Artists: Yuji Agematsu, Francis Alÿs, Paul Chan, Mel Chin, Magalie Comeau, Bruce Conner, Liz Deschenes, Trisha Donnelly, Agustín Fernández, Guo Fengyi, Richard Hawkins, Kong Chun Hei, Leung Kui Ting, Mathieu Malouf, Kazuo Ohno, R.H. Quaytman, Julia Scher, Michael E. Smith, Vunkwan Tam, Tang Kwok-hin, Tom Thayer, Stewart Uoo, Antek Walczak, Wucius Wong, Yu Ji
Exhibition title: Le Contre-Ciel
Curated by: Olivia Shao
Venue: Empty Gallery, Tin Wan, Hong Kong
Date: March 24 – May 26, 2024
Photography: Michael Yu / all images copyright and courtesy of the artists and Empty Gallery
Empty Gallery is pleased to present Le Contre-Ciel, a group exhibition curated by Olivia Shao including works by Yuji Agematsu, Francis Alÿs, Paul Chan, Mel Chin, Magalie Comeau,
Bruce Conner, Liz Deschenes, Trisha Donnelly, Agustín Fernández, Guo Fengyi, Richard Hawkins, Kong Chun Hei, Leung Kui Ting, Mathieu Malouf, Kazuo Ohno, R.H. Quaytman, Julia Scher, Michael E. Smith, Vunkwan Tam, Tang Kwok-hin, Tom Thayer, Stewart Uoo, Antek Walczak, Wucius Wong, and Yu Ji.
Inspired by a collection of writings by René Daumal, Le Contre-Ciel translates to “Against The Heavens” or “The Counter Heaven.” In these early poems, Daumal performs an inversion of symbolic conventions, positioning the sun and sky not as traditional bringers of vitality, order, and awareness, but as tyrannical elemental forces which obstruct the passage to metaphysical truth. The sun enacts a kind of originary violence on the living through its very properties of revealing and form-giving—its premature solidification of the generative flux of being. Instead praising states of blindness, sleep, and bewilderment, Daumal proposes a counter-poetics in which the liberation from false sovereignty can be found only within the undifferentiated realm of darkness—a refuge from the regime of fixed forms, stable identity, and enforced visibility. Shao’s title also calls to mind the contested notion of Tian [天] within Chinese philosophy as well as the so-called “mandate of heaven.”
Le Contre-Ciel touches on all of these themes, bringing together an iconoclastic selection of pieces from ancient Neolithic objects to contemporary artworks and modern ink paintings. The show stages a singular encounter between these artworks and the economic, cultural, and political circumstances of Hong Kong—treating them not as static objects but as animated palimpsests, at once determined by the historical and material circumstances of their own creation, whilst also being open to a kind of prismatic contextual re-reading. Some artworks—Tom Thayer’s sentient stones, Julia Scher’s guardian dogs—are endowed with unexpected resonances when read through the rich symbolic index of literati culture. Others, such as the self-reflexive photograms of Liz Deschenes and the meditative ink paintings of Wucius Wong, are brought together through a sympathetic relationship to material contingency, quasi-ritualistic practice, and reflexive contemplation. Shao finds in these diverse practices a shared approach to art-making predicated on a profound embrace of chance, the ceaseless play between disappearance and emergence, and the mediation of reality through the minimal gesture.
Resolutely cosmopolitan in its approach to cultural difference, Le Contre-Ciel proposes a speculative re-inscription of the place of traditional Chinese aesthetics within modern art history, while also challenging its historical and contemporary entanglement with power.
Special thanks to Stephen Cheng and Alexander Lau; the amazing staff at Empty Gallery; all the artists in the exhibition; lenders Rhea Anastas, Mitchell Algus Gallery, Andrew Kreps Gallery, Bob Nickas, David Zwirner, Gladstone Gallery, Long March Space, Miguel Abreu Gallery, Greene Naftali, Trevor Yeung, Nicolas Chow, Gaga Gallery, Johnson Chang, Derek Eller Gallery, Kiang Malingue, Galerie Buchholz, Maria Kiang, Kazuo Ohno Dance Studio, Clay Hapaz, and DREI Gallery; Phillippa Shao; Rich Aldrich; and Jay Sanders.
