Elliat Albrecht

  • picks April 13, 2018

    Inga Svala Thórsdóttir and Wu Shanzhuan

    Mathematics is rarely identified as a particularly sexy discipline: Plotting graphs and computing equations do not typically light the average person’s fire. But in this exhibition, at one of Hong Kong’s oldest contemporary art galleries, husband-and-wife duo Inga Svala Thórsdóttir and Wu Shanzhuan’s obsession with figures is evident across 288 works with unmistakable erotic undertones.

    Wu and Thórsdóttir have been working together since the early 1990s, when the pair conceived what they call the “Perfect Bracket”—a form made of overlapping brackets that represents infinite understanding. To the

  • picks June 23, 2017

    Taryn Simon

    An uncomfortable portrait ushers viewers into American artist Taryn Simon’s first exhibition in Hong Kong: The single-channel video Cutaways, 2012 shows footage of the artist making prolonged eye contact with newscasters for Russian prime time. Simon was asked to stare in silence for several minutes after an interview on the network, so that the footage—which she obtained from the program’s producers—could be used in the editing process. The work sets the tone for several of Simon’s other projects on view, which use photography to illustrate controlling systems or authorities: At the center of

  • picks February 06, 2017

    Simon Starling

    Henry Moore once said, “A sculptor is a person who is interested in the shape of things.” Simon Starling is an artist who is interested in stories, and, as evident in his exhibition here, they often involve the twentieth-century sculptor. Starling’s photograph Musselled Moore (Reclining Figure, 1950), 2008, depicts a maquette that riffs on a Moore sculpture—Warrior with Shield, 1953–54—acquired by the Art Gallery of Ontario (AGO) in 1955. In 2006, Starling submerged his steel copy of Moore’s work into Lake Ontario, where it became covered with a foreign species of mussels. The creatures, introduced

  • picks July 20, 2016

    Chou Yu-Cheng

    Taiwanese artist Chou Yu-Cheng’s current exhibition, “Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. II” is the second chapter of a project by the same lengthy name shown at Künstlerhaus Bethanien in 2015. Its focal point is a panoramic wallscape comprising paintings and other objects, with an enormous, central sheet of accordion-folded, gold-colored steel. In the work’s Berlin iteration, viewers were encouraged to chuck rocks at its gleaming surface; in Hong Kong, dents in

  • picks March 20, 2016

    “M+ Sigg Collection: Four Decades of Chinese Contemporary Art”

    Billed as the first-ever chronologically arranged survey of Chinese contemporary art, eighty works from fifty artists in the M+ Sigg Collection are presented in this temporary space. The earliest artworks date from the 1970s, such as Zhang Wei’s small-scale oil-on-paper landscape Red Stop Sign, 1974, an example of the No Name Group’s characteristic plein air paintings. Among the most recent is the ultra-Minimalist, rather literally titled A Stick of Bamboo, 2011, by Hu Qingyan. The chronological nature of the exhibition design helps to illustrate the evolution of creative practices within China

  • picks January 28, 2016

    Tony Oursler

    Tony Oursler’s “PriV&te” draws on the artist’s long-standing concern with the implications of data’s encroachment on personal life, in particular Big Brother’s and big business’ yearning to map and identify the human face. This series of seven large and colorful head-shaped panels, four of which are inset with video screens that play animated composites of erratically moving facial features, borrows dots, grids, and numbers reminiscent of measurements used in facial recognition software to adorn each panel. The panels’ surface textures affect a sleek, glittery mood of hyperbolic sci-fi technology.