019, Shayne was an Artist in Residence at Zentrum für Keramik in Berlin and Guldagergaard International Ceramic Research Center in Denmark. She participated in ‘Blended Tongue’ in Paris, featuring works of artists based in Singapore and France, along with botanical installations by This Humid House in 2022. The following year, she exhibited her works in a group show, ‘New Makers,’ in Bangkok, featuring Thai and Singaporean artists. She held a first solo exhibition with Yeo Workshop in 2024.
HOA DUNG CLERGET (b. 1985, France), creates films, installations, and painted objects that explore the labour and lives of immigrant women and the Nail Art subculture. Her Vietnamese heritage and education in France have shaped her research into how immigrant women construct their identities and find their place in society, especially through their work. Her practice reflects her own diasporic experience. At the heart of her work is the ongoing process of identity reconstruction. Clerget draws on Homi Bhabha’s concept of the liminal space, an in-between where diasporic identity is constructed through hybridisation, through the refusal of fixed categories, and through the subversion of imposed norms. The artist sees this constant negotiation in the lives of immigrant women, whether in domestic or professional spaces. The materials and objects Clerget integrates into her work come directly from the everyday lives of Vietnamese families: brooms, plastic stools, durian, folk songs, seemingly mundane elements that carry deep cultural significance, passed down through generations. By repurposing these objects, she challenges their meaning and status, using art as a tool to reverse situations.
CHELSEA PETTITT, a curator originally from California, is Director of the Bagri Foundation in London where she cultivates space for Asian arts and culture. Recent and forthcoming curatorial projects for the Foundation include the Springboard Exhibition with Nomin Zezegmaa at Sy Cyprian’s, Myths, Dreams and New Realities at the Saatchi Gallery and the Bagri Samaya Series. After living in Beijing in 2005, she graduated from Goldsmiths College London with an MA in Visual Anthropology focussing on contemporary Chinese arts and culture. Pettitt was previously the Bagri Foundation’s Head of Arts where she initiated or supported many arts and cultural projects such as the Bagri Commission at the Hayward Gallery, Chang/ce, Untold: Write Afghanistan, Rebel Rebel by Soheila Sokhanvari at Barbican, Asia Forum and Object, Story, Wonder: Museums Collections Revealed. Prior to this she was Head of Partnerships at Wysing Arts Centre where she curated and assisted on national and international exhibitions and projects and Assistant Curator at the Hayward Gallery and Hayward Touring for many years, producing and curating such touring exhibitions. She speaks widely on panels, has contributed to exhibition catalogues and art magazines and is a board member of Untold Narratives, a development programme for writers structurally marginalised by community or conflict.
ABOUT YEO WORKSHOP
Yeo Workshop is a gallery committed to contemporary art in Singapore. Based in the Gillman Barracks district, it champions a diverse roster of artists whose practices reflect deep engagement with our contemporary socio-cultural landscape, to stimulate dialogue and critical discourse, including several Southeast Asian artists who are producing cutting-edge works. Covering a multi-disciplinary approach and collaborative spirit, the gallery defines itself by its progressive engagements that strive to shape the trajectory of contemporary art in Southeast Asia and beyond.
ABOUT THE BAGRI FOUNDATION
The Bagri Foundation, established in 1990 in London, UK, is a family foundation driven by curiosity. Through grants and strategic partnerships, the Foundation champions unique ideas that weave the traditional and the contemporary of Asian culture. Recent and forthcoming projects include Myths, Dreams and New Realities featuring 13 emerging Asian artists co-curated with the Saatchi Gallery (2025); a co-production, Thikra: Night of Remembering, by Akram Khan Company (2025-27); Bagri Springboard commission by Nomin Zezegmaa at St Cyprian’s Church, London (2026) and the Bagri Commission by Gulnur Mukazhanova at the Whitworth, Manchester (2026). Additionally, the family continues to support education, relief work, development and healthcare.
ABOUT SINGAPORE GALLERY MONTH
Presented by the Art Galleries Association Singapore (AGAS), Singapore Gallery Month 2026 is a citywide celebration of contemporary art, and a great way to explore the world of collecting. Bringing together over 30 leading galleries over 5 weeks, this year’s edition features an exciting line-up of exhibitions, talks, tours, workshops, performances, and more – alongside exclusive experiences such as Collectors’ Home Tours and opportunities to meet artists and fellow collectors.