Olivia Shao is the Burger Collection & TOY Meets Art Curator at the Drawing Center in New York. She has also organized exhibitions and projects at independent spaces, galleries, and institutions in New York City and Los Angeles, as well as in Europe and Asia.
Installation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuInstallation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuInstallation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuInstallation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuInstallation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuInstallation view of Le Contre-Ciel, Empty Gallery, curated by Olivia Shao, March 24 – May 26, 2024. Courtesy of Empty Gallery. Photo: Michael YuA Carved Russet and White Mottled Nephrite Jade Cong, Western China, Neolithic Period, Qijia Culture (2300-1500 BC), 13.9 x 5.6 cm, 5.47 x 2.20 inches, Courtesy of Maria Kiang Chinese ArtA Carved Turquoise Cong, Western China, Neolithic Period, Qijia Culture (2300-1500 BC), 5.1 x 5.2 cm, 2 x 2.04 inches, Courtesy of Maria Kiang Chinese ArtA Carved White and Russet Nephrite Jade ‘Ribbed’ Cong, Western China, Neolithic Period, Qijia Culture (2300-1500 BC), 3.3 x 4.9 cm, 1.29 x 1.92 inches, Courtesy of Maria Kiang Chinese ArtAgustín Fernández, Untitled, 1968 , Graphite on paper, 81.28 × 5.08 × 3.81 cm , 32 × 26 × 1.5 inches, Courtesy of the artist and Mitchell Algus GalleryAgustín Fernández, Untitled, 1968 , Graphite on paper, 81.28 × 5.08 × 3.81 cm , 32 × 26 × 1.5 inches, Courtesy of the artist and Mitchell Algus GalleryAntek Walczak, Culture LV11, 2017, Silkscreen on copper sheet, 93.4 × 81.99 cm, 36.77 × 32.28 inches, Courtesy of the artist and House of GagaAntek Walczak, Culture LV11, 2017, Silkscreen on copper sheet, 93.4 × 81.99 cm, 36.77 × 32.28 inches, Courtesy of the artist and House of GagaBruce Conner, Untitled, 1970, Glass, photograph, dirt, 6.35 × 6.35 × 17.78 cm , 2.5 × 2.5 × 7 inchesBruce Conner, Untitled, 1970, Glass, photograph, dirt, 6.35 × 6.35 × 17.78 cm , 2.5 × 2.5 × 7 inchesA Bamboo-Root Carving of a Finger Citron, 17th Century, 4.5 x 2.43 cm, 1.79 x 0.95 inchesA Bamboo-Root Carving of a Finger Citron, 17th Century, 4.5 x 2.43 cm, 1.79 x 0.95 inchesGuo Fengyi, Diagram of the Human Nervous System, 1989, Ink on paper, 81.28 x 57.15 x 3.81 cm, 29.5 x 22.5 x 1.5 inches, Courtesy of the artist and Long March SpaceGuo Fengyi, Diagram of the Human Nervous System, 1989, Ink on paper, 81.28 x 57.15 x 3.81 cm, 29.5 x 22.5 x 1.5 inches, Courtesy of the artist and Long March SpaceGuo Fengyi, Untitled, 1989, Ink on paper, 87.63 × 64.14 × 3.81 cm, 34.5 × 25.25 × 1.5 inches, Courtesy of the artist and Long March SpaceGuo Fengyi, Untitled, 1989, Ink on paper, 87.63 × 64.14 × 3.81 cm, 34.5 × 25.25 × 1.5 inches, Courtesy of the artist and Long March SpaceJulia Scher, Gert, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryJulia Scher, Gert, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryJulia Scher, Gert, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryJulia Scher, Gretel, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryJulia Scher, Gretel, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryJulia Scher, Gretel, 2022, Marble, 40 x 76 x 30 cm, 15.75 x 29.92 x 11.81 inches, Courtesy of the artist and Drei GalleryKong Chun Hei, Shell Laminate, 2019, Ink on paper, 38.1 x 28.24 x 3.81 cm, 15 x 11.12 x 1.5 inches, Courtesy of the artistKong Chun Hei, Shell Laminate, 2019, Ink on paper, 38.1 x 28.24 x 3.81 cm, 15 x 11.12 x 1.5 inches, Courtesy of the artistLeung Kui Ting, Landscape and Geometric Structures No.1, 2008, Ink on paper, 164.5 x 94/62 x 3.81 cm, 64.75 x 37.25 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryLeung Kui Ting, Landscape and Geometric Structures No.1, 2008, Ink on paper, 164.5 x 94/62 x 3.81 cm, 64.75 x 37.25 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryLiz Deschenes, 1928 – 1898, 2019, Silver toned photogram mounted on aluminum, 162.56 x 60.96 x 8.25 cm, 64 x 24 x 3.25 inches, Courtesy of the artist and Miguel Abreu GalleryLiz Deschenes, 1928 – 1898, 2019, Silver toned photogram mounted on aluminum, 162.56 x 60.96 x 8.25 cm, 64 x 24 x 3.25 inches, Courtesy of the artist and Miguel Abreu GalleryMagalie Comeau, Impossibles Enfouis, 2014, Oil on canvas, 137.16 x 137.16 cm, 54 x 54 inches, Courtesy of the artist and Mitchell Algus GalleryMagalie Comeau, Impossibles Enfouis, 2014, Oil on canvas, 137.16 x 137.16 cm, 54 x 54 inches, Courtesy of the artist and Mitchell Algus GalleryMathieu Malouf, Untitled, 2012, Mushrooms, oil on canvas, 53 x 43 x 8.4 cm, 20.86 x 16.92 x 3.30 inches, Courtesy of the artist and House of GagaMathieu Malouf, Untitled, 2012, Mushrooms, oil on canvas, 53 x 43 x 8.4 cm, 20.86 x 16.92 x 3.30 inches, Courtesy of the artist and House of GagaMel Chin, Imperfect Pearls in the Ether of Infinite Labor, 1998, Woodcut and lithography, 144.78 x 60.96 cm, 57 x 24 inches, Courtesy of the artistMel Chin, Imperfect Pearls in the Ether of Infinite Labor, 1998, Woodcut and lithography, 144.78 x 60.96 cm, 57 x 24 inches, Courtesy of the artistMel Chin, Polycentric Multi-Polar Paradigm, 2005, Oil on steel, 112 x 112 cm, 44 x 44 inches, Courtesy of the artistMel Chin, Polycentric Multi-Polar Paradigm, 2005, Oil on steel, 112 x 112 cm, 44 x 44 inches, Courtesy of the artistMichael E. Smith, Untitled, 2023, Gazing ball, 25.4 x 25.4 x 25.4 cm, 10 x 10 x 10 inches, Courtesy of the artist and Andrew Kreps GalleryMichael E. Smith, Untitled, 2023, Gazing ball, 25.4 x 25.4 x 25.4 cm, 10 x 10 x 10 inches, Courtesy of the artist and Andrew Kreps GalleryPaul Chan, Big Trouble in Little China Vol.1 by John Carpenter and Eric Powell, 2016 , Painting on book cover, 43.82 × 316.23 cm, 17.25 × 124.5 inches, Courtesy of the artist and Greene Naftali GalleryPaul Chan, Hogarth’s Progress, 2013, Painting on book cover, 35.56 x 23.81 cm 14 x 9.37 inches, Courtesy of the artist and Greene Naftali GalleryPaul Chan, Hogarth’s Progress, 2013, Painting on book cover, 35.56 x 23.81 cm 14 x 9.37 inches, Courtesy of the artist and Greene Naftali GalleryR.H. Quaytman, Empty