Null State, group show at Absolute Art Space in Tainan, Taiwan
duration_ November 9, 2018–January 5, 2019
opening_ Friday, November 9, 6–8 PM
curator_ Sun Dongdong
Chen Fei (b. 1983)
Ceal Floyer (b. 1968)
He Xiangyu (b. 1986)
Huang Ran (b. 1982)
Li Ming (b. 1986)
Ni Hao (b. 1989)
Qiu Xiaofei (b. 1977)
Tao Hui (b. 1987)
Xu Qu (b. 1978)
Yang Jian (b. 1982)
Gallery Vacancy is pleased to announce Well-Wishes, a group exhibition featuring 11 artists: Chen Fei, Ceal Floyer, He Xiangyu, Huang Ran, Li Ming, Los Carpinteros, Ni Hao, Qiu Xiaofei, Tao Hui, Xu Qu, and Yang Jian. The exhibition will be held from November 9, 2018 to January 5, 2019. Curated by Sun Dongdong, Well-Wishes marks Gallery Vacancy’s first anniversary and takes place in both the three-story gallery space and the old lane houses across the narrow pathway in the same lane. Situated near the crossroads of Middle Wulumuqi Road and Changle Road, in the Former French Concession area in Shanghai, these lane houses were built around the 1940s and are nowadays surrounded by Huashan Hospital, Shanghai Conservatory of Music, and Shanghai Theatre Academy. While the gallery façade was constructed with delicate architectural details, the lane houses opposite the gallery, on the other hand, look packed and shabby, revealing the undisguised traces of life from generations of families living there. Being in the center of Shanghai City, these lane houses have transformed into high-turnover, short-term rentals to accommodate travellers from across the country, whether they are visiting relatives in Huashan Hospital or taking entry exams in nearby academies. Both the gallery space and the short-term rentals reflect the reproduction of existing spaces on a microscopic scale and underline the prevailing conditions of social hierarchy in its habitation. The exhibition, Well-Wishes, tends to surpass the idea of division in sociology and the binary opposition of belief in rich and poor by extending the exhibition space to the short-term rental rooms within the same compound, and to hypothetically unveil inner energies projected from different entities of lives, through mutual experiences in the residence.
Jungle - group show at Taipei Artist Village
A loud but low bellowing howl, as if from a wolf but with more bass and depth, merged with mottled hooting and grunting. Vibrations, as if an animal whoop, but I didn’t think it was coming from an animal. Each noise was quick, a little more than half a second. At first, I swore it was a human, some guy calling out. I heard it again—the same pitch, tone, and length. Starting out low, then quickly rising. Phonetically, it sounded like “Whaaaa,” or “Waaaaaa.” But it wasn't a man; it couldn't have been. I've never heard a man make his voice buzz like that. That night was different. The source was emitting a“raaaah” and word-like utterances. As best I can remember, it went something like, “Raaaaaaaaaaaaa baba haba babababa habadaba…” I went in the direction I thought it was coming from, but I never seemed to get closer. It was pervasive, yet distant, as if coming from the far reaches of all directions. Eventually, it began faded. But before the end, there was one noise like --------------------- , -, - , - , -, -. You know , like - =. A high-pitched sound—ear-piercing, metallic—mixed with other strange noises. The wail intensified for ten minutes, and then another sound arose, overtaking it. This, more of a screaming noise, mixed with hammering. It was the weirdest sound I have ever heard. The beginning, as if in preparation, was a whistle, which was followed by a progression of (usually) three, rhythmic sounds (a sort of "woop-hoo, whoop-hoo, whoop-hoo”). I heard chittering sounds, as if from rats. Growls and barks, as if from dogs. Slithering sounds like those of snakes. And the horrified screams of petrified teenagers. Two loud booms—“thada BOOM"—followed by strange clicking noises. Those booms, like muffled explosions, set me on edge. I laid down and began to hear clicking sounds. I got up and tried to find the source, but with my every move a different direction called. Tongue clicking...silence…a restart; I searched. The vibrations were as if from an intentionally restricted human you throat, mouth extended, air sucked in sharply. An unnatural, inhaled growl.
|www.haoni.info |NI Hao|
Michael R. León
Brought to you by Investment Projects
Today Will Happen: Gwangju Biennale 2018 Pavilion Project
The 11 artists (teams) invited to the exhibition Today Will Happen come from different traditions and cultural backgrounds. Despite the differences, they have prepared a special exhibition for the “today that will happen” through the medium of “language” and “translation.”
