V A C A N C Y | Shanghai

WORK IMAGE_ Sun Woo Pale Fruiting, 2026 Oil on linen 130 x 90 cm 51 1/5 x 35 2/5 in Pale Fruiting (2026), the latest work by Korean-Canadian artist Sun Woo (b. 1994, KR) stages the female body as a porous site where personal memory, displacement, and historical inheritance converge. A withered tree trunk rises through an interior of mirrors, drawers, pearls, and flfloral wallpaper, as eggs hang from its branches like impossible fruit in front of an empty mirror. The work reflflects on inherited modes of aspiration and self-construction shaped by migration across cultural contexts and Korea’s accelerated modernization under the promises of westernized progress. Rather than treating these conditions as fifixed historical narratives, it approaches them as atmospheric systems circulating through familial memory, everyday life, and contemporary regimes of visibility and control. Moving beyond realistic inference, Sun Woo transforms the scene into a site of estranged belonging,where folklore, memory, and domestic ornament collapse into one another, and what should signify life instead becomes a fragile clue to rupture, longing, and uncertain kinship. 珗宇 苍白的果实，2026 布面油画 130 x 90 公分 51 1/5 x 35 2/5 英吋 韩裔加拿大艺术家珗宇（生于1994年，韩国）的最新 作品《苍白的果实》（2026）将女性身体表现为一个 多孔的场所，个人记忆、流离失所和历史传承在此汇 聚 。一株枯萎的树干在由镜子、抽屉、珍珠和花卉壁 纸构成的室内升起，而禽蛋像不可能的果实一样悬挂 在空镜前的枝头。作品反思了在西化进步的承诺下， 由跨文化语境的迁移和韩国加速现代化所塑造的继承 而来的抱负和自我建构模式。它并未将这些条件视为 固定的历史叙事，而是将其视为通过家庭记忆、日常 生活以及当代的可见性与控制机制循环的大气系统。 超越了现实的推论，珗宇将场景转化为一处疏离的归 属之地，民俗、记忆和家庭装饰在此坍缩在一起，原 本应象征生命之物反而成为了断裂、渴望和不确定亲 属关系的脆弱线索。 ． @jade.haus #sunwoo #derosia #mirrorsqithonmorrors #galleryvacancy

FORTHCOMING_ Mirrors Within Mirrors Hosted by @derosia__ May 14–June 13, 2026 Opening reception: Thursday, 6–8 p.m. 197 Grand Street, 2w, New York CFGNY ​Alice Gong Xiaowen Gu Xingzi Han Xinyu Michael Ho Fu Nagasawa Sydney Shen Sun Woo IMAGES_ CFGNY Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024 Glazed porcelain 17 x 17.8 x 36.8 cm 6.75 x 7 x 14.5 in In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity. 在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。 ． @cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_ Mirrors Within Mirrors Hosted by @derosia__ May 14–June 13, 2026 Opening reception: Thursday, 6–8 p.m. 197 Grand Street, 2w, New York CFGNY ​Alice Gong Xiaowen Gu Xingzi Han Xinyu Michael Ho Fu Nagasawa Sydney Shen Sun Woo IMAGES_ Michael Ho Silicate Transmigration, 2026 Jade silica, latex, found wooden frame 187.5 x 310.5 x 3.3 cm (unfolded) 73 7/8 x 122 1/4 x 1 1/4 in Michael Ho Song of Clouds, 2026 Oil and acrylic on canvas 115 x 205 cm 45 1/3 x 80 3/4 in In Michael HO’s (b. 1991, NL) folding screen installation Silicate Transmigration (2026), a familiar form associated with refinement, privacy, and cultivated viewing is rendered through latex, pigment, and jade powder, becoming pale, textured, and hauntingly sensuous. The latex panels are cast from the textures of HO’s paintings, where pigments pushed from the back bleed through the surface, leaving residues of penetration that seem to erode the latex into a liminal skin. The screen receives and withholds at once, carrying traces of ornament, concealment, devotion, and projection without settling into any single function. It may be approached as a surface of passage, where landscape is no longer held as a distant view, but felt through touch, concealment and transformation. This sensibility continues in Song of Clouds (2026), where landscape is brought so close that it is perceived less as scenery than as a surface of sensation. Leaves and branches bleed forward from the back of the canvas, suspended between emergence and application, growth and imprint, surface and underside. Along the fabric, seeking and seeing seem to move together; the medium does not travel in one direction, but passes through seepage, effort, sensation, and its own wandering autonomy. Between screen and painting, landscape flickers less as a place than as something absorbed, pressed, mirrored, and faintly reanimated — a mirage of memory, material, and melancholy. ． @michaelchiyanho #michaelho #何麦克 #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_ 24/8* Anna Gonzalez Noguchi Hosted by @derosia__ May 14–June 13, 2026 Opening reception: Thursday, 6–8 p.m. 197 Grand Street, 2W, New York Gallery Vacancy presents 24/8*, a special solo project by Japanese-Spanish artist Anna Gonzalez Noguchi in the front room of Derosia’s reception office. Set within a working environment where labor, administration, and creativity quietly overlap, the presentation offers a seamless framework for Gonzalez Noguchi’s wall-based sculptures, which are composed from stationery, folded aluminum, brass elements, and fragments of magazine pages. The works belong to the artist’s ongoing Kamidana series, titled after the Japanese word for “god shelf” — miniature altars commonly found in homes and businesses. Informed by Gonzalez Noguchi’s cross-cultural background, the series draws from an intimate archive of personal materials inherited from her Japanese grandparents, which often permeates the surfaces of her work. Through sculptural assembly, handcrafted forms, prosaic artefacts, and found images are layered together, suggesting an ongoing renegotiation of memory, inheritance, and devotion. ． @annagonzaleznoguchi #annagonzaleznoguchi #24/8* #derosia #galleryvacancy ​