Gallery, 2017-2023, Oil, lacquer, silkscreen ink, gesso on wood, 50.8 x 82.2 x 1.9 cm, 20 x 32.37 x 0.75 inches, Courtesy of the artist and Miguel Abreu GalleryR.H. Quaytman, Empty Gallery, 2017-2023, Oil, lacquer, silkscreen ink, gesso on wood, 50.8 x 82.2 x 1.9 cm, 20 x 32.37 x 0.75 inches, Courtesy of the artist and Miguel Abreu GalleryRichard Hawkins, Ankoku 12 (Index Infected Flower), 2012, Collage, 64.77 x 48.89 cm, 25.5 x 19.25 inches, Courtesy of the artist and Greene Naftali GalleryRichard Hawkins, Ankoku 12 (Index Infected Flower), 2012, Collage, 64.77 x 48.89 cm, 25.5 x 19.25 inches, Courtesy of the artist and Greene Naftali GalleryTang Kwok-hin, Riddles of Light pt.ii, 2015 (still), 02:57 minute video on loop, Courtesy of the artistTang Kwok-hin, Riddles of Light pt.ii, 2015 (still), 02:57 minute video on loop, Courtesy of the artistStewart Uoo, Runway to the Vampire Castle Spacecraft (after Yoshiaki Kawajiri), 2019, Sumi ink, watercolor on polypropylene paper , 27.43 × 35.05 cm , 10.8 × 13.8 inches, Courtesy of the artist and Galerie BuchholzStewart Uoo, Runway to the Vampire Castle Spacecraft (after Yoshiaki Kawajiri), 2019, Sumi ink, watercolor on polypropylene paper , 27.43 × 35.05 cm , 10.8 × 13.8 inches, Courtesy of the artist and Galerie BuchholzStewart Uoo, Vampire Transfusion (after Yoshiaki Kawajiri), 2019, Sumi ink, watercolor on polypropylene paper, 35.05 x 50.29 x 3.81 cm, 13.8 x 19.8 x 1.5 inches, Courtesy of the artist and Galerie BuchholzStewart Uoo, Vampire Transfusion (after Yoshiaki Kawajiri), 2019, Sumi ink, watercolor on polypropylene paper, 35.05 x 50.29 x 3.81 cm, 13.8 x 19.8 x 1.5 inches, Courtesy of the artist and Galerie BuchholzTom Thayer, Rock Symphony, 2024, Stones, metal lid, bowls wood, mixed media, and electronics, 91.44 x 91.44 x 40.64 cm, 36 x 36 x 16 inches, Courtesy of the artist and Derek Eller GalleryVunkwan Tam, Days of Generosity, 2024, Steel and electrical motor, 35 x 35 x 4 cm, 13.77 x 13.77 x 1.57 inches, Courtesy of the artist and Empty GalleryVunkwan Tam, Days of Generosity, 2024, Steel and electrical motor, 35 x 35 x 4 cm, 13.77 x 13.77 x 1.57 inches, Courtesy of the artist and Empty GalleryWucius Wong, Lofty Thoughts #9, 1980s, Ink on paper, 78.74 x 55.88 x 4.06 cm, 31 x 22 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryWucius Wong, Lofty Thoughts #9, 1980s, Ink on paper, 78.74 x 55.88 x 4.06 cm, 31 x 22 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryWucius Wong, River Journey #2, 1986, Ink on paper, 102.23 x 71.12 x 3.81 cm, 40.25 x 28 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryWucius Wong, River Journey #2, 1986, Ink on paper, 102.23 x 71.12 x 3.81 cm, 40.25 x 28 x 1.5 inches, Courtesy of the artist and Hanart TZ GalleryYuji Agematsu, No Time, No Location, 2014, Rubber, tar, glassine mounted on foamcore, 44.45 x 25.4 x 3.81 cm, 17/5 x 10 x 1.5 inches, Courtesy of the artistYuji Agematsu, No Time, No Location, 2014, Rubber, tar, glassine mounted on foamcore, 44.45 x 25.4 x 3.81 cm, 17/5 x 10 x 1.5 inches, Courtesy of the artist