Their artistic pursuit goes beyond expressing their traditions or discovering heterogenous elements in other cultures. They are engaged in the process of figuring out how they can connect their traditions with other cultures they have experienced, and what meanings they can produce therefrom.
They become researchers, travelers, directors, and storytellers as needed, traversing from an area to another, connecting their cultural codes to others. This process has been made possible through translation. Such translation, because it is inevitably indefinable, produces opaque meanings and states.
Today Will Happen explores these incomplete, mixed, opaque and ambiguous states, revealing their diverse meanings and unique beauty.
The title, Today Will Happen, comes from “The Art of Struggle,” a poem by the French writer Michel Houellebecq. Houellebecq’s poem suggests the “possibility of translation” that set this exhibition in motion. Now, with Berdaguer & Péjus, Choi Yun, Julien Creuz, David Douard, Michel Houellebecq, Jang Younggyu, Tarik Kiswanson, Lee Mire, Léonard Martin, Hao Ni, and Louise Sartor, the ACC presents Today Will Happen. The exhibition is held in the Gwangju Civic Center. The building was erected in the 1970’s by a Gwangju civil group as a cultural space for citizens. However, it has almost fallen into disuse.
The unique space, dominated by the grim atmosphere characteristic of old ruins, provided Lee Mire, Hao Ni, Choi Yun, and Jang Younggyu with inspiration for their new projects. Lee Mire’s moving sculpture slowly takes over the large stage like a gigantic organism; Choi Yun reconstructed the fragments discarded from his previous projects into myriad “self-renewing” fragments; Hao Ni combined wind instruments from the East and the West to create a massive organic sound sculpture reminiscent of an unknown creature; and Jang Younggyu works with multiple vocalists to provide a place-specific performance that seeks the apparition of (Gwangju’s) voice that passes us by through the flow of time.
Date and Time: Sep. 5, 2018 (Wed.) 20:00
Artists: Jang Younggyu and Tarik Kiswanson
Venue: Gwangju Civic Center (Gu-dong, Nam-gu) / 7, Cheonbyeonjwa-ro 338beon-gil, Nam-gu, Gwangju
ACC, Asia Culture Center, Palais de Tokyo
Jean de Loisy (President, Palais de Tokyo), Kim Sungwon (Exhibition and Artistic Director, Asia Culture Institute)
Embassy of France in Seoul, French Institute in Seoul
Structure Study III at Paper Forest
Biome Arts Presents Paper Forest: an evening of video artworks presented aboard Swale, a floating forest of edible and medicinal plants by Mary Mattingly. All video artworks intersect themes of ecology, technology, and/or alternative systems of food, energy, and water. This event is presented as part of Eco_Hack 2016 and is free and open to the public.
Program of video artworks can be viewed here: http://biomearts.net/paperforest The program is 1 hour long, but will be looped continuously between 7-10pm. Feel free to come and go and enjoy a fun evening of artwork and light snacks onboard Swale!
ABOUT BIOME ARTS
Biome Arts is a collective of artists, designers, engineers, biologists, and activists producing work that anticipates the next global paradigm: ecologically sustainable, open source, commons-based culture. We create large scale, eco-digital installations that enable other artists and the public to reimagine their relationship with nature and technology. www.biomearts.net
ABOUT ECO_HACK 2016
Eco_Hack 2016 is a large-scale art installation and event series that is a communal incubator for radical practices of art and activism based on open-source technologies, environmental awareness, and semi-autonomous commons. Eco_Hack 2016 is a multi-faceted project consisting of a structure, art installation, digital data collection and an event series. This event will take place in the Greenhouse Theater, a multi-purpose art installation and structure built on board Swale by Biome Arts. For more information about the project including a calendar of events, please visit biomearts.net/ecohack2016
Swale, by artist Mary Mattingly, is a floating garden of edible and medicinal plants that asks the question, what if healthy, fresh food could be a free public service and not just an expensive commodity? Built on a 130-foot by 40-foot barge Swale contains an edible forest garden using a sustainable form of agriculture called permaculture. Swale imagines an alternate future with water and fresh food as commons. www.swaleny.org
Mills Gallery at Boston Center for the Arts
October 14–December 18, 2016
Curated by Elizabeth Devlin
Opening Reception Friday, October 14, 6–8pm
ARTISTS Piper Brett, Caleb Cole, Emily Eveleth, Dana Filibert, Cig Harvey, Kyle Hittmeier, Annette Lemieux, Megan and Murray McMillan, Noritaka Minami, Hao Ni, Steven Pestana, Shelley Reed, Erin M. Riley and Sarah Wentworth
Boston, MA – In the rush of everyday life, we occasionally need to hit pause (and reset), but even a moment’s peace can be hard to come by. This frenzy is often furthered by our mutually enabling relationship with technology and a self-inflicted state of constant connectivity. Unwilling to put down our phones to see a sunset, sharing our daily comings and goings with the ghosts in the machine, we self-sabotage our peaceful pursuits and further separate ourselves from ourselves.
