About Shirley Tse
For more than twenty years, Los Angeles–based artist Shirley Tse has dedicated her practice to visualising heterogeneity through sculpture, installation, photography, and text. From presenting differences on the same plane to integrating them into a whole through negotiation, her strategies are as various as putting competing aesthetics under the same roof, examining the semiotics of plastics, calling attention to the interstitial, expanding the language of movement, conflating scales, destabilising categories, using found objects as a suspension of subjectivity, and researching concurrent narratives.
Tse participated in the Education Abroad Program in 1990 at the University of California, Berkeley, while studying for a Bachelor of Arts degree at the Chinese University of Hong Kong Department of Fine Arts. She received a Master of Fine Arts degree from ArtCenter College of Design, in Pasadena, California, in 1996. Her work has been exhibited worldwide, including at the Pasadena Museum of California Art (2004, 2017); Osage, Hong Kong (2010, 2011); ARCOmadrid (2010); the inaugural exhibition at K11, Hong Kong (2009); Kettle’s Yard, University of Cambridge (2009); the Museum of Modern Fine Art, Minsk (2006); the Herbert F. Johnson Museum of Art, Cornell University (2005); Para Site, Hong Kong (2000, 2005); the Kaohsiung Museum of Fine Arts (2003); the Art Gallery of Ontario (2002); the Bienal Ceará América, Fortaleza (2002); the Biennale of Sydney (2002); Capp Street Project, San Francisco (2002); the Institute of Contemporary Art, Boston (2002); MoMA PS1 (2002); the New Museum (2002); Palazzo dell’Arengo, Rimini (2002); the San Francisco Museum of Modern Art (2001); TENT, Centrum Beeldende Kunst Rotterdam (2001); and Govett-Brewster Art Gallery, New Plymouth, New Zealand (2000). Her work has been featured in numerous articles, catalogues, and publications, including Sculpture Today (2007) and Akademie X: Lessons in Art + Life (2015), both published by Phaidon. Tse was a recipient of the John Simon Guggenheim Memorial Foundation Fellowship in 2009. She has been a member of the faculty at California Institute of the Arts since 2001, and has recently been named the Robert Fitzpatrick Chair in Art. She is represented by Shoshana Wayne Gallery in Santa Monica, California, where her most recent solo exhibition, Lift Me Up So I Can See Better, was held in 2016.
About Christina Li
Christina Li is a curator working between Hong Kong and Amsterdam. She graduated from the University of Hong Kong with a degree in Fine Arts (Art History) and Comparative Literature, and completed De Appel Curatorial Programme in 2009. She was the Curator-at-Large at Spring Workshop, Hong Kong, where she served as the Director between 2015 and 2017. At Spring, she curated, among other projects, A Collective Present (2017), Wu Tsang: Duilian (2016), Wong Wai Yin: Without Trying (2016), Days push off into nights (2015), and Des hôtes: a foreigner, a human, an unexpected visitor (2015). Her most recent exhibition, Dismantling the Scaffold (2018), was the inaugural exhibition at Tai Kwun Contemporary, Hong Kong. With Heman Chong, she launched Stationary, a collection of short stories, and co-edited the upcoming volume with writer and artist Malak Helmy.
Li previously worked as a curator at Para Site in Hong Kong from 2005 to 2008, and was the Assistant Curator of Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams, Hong Kong’s participation in the 53rd International Art Exhibition – La Biennale di Venezia, in 2009. Her other projects include The Goethe-Institut’s Pyongyang Reading Room: Between Object and Shadow (Goethe-Institut Amsterdam, 2013); A Map of Misreading (TENT, Centrum Beeldende Kunst Rotterdam, 2012); