Tap Chan

In astrophysics, a wormhole is a hypothetical passage between disparate points in space-time. Tap Chan’s Distant Worlds, 2022, is a steel-frame model that represents this phenomenon, albeit bisected, with the entry and exit turned to face each other. Such absurd inversions abound in “Lime & Tangerine in a Wormhole,” Chan’s first solo show at Mou Projects.

Gypsum-resin stars are scattered across the floor, some half-buried in sparkly mounds of “black galaxy sand.” Articulated limbs adorned with copper hexagons extend from the gallery’s mint-green walls. Chan’s objects evoke retrofuturist kitsch,

View of “Planaria.” Photo: Felix SC Wong.

picks October 03, 2022

Yuriko Sasaoka

For Yuriko Sasaoka’s wry exhibition on death and recurrence, the usually stark cement interiors of PHD Group have been overlaid with plush red carpet and purple satin drapes, mimicking the lurid set of the artist’s three-channel-video installation Planaria, 2020–21. Named after an “immortal” flatworm that can regenerate itself endlessly, the video features three fur-clad creatures enacting a deranged ritual in which humanoid dolls with mackerel heads die in various ways, from poison to electrocution to “extreme orgasm.” Their bodies are then placed upon an altar, where a celebrant gleefully