NEWS_ Vivian Greven is taking part in the exhibition: Echoes of Her Century: A Global Exhibition of Women’s Art at Long Museum, Shanghai. The work “Vira V” 2021) offers a luminous meditation on intimacy as a form of connection that exceeds physical definition. Greven enlarges the encounter between two faces until it becomes almost architectural, transforming a moment of closeness into an expansive field of suspended feeling. Rendered through her softened, sculptural forms, the painting evokes tenderness, stillness, and an almost otherworldly calm; yet this harmony is gently unsettled by clusters of raised pigment that gather across the surface like anonymous particles or distant traces of interference. These protrusions disturb the image’s idealized serenity, allowing imperfection, friction, and contingency to enter the scene. Greven’s practice moves beyond the language of beauty alone, proposing a more complex vision of relationality—one in which attachment is never seamless, but deepened by interruption, vulnerability, and the presence of what cannot be fully resolved. The work is published in the catalogue of the exhibition by Long Museum, Shanghai. 📷 Shaunley Vivian Greven Vira V, 2021 Oil and acrylic on canvas 156 x 200 cm 61 3/8 x 78 3/4 in ． @viviangreven #viviangreven @thelongmuseum #longmuseumwestbund #echoesofhercentury #galleryvacancy

INSTALLATION VIEWS_ Stay With Me (Neither Here nor There) ‍‍‍‍‍‍‍‍‍Andrius Alvarez-Backus  Christopher Hartmann  Isaac Soh Fujita Howell  Luo Ran Sarah Slappey  Woo Hannah  March 18–April 30, 2026 Tuesday–Saturday | 10:00–18:00 和我在一起（漫无边际）‍‍‍‍‍‍‍ 安德鲁斯・阿尔瓦雷斯-巴克斯 克里斯托弗・哈特曼 艾萨克・藤田 聪・霍威尔 罗然 莎拉・斯拉佩 禹汉娜 2026年3月18日至4月30日 周二至周六 | 10:00–18:00 ． @ann_dree_uhs @hartmann.christopher @isaacfujita @luoran777 @sslappey @hannah.flashed.that #staywithmeneitherherenorethere #galleryvacancy

ART BASEL HONG KONG_ Alexandre Zhu A brief moment of truth, 2026 Charcoal, pumice, pigment, acrylic polymer on canvas 140 x 100 cm 55 1/8 x 39 3/8 in Alexandre Zhu paints the fugitive interval where memory, emotion, and personal family history converge. Born and raised in Paris as a second-generation Chinese artist, Zhu uses a labor-intensive process of charcoal on canvas to reach toward places and people he has never met, tracing forms of intimacy shaped by distance and inheritance. In “A Brief Moment of Truth” (2026), the back head of an anonymous figure is caught mid-motion, with loose strands of hair suspended in restless air. What emerges is an elusive image of longing tethered to elsewhere—a moment both tender and unsettled, where connection endures precisely through separation. 亚历山大・朱 片刻的真实，2026 布面炭笔、浮石、色粉、丙烯聚合物 140 x 100 公分 55 1/8 x 39 3/8 英吋 亚历山大・朱描绘的是记忆、情感与个人家族历史彼此交汇的逸散瞬间。作为一位生于并成长于巴黎的第二代华裔艺术家，朱以一种耗时费力的碳笔绘画过程，在画布上追忆那些他从未谋面的人物或者未曾抵达的远方，勾勒出由距离与传承所塑造的亲密瞬间。在《片刻的真实》（2026）中，一位匿名人物的后脑被捕捉于转瞬的运动之中，几缕散落的发丝悬浮在不安的空气里。由此浮现的是一幅被远方所牵系的渴望图景——既温柔，又隐隐不安；在那里，羁绊恰恰因为分离而得以延续。 ． @alexandre.zhu #alexandrezhu #亚历山大朱 @artbasel #artbaselhongkong2026 #galleryvacancy

