Art Criticism ▍The Horizon of Events: A Review of Hong Jin-hwon’s “2025 TITLE MATCH” ExhibitionBy Tseng Che-Wei & Huang Yi-HsuanOct 31Oct 31
Art Criticism ▍Art is no longer for me: A Review of “Katastematic Pleasures” at the Polish…(The original Chinese version of this article was published in Qilu Criticism.)Oct 22A response icon1Oct 22A response icon1
Art Criticism ▍How Cities Failed Us: A Review of “Go Without Transfer”By Tseng Che-Wei (Daniel)Dec 4, 2024Dec 4, 2024
Art Criticism ▍More than itself: A Review of Lai Chih-Sheng’s Solo Exhibition “Clearing”Apart from a few subtle traces, Taiwanese artist Lai Chih-Sheng’s recent solo exhibition “Clearing” at TheCube Project Space candidly…Nov 3, 2024A response icon9Nov 3, 2024A response icon9
Art Criticism ▍With Whom I am More in Love: on Fuyuhiko Takata’s “Cut Suits” at Art Basel, Hong…Japanese artist Fuyuhiko Takata (b.1987) and his video installation piece, “Cut Suits” (2023), garnered widespread attention during this…Sep 25, 2024A response icon2Sep 25, 2024A response icon2
展覽評論 ▍我更愛誰——評高田冬彦《Cut Suits》日裔藝術家高田冬彦(Fuyuhiko Takata)的錄像裝置作品《Cut Suits》在今年(2024)的香港巴塞爾藝術展(Art…Sep 25, 2024Sep 25, 2024
活動筆記 ▍「為何幽魂縈繞學?」:ExLab@藝術宮【圖1.】當720p不再被標註為高清(HD)迷因Aug 17, 2023A response icon1Aug 17, 2023A response icon1