>> AGAS I Singapore Gallery Month
Venue
Gillman Barracks
47 Malan Road
#01-25
Singapore 109444Artists
Noor Mahnun (Anum) (MY), Hoa Dung Clerget (VN/UK), Justin Loke (SG), Shayne Phua (SG)Exhibition Dates
August 15 – October 11, 2026Gallery Hours
Tuesday – Saturday | 11:00 AM – 7:00 PM
Sundays | 12:00 PM – 6:00 PMWebsite
https://www.yeoworkshop.com/Instagram
https://www.instagram.com/yeoworkshop/Contact
info@yeoworkshop.com(Text and images courtesy of Yeo Workshop)
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ShanghART Singapore Presents 13 Nightmares, a Solo Exhibition by Taiki Sakpisit
Poster credit: ShanghART Singapore Singapore, August 2026 — ShanghART Singapore presents 13 Nightmares by Taiki Sakpisit, opening on 15 August 2026. Over the past two decades, Sakpisit has developed one of Southeast Asia’s most distinctive practices, dissolving the boundaries between cinema and contemporary art. Frequently drawing upon Thailand’s histories, folklore and political imaginaries, Sakpisit’s works are rooted in the unstable terrain where personal memory and collective consciousness continually intersect.
The premise of this exhibition can be traced back to a nightmare Sakpisit experienced in Singapore in 2018. A phone call from his brother awoke him from the nightmare, informing him about the passing of a family member. Since then, Sakpisit has become increasingly drawn to the intersections between dreams, memory, grief, and premonition, culminating in this exhibition.
In his first solo exhibition with ShanghART Singapore, Sakpisit transforms the gallery into a labyrinth of moving images, photography, sound and spectral presences. A series of photographic works appear as snapshots and fragments from different realities, layering upon one another. Drawn from the artist’s collection of photographs shot over the past few years as a core part of his working process, the images form a quiet yet intense distillation of Sakpisit’s memories and encounters with place and history.
Anchoring the exhibition, the two-channel installation transforms cinematic language into a spatial, sculptural, and psychological encounter. Within this shifting landscape, animism, supernatural presences, and altered states appear as recurring motifs through which Sakpisit evokes fear, vulnerability, and the persistence of the unconscious. Together, they construct a landscape haunted by historical trauma and contemporary anxieties.
Working across experimental film, photography, and installation, Sakpisit continues to expand cinema beyond the conventions of projection, inviting audiences to inhabit images physically and experience the moving image as an environment rather than a sequence of projected frames. Rather than following a linear narrative, visitors navigate the exhibition as they might recall a dream: through fragments, repetitions and sudden dislocations.
The Seer, 2026, Archival inkjet print, 75 x 100 cm, Edition of 3 + 2 AP Venue
ShanghART Singapore, 9 Lock Road, #02-22, Gillman Barracks, Singapore 108937Artists
Taiki SakpisitExhibition Dates
August 15 – October 4, 2026Gallery Hours
Wednesday – Sunday | 12:00 PM – 6:00 PMWebsite
https://www.shanghartgallery.comInstagram
https://www.instagram.com/shanghart.singapore/Contact
tianlim@shanghartgallery.comAbout the Artist
Taiki Sakpisit (ไทก ศกดพสษฐ, b.1975) is a filmmaker and visual artist based in Bangkok, renowned for his innovative approach to storytelling and his profound exploration of Thailand’s complex history. Through the lens of cinema, Sakpisit unpacks the nation’s turbulent past, infusing his experimental films with a subtle yet resounding political commitment.
His works delve into the underlying tensions, conflicts, and anticipations of contemporary Thailand, meticulously crafted through precise and sensorially overwhelming audio-visual assemblage. Utilizing a diverse array of sounds and images, Sakpisit creates immersive experiences that challenge conventional narratives and provoke thought.
About ShanghART
ShanghART Gallery was established in Shanghai in 1996. It has since grown to become one of China’s most influential art institutions and a vital player in the development of contemporary art in China, working with over 50 pioneering and emerging artists, including DING Yi, LI Shan, LIN Aojie, Arin RUNGJANG, SUN Xun, Melati SURYODARMO, TANG Da Wu, Apichatpong WEERASETHAKUL, XU ZHEN®, YANG Fudong, ZENG Fanzhi, and ZHAO Renhui Robert.
ShanghART Singapore was established in 2012 as the gallery’s Southeast Asia wing, located in the contemporary art cluster Gillman Barracks. The gallery’s first overseas space serves as a platform to introduce Chinese contemporary art to the region while developing collaborations with Southeast Asian artists, facilitating cross-cultural dialogues and enriching artistic exchanges within the global art community.