FAIRS_ 巴塞尔艺术展香港展会Art Basel Hong Kong 「艺廊荟萃」单元Galleries Sector3C05 亨利・柯桥德、薇薇安・格蕾文、娜塔莉亚・冈萨雷斯・马丁、韩新宇、何麦克、黄可维、倪灏、沈心怡、珗宇、克里斯蒂安・图伯格、和亚历山大・朱 Henry Curchod, Vivian Greven, Natalia González Martín, Han Xinyu, Michael Ho, Huang Ko Wei, Ni Hao, Sydney Shen, Sun Woo, Kristian Touborg, and Alexandre Zhu 📷 @markblower.peoplelookingatart ． @henrycurchod @viviangreven @natalia.gonzalez.martin @suki.rar @michaelchiyanho @huangkoowei @nihao.art @lawnmowerwoman @jade.haus @kristian_touborg @alexandre.zhu @artbasel

Somewhere a heavy door has opened 16 x 13.75 x 10.5 “ ASA resin, patinated aluminum leaf, epoxy clay, pigment, rottenstone. Edition of 2. one of a pair of tarnished heart-shaped earring backs. Showing along with other video game fan art and funko pops at Art Basel HK with @galleryvacancy #milksopcraven #soulslike #knopfimohr

FORTHCOMING_ Sun Woo Cutting Ties, 2026 Oil on linen 41 x 64 x 4 cm 16 1/8 x 25 1/4 x 1 5/8 in Cutting Ties (2026) presents lengths of dark hair tightly woundaround the handles of kitchen knives, their blades fixedwithin a wooden block. In this suspended configuration,instruments designed for cutting are renderedinoperative, caught in a state of entanglement. The work draws on the idiom “cutting ties,” commonly used to describe the act of ending relationships, leaving behind circumstances, or severing connections to the past. Here, however, the gesture of separation is deferred. The hair—suggestive of the female body— remains ensnared within a system of domesticity, implicating the home as both a site of care and containment. Objects associated with utility and protection are reconfigured as agents of constraint. Through this tension, Sun Woo stages a condition of being simultaneously bound and in the process of release. The work lingers in this threshold state, where the desire to sever persists alongside the forces that continue to hold the body in place. 珗宇 断舍离，2026 布面油画 41 x 64 x 4 公分 16 1/8 x 25 1/4 x 1 5/8 英寸 《断舍离》呈现出一束束深色长发紧紧缠绕于厨房刀具的刀柄之上，而刀身则固定在木制刀座之中。在这一悬置的构型里，原本为切割而设的器具失去了作用，陷入一种纠缠缠绕、无法施展的状态。作品援引了英文惯用语 “cutting ties”，其通常用以指称终止一段关系、离开某种处境，或断绝与过往的联系。然而在此，分离的动作并未真正完成，而是被延宕。发丝——暗示着女性身体——依然受困于一套家居秩序之中，使「家」同时成为照护与禁锢的场所。那些原本与实用性及保护性相关的物件，在此被重新配置为施加束缚的媒介。透过这种张力，珗宇将一种既受束缚、又处于松脱过程中的存在状态具象化。作品停留于这样的临界状态之中：切断的欲望持续存在，与此同时，那些仍将身体固定在原地的力量也依然未曾消散。 ． @jade.haus #sunwoo #珗宇 @artbasel #artbaselhongkong2026 #galleryvacancy

