Japanese artist Shiho Kagabu employs industrial and organic materials, often installing her work in rough, run-down environments. In many ways, she shares the contemporary predisposition for the fragment rather than the whole, but her positioning of these parts in space is unique.
AAPI
Peter DeCamp Haines, Eric Sealine, Jocelyn Shu
BOSTON Boston Sculptors Gallery Boston Sculptors Gallery, the only sculpture collaborative in the country, is currently hosting three solo exhibitions to cap its fall season.
Concrete Things and Momentary Places: A Conversation with Hu Xiaoyuan
Beijing-based sculptor Hu Xiaoyuan takes a thoughtful, philosophical approach to contemporary art. Both an installation artist and a creator of individual objects, she is as concerned with the idea of form as its physical existence, investigating the three-dimensional as site as well as object.
Soojin Kang
LONDON Gathering There is something otherworldly about Kang’s humanoid sculptures. Sentinels of time and space, they double as bearers of the unconscious, channeling the unexamined, the unseen, the unresolved and sparking a momentary meeting of minds that establishes a dialectic between Kang’s experience of making and our experience of looking.
Open Books: A Conversation with Jukhee Kwon
Jukhee Kwon, who has been making three-dimensional, paper-based works for over a decade, uses discarded books as her primary material, carefully slicing, cutting, and otherwise manipulating their pages to create a variety of unexpected forms—from intimate, small-scale objects to large-scale installations.
Love and Spirits: A Conversation with Anne Samat
I Love You for the Wrong Reasons #1, 2021. Rattan sticks, kitchen and garden utensils, beads, ceramic, metal, and plastic ornaments, 98 x 42 x 8 in. Photo: Courtesy the artist and Marc Straus. Anne Samat creates brilliantly colorful totemic sculptures using humble everyday materials.
“Nothing is Forever: Rethinking Sculpture in Singapore”
SINGAPORE National Gallery Singapore With more than 70 works from the 19th century to the present, the exhibition challenges prevailing aesthetic norms, serving to redefine sculpture’s “object status,” just as the works themselves redefine structure, form, material, and production.
Object Lessons: Kenneth Tam
The title, Why do you abuse me, comes from a book of English-language phrases given to Chinese laborers who were traveling abroad in the mid-19th century. I was struck by the directness of the question and how matter-of-factly it presented an uncomfortable truth.