(Text and images courtesy of ShanghART Singapore)
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ARARIO GALLERY Presents at KIAF SEOUL 2026
LIM Nosik, Wildflower – Landscape 58, 2026, Oil on canvas, 153 x 90 cm
© LIM Nosik. Courtesy of the Artist and ARARIO GALLERY.ARARIO GALLERY is pleased to participate in KIAF SEOUL 2026, held at COEX in Seoul from September 2 (Wed) to 6 (Sun), 2026. Our booth will present works by 11 Korean artists: AN Gyungsu (b. 1975, Korea), CHA Hyeonwook (b. 1987, Korea), KANG Cheolgyu (b. 1990, Korea), KOO Jiyoon (b. 1982, Korea), LEE Eunsil (b. 1983, Korea), LEE Jihyun (b. 1979, Korea), LIM Nosik (b. 1989, Korea), LIM Subeom (b. 1997, Korea), NOH Sangho (b. 1986, Korea), SIM Raejung (b. 1983, Korea), and WON Seoung Won (b. 1972, Korea). Working primarily through two-dimensional media—including Western painting, East Asian painting, and photography—these artists continue to expand the expressive possibilities of their respective practices. In an age saturated by digital screens, the tactile sensibility conveyed through the surfaces of analog artworks resonates with renewed significance.
Bringing together artists born between the 1970s and the 1990s, our booth (A05) presents a diverse range of formal perspectives through which contemporary realities are observed and reimagined. While inheriting the traditions of their respective mediums, the participating artists have continually developed distinctive artistic languages through experimental approaches rather than remaining confined by convention. The presentation first examines experimental approaches to painting and photography that blur the boundaries between the digital and the analog. NOH Sangho presents a series of paintings that reinterpret AI-generated images through the medium of hand-painted canvases, collecting and recombining digital imagery into analog form. WON Seoung Won constructs expansive narrative landscapes where reality and imagination intersect through meticulous digital collage, whose carefully edited and composited images paradoxically evoke a deeply analog sensibility.
NOH Sangho, THE GREAT CHAPBOOK 3, 2026, Oil on canvas, 112 x 162 cm
© NOH Sangho. Courtesy of the Artist and ARARIO GALLERY.The booth also highlights painterly investigations into urban environments, place, and spatial memory. LIM Nosik unfolds narratives of place and relationships, depicting the continuous coexistence of local communities, nature, and human life through dreamlike and delicately rendered landscapes. KOO Jiyoon transforms the anxiety and emptiness embedded within aging architecture and the temporality of cities into abstract compositions of entangled colors and lines, while AN Gyungsu patiently reconstructs the shifting and fluid sense of place through depictions of piles, debris, and byproducts displaced to the margins of the urban landscape. Also featured are artists who have developed distinctive pictorial languages grounded in the techniques and materials of traditional Korean painting. LEE Eunsil employs the techniques of Korean ink painting to metaphorically visualize psychological conflict and emotional turbulence arising from the tension between desire and social norms. CHA Hyeonwook explores the boundaries between contemporary landscape and memory through repeated dry brushstrokes and traditional pigments on hanji (Korean traditional paper), creating landscapes where fragments of memory gradually accumulate like sediment.
The exhibition further foregrounds works that imaginatively construct the inner landscape of the human psyche. KANG Cheolgyu captures psychological conflict and existential instability through the concept of “projection,” translating personal experiences and desires into fictional worlds where the self is continuously displaced and reconstructed. SIM Raejung dissects instinctive human emotions—including loneliness, anxiety, and powerlessness—as well as bodily impulses through a cynical yet rhythmically dynamic visual language. LEE Jihyun visualizes the associative workings of memory by superimposing memories from disparate times and spaces onto the pictorial plane. LIM Subeom summons undefined beings and unknown worlds that exist beyond the limits of human perception, constructing organic networks through richly layered iconography and imaginative forms.
CHA Hyeonwook, Happenings on the Layers, 2026, Powdered color pigment on hanji, 140 x 116 cm
© CHA Hyeonwook. Courtesy of the Artist and ARARIO GALLERY.Venue
Booth A05, Hall A&B, COEX, SeoulArtists
AN Gyungsu, CHA Hyeonwook, KANG Cheolgyu, KOO Jiyoon, LEE Eunsil, LEE Jihyun, LIM Nosik, LIM Subeom, NOH Sangho, SIM Raejung, WON Seoung WonExhibition Dates
September 2 – 6, 2026Website
https://www.arariogallery.comInstagram
https://www.instagram.com/arariogallery_official/Contact
PARK Miran, Deputy Director, M. +82 10 6768 8812 / E. miran.park@arariogallery.com
KANG Sojung, Executive Director, M. +82 10 9256 1491 / E. sojung.kang@arariogallery.com(Text and images courtesy of ARARIO GALLERY)