FORTHCOMING_ Han Xinyu Elm, 2026 Oil on linen 150 x 120 cm 59 x 47 1/4 in Han Xinyu (b. 1998, now based in London) captures the threshold at which memory, poetry, and emotion depart from the present and begin to coalesce into shape. Her compositions drift as color dissolves toward autonomy, leaving behind gestural traces that move nomadically along the edge of form before embodiment. The narrative unfolds in the oscillation between chaos and control, perception and sensation, figuration and abstraction. In Elm (2026), Han evokes an obscure scene in the rain: a figure emerges only vaguely through a muted, storm-soaked palette, while the bare skeleton of an umbrella stretches across the foreground as both structure and metaphor. The work is suspended between precision and improvisation—its blurred passages and liquid transitions suggest a tension between unease and composure while its linear marks and tensile composition hold the image together with quiet insistence. Within this unstable field, endurance and resilience are not monumental but gentle, carried by a body that wavers without disappearing, and by a painterly language in which presence and absence arise together. 韓新宇 新雨桑榆 ，2026 布面油畫 150 x 120 公分 59 x 47 1/4 英吋 韩新宇（1998年生，现居伦敦）捕捉记忆、诗歌与情感，并在圖像逐渐凝聚成形的临界时刻向外擴散延伸。她的构图在游移中展开，色彩消融在畫面自身的秩序里，手势徘徊于形体边缘，在始終尚未完全具象化的形象之中遊牧。叙事生成于混亂与控制、認知与體驗、具象与抽象的摆荡之中。在《新雨桑榆》（2026）里，韩新宇召唤出一处雨中的晦澀场景：一个人物仅隐约浮现于靜默、饱含风雨气息的色调之中，而雨伞的裸露骨架则横亘前景，既作为结构，也成为一种隱喻。作品悬置于精准与即兴之间——其模糊的笔触与流动的过渡暗示着不安与自若並存的力量，而其中线性的痕迹与富有张力的构图，则以一种安静而坚定的方式支撑住画面。在这片不稳定的场域之中，忍耐与堅毅并非被歌頌於宏伟之間，而是一种溫柔的存续，由一具摇曳却未曾消失的身体所承载，也由一种使在场与缺席同时生成的绘画语言所维系。 ． @suki.rar #hanxinyu #韩新宇 @artbasel #artbaselhongkong2026

FORTHCOMING_ Kristian Touborg Time Weaver , 2026 Oil, acrylic, pigment and dye on canvas with lotus silk, Alcea, synthetic silk and reflective fabric 145 x 90 cm 57 1/8 x 35 3/8 in Danish artist Kristian Touborg (b. 1987, based in Copenhagen) disorients perception, emotion, and memory through vivid brushwork interwoven with collage, textiles, reflective surfaces, and industrially treated materials. His compositions drift between image and object, intimacy and artifice, representation and hallucination. Nature, in his work, is composed and mediated through light, reflection, and layered color, evoking water, plant life, bodily traces, and digital distortion, while unsettling the viewer within states of softness and rupture, beauty and anxiety. In Time Weaver (2026), Touborg extends beyond the limits of the canvas, framed in driftwood, to render strands of dew caught in a spider’s web within a garden in bloom. Time appears only obliquely, suggested through the vivid flowers that dissolve into the ambiguity of bushes—or perhaps a skeletal silhouette—ascending toward the sunlit halo at the center of the painting. The sense of space is further entangled with the translucent ground of the canvas, which exposes the structure behind the image itself. Touborg creates paintings and hybrid objects that register the instability of perception while holding onto beauty, fragility, and the persistence of feeling, where dread and desire remain in delicate coexistence. 克里斯蒂安・图伯格 时光编织 ，2026 布面油画、丙烯、染料、荷花丝、锦葵纤维、 人造丝及反光织物 145 x 90 公分 57 1/8 x 35 3/8 英寸 丹麦艺术家​克里斯蒂安・图伯格（1987年生，现居哥本哈根）透过鲜明的笔触与拼贴、织物、反光材质及经工业处理之材料，持续探索感知、情绪与记忆之间的关系。其作品语汇游移于图像与物件、亲密与造作、再现与幻象之间，呈现出一种兼具触觉性与不稳定性的视觉结构。在其创作脉络中，自然从来不是被直接再现的对象，而是经由光线、反射与层层色彩所重组、转译与媒介化的感知场域，进而召唤出水体、植物、身体痕迹与数位失真的多重联想，并使观看游移于柔软与断裂、优美与焦虑之间。作品《时光编织》（2026），Touborg 进一步将画面推展至画布边界之外，并以漂流木作为画框，使作品本身既指向一种物质性的生成，也延展出图像与物件相互渗透的状态。画面描绘绽放花园中悬挂于蛛网之上的露珠串链，时间并非以线性方式被提示，隐约寄寓于花朵鲜艳而流动的色泽之中。这些花形逐渐消融于灌木，或近似骸骨般的朦胧轮廓之内，并朝向画面中央如日晕般的光环升腾。与此同时，空间感亦与画布半透明的基底彼此缠绕，使图像背后的支撑结构得以显现。Touborg 借由绘画与混合媒材物件的交织实践，捕捉感知经验中的游移与不确定，同时兼具诗意、脆弱与深切的情绪，恐惧与欲望并得以存在同一视觉场域之中。 Special thanks to @newchildgallery ． @kristian_touborg #kristiantouborg @artbasel #artbaselhongkong2026