Fertile Solitude hopes to offer a reprieve from the madding crowd, an oasis that coaxes us to look inward and take steps towards overcoming our widespread aversion to introspection.
Within the physical framework of a maze, exhibition visitors are left to go their own ways. Their journeys will take them through the works of 15 artists whose histories and visual languages tell their own stories. With an emphasis on the individual, Fertile Solitude presents art in an unexpected environment that encourages wanderlust, rewards curiosity and contemplates the restorative properties of simply being alone with your own thoughts.
Mills Gallery at Boston Center for the Arts
October 14–December 18, 2016
Opening Reception Friday, October 14, 6–8pm
Curated by Elizabeth Devlin
Light Studies - 18th Street Arts Center
ATRIUM GALLERY | JULY 24 - SEPTEMBER 23, 2016
RECEPTION: SUNDAY, JULY 24, 11AM-2PM
New York-based Taiwanese artist Hao Ni is concerned with the transformation and translation of materials. Cycles and systems overlapping one another, hierarchical structures, and the contradictions of power dynamics are all factors that Hao pursues and articulates in his artwork. Connections and inspirations emerge from a wide range of disciplines such as history, modern warfare, dromology, pop culture, and ghost stories. Hao’s inspiration for the artworks in Light Studies comes from looking at insectsswarming light bulbs at night, and realizing that this banal yet violent phenomenon results from the perversion of our quickly accelerating modernity. In casting insects as a symbol of the speed and violence of contemporary life, Hao is inspired by Italian Futurist Giacomo Balla’s painting Street Light (1909), and the early 20th century Futurist movement’s embrace of that speed and violence in every aspect of lived experience. The acceleration of time and the shrinking of space impact our lives in ways both sublime and potentially dangerous. Considering the state of the world and the advancements of today’s technology, Hao reflects on a primordial transition - the moment when artificial light replaces the moon - to question the impact of the Futurist dream made real on ourselves and on nature.
This exhibition and residency are made possible through the generous support of the Ministry of Culture, Taiwan, and Taiwan Academy Los Angeles.
Solo Exhibition at Taiwan Academy LA
Gallery Opening Reception:
Friday August 12, 6p.m. – 9p.m.
Exhibition 8/9 – 9/23 2016
Taiwan Academy in Los Angeles is pleased to announce its second solo exhibition, Sleep Mode, presenting works by New York-based Taiwanese artist Hao Ni. This marks the artist’s first solo exhibition in Los Angeles, featuring an eclectic series of mixed media installations, sculptures and video, from August 9 – September 23, 2016.
The title of the exhibition – Sleep Mode – describes the power-saving mode of operation that most electronic devices today assume automatically when idle. While in this mode the device is capable of instantly resuming full function upon each awakening. It came to convey an enveloping sense of drifting between light and dark, day and night, as well as a feeling evoked in the dialogue between human and machine, the body and artificial environments.
“...The notion of an apparatus in a state of low-power readiness remakes the larger sense of sleep into simply a deferred or diminished condition of operationality and access. It supersedes an off/on logic, so that nothing is ever fundamentally ‘off’ and there is never an actual state of rest.” – Jonathan Crary, 24/7: Late Capitalism and the End of Sleep
This notion of the dual state and its cyclical nature are reflected in Hao’s featured works. Having so seamlessly integrated into our lives, sleep mode is no longer just a system in the background, but has become a way of thinking and a lifestyle. This perpetual state of restlessness, a result from the perversion of our quickly accelerating modernity, has lead to phenomenons from which Hao forms his narratives. By deconstructing and reconfiguring familiar objects like rice and car headlights, Hao created works to reveal the speed and violence often hidden in modern life, as well as the impact of the accelerating world on how we see and feel.
The gallery is divided into two distinct areas, evocative of the duality of sleep mode. On the front side of the gallery, objects of familiarity fill the well-lit space. Sculptures surround the spectator, formed by everyday objects such as air filters, rice and cigarettes, portraying parts of the body that consumes and breathes. A sense of domesticity fills the air, and structures of distilled emotions lie on the gallery floor. Mounted on the center division wall is Window III, a portal where the domestic interior and the ‘external world’ collide. Peering through are fleeting moments observed through the windows of everyday life, repeating infinitely and autonomously.
The opposite side of the gallery is shrouded by darkness, anchored by the centerpiece of the gallery, Night II; a kinetic and dioramic sculpture that portrays a raining night in slow motion. Set within this imaginary landscape is a ghostly sculpture of a hand wearing a half-glove; lit under the car headlights, it alludes to a constant readiness for transgression and violence, casting a shadow of suspense and unease. Surrounding the landscape are other testaments to a similar sentiment, best marked by the memorial-like lightboxes of Residue, paying tribute to the sublime of anthropogenic disaster suffered by dead insects, forced by their own phototactic instincts and perished under the violence of the changing physical landscape shaped by technology.
TWO PERSON SHOW AT SLEEP CENTER
CLAPBACK 2. Gently Weeps
Presented by SLEEP CENTER
OPENING RECEPTION | Feb 28, 7-10 PM
Feb 28 – Mar 14, 2016
Noon – 6 pm | Wednesday – Sunday & By appointment
Open Critic X UNBAG | Mar 2nd, 7 pm
SLEEP CENTER is proud to present Gently Weeps, the second exhibition in the CLAPBACK series.
A SIDE: They are the flesh and bones of their generation.
In 2004, George Harrison was inducted into the Rock n’ Roll Hall of Fame. To induct Harrison, Prince, alongside others performed While my Guitar Gently Weeps. George Harrison developed his sound from the blues, skiffle, and in the mid-60s embraced and was inspired by traditional Indian music. Prince's playing, in turn, is a descendent of the blues, arpeggios and riffs of Mr. Harrison. The blasted overdrive solo delivered by Prince’s telecaster guitar penetrates a gap between generations; bringing the sound (as George Harrison once did) to his time and artists of his milieu.
In 2014, artists Blake Hiltunen and Hao Ni came to New York City. They pose the qualities of well-trained sculptors, and are the descendants of many from generations before them, but experiment in today’s art world.
In this exhibition, Hiltunen and Ni are focusing on the discourse of the distortion of bodily experience and the gap between the body and the imagined - delivering objects that reflect the _____ of the 2010s.
B SIDE: Concentrate a length of time or project an action inside an object.
Build-in tissue box is a standard feature inside of the 9/11 Memorial Museum. (Observation of Hao Ni)
"Why am I having rushing odd feelings about this design choice? It has nothing to do with me." Is it a trigger or a result, or something else in the circle of (re)action?
To return fire (urbandictionary.com)
CLAPBACK is an exhibition series curated by Rui Lin. In the exhibition’s series of events, two artist-curators will participate in a short-term showcase of their current works in progress. The program will feature an open critic session, led by artist collective UNBAG, between the two participants and the audience.
SLEEP CENTER | 9 MONROE STREET BASEMENT, NEW YORK, NY, 10002
Acciddental Translation at Fjord
On View: March 6th - 28th
2419 Frankford Ave Philadelphia, Pennsylvania
Fjord presents Accidental Translation, a two-person exhibition of sculpture, video, and works on paper by Hao Ni and Bayne Peterson , that explores formal and conceptual translations and the ways in which ideas and objects mutate across cultures and time periods. Participatory culture creates a frenzy of translations as ideas change hands. When translation is constantly taking place, ideas, histories, and objects take on an increased malleability, potentially approaching formlessness.
RISD MFA Thesis Show
RI Convention Center
Exhibition Hall A
One Sabin Street, Providence
Daily noon - 5
May 16 - 31
free and open to public
Exhibit: January 6- February 12
Reception: Saturday, January 28, 6-9pm
East & Bridge Galleries
Beverly Art Center Chicago
Join Molar Productions (Larry Lee, prop.) for the delayed opening reception on Saturday, January 28th from 6-9pm to see what is bad...
Beautiful and Dangerous. Big and Dumb. Bodacious and Dirty. Boring and Derivative. Bambi and Dumbo.
Group exhibit featuring: Benjamin Bellas, Stephanie Brooks, Judith Brotman, Gerard Brown, You-Ni Chae, C. C. Ann Chen, Young J. Cho , Meg Duguid, Jason Dunda, Kirk Faber, Andreas Fischer, Max Byron Garrett, Jeffrey Grauel, Jason Guo, Alex Herrera, Greyson Hong, Paul Hopkin, Carol Jackson, James Kao, Nancy Kim, Karin Kuroda, Erin LaRocque, Diego Leclery, David Leggett, Dave Murray, Chris Naka, Hao Ni, Heidi Norton, Susannah Papish, Nipporn Production (Mayumi Lake and Yoshie Suzuki), Patrick Quilao, Academy Records, Allison Ruttan, Benjamin Stone, Joshua Slater, and Jenyu Wang,
"You Have Your Fortress, I Have Mine"
new and old works by Hao Ni
Thursday- November 10th 2011
5-8pm- 208 S Wabash
The Chicago Urban Art Society
POSTPONED TO SEPTEMBER | LOCATION: TBA
“WOOD WORKED” - Featuring the work of: Cristina Gonzalez, Kazuki Guzman, Mark Holmes, Dylan Jones, Montgomery Kim, Hao Ni, Sighn and Steve Reber
Wood has a long and diverse connection to the history of art and to our global environment. Utilitarian for its structural purposes and attractive in its ability to be used as a decorative element, wood is a material that artists to this day are highlighting through captivating approaches in contemporary art practices. Presented by the Chicago Urban Art Society, “Wood Worked” is a sculptural exhibition mixing the work of emerging with more-established artists who approach wood both structurally and conceptually with an engaging approach and the thought in mind that we are more or less unconsciously and constantly surrounded by this material.
Visual Narration: Contemporary Forms of Storytelling
Robert Bills Contemporary
03 June 2011 — 05 July 2011
Robert Bills Contemporary presents a group exhibition of three artists with contemporary perspectives on the historical theme of visual narration, realized within three completely different media. Narratives have formed the content of canonized artwork from the marble friezes of antiquity to the history paintings of
the Neoclassical period, however these examples represent only one history of the art form. All three artists featured are in dialogue with a variety of histories of narration and media, including the folk tradition of textiles and quilting, the snap-shot photograph, the narrative plot-line, and the physical traces of human presence and memory. The exhibition visual narration: contemporary forms of storytelling expands on the definition of the narrative as subject-matter to include contemporary forms of personal, artistic, physical and media histories as storytelling.
The NEXT 2011: The Invitational Exhibition of Emerging Art
Chicago: april 29 -may2, 2011
please come check out my work at the merchandise mart!
my work will be available in booth 43 across from the talk shop,
video booth 46 and project space at booth 47.
School of the Art Institute 2011 Spring BFA SHOW
The House collaboration project is now complete and it is currently being shown
at the SAIC BFA SHOW!
free and open to public !
Exhibition: March 18-April 6
Sullivan Galleries 33 S. State St. 7th floor Chicago, IL
Currently working on a collaborative project with artist Kazuki Sebastián Guzmán. Please check out House.
for more information and pictures!
December 10th, 2010 - January 12th, 2011
Hi guys, if you are around Chicago,
please come check out Scape the group show
the Nicole Villeneuve Gallery
410 S. Michigan Avenue, Suite 629, Fine Arts Building of Chicago,
Through a combination of forms, ten artists explore the contemporary aspects of landscape, and their unique relationship to the subject as content.
featuring work by:
Morgan Carter, Jan Christopher-Berkson, Susanna Coffey,
Chinatsu Ikeda, Adriene Lilly, Shona MacDonald,
Aliza Morell, Joseph Noderer, Hao Ni, & Betany Porter
Curated by Daniel Schmid
publicity and designs by Wyatt Grant
come check out my tumblr!
new blog up,
come check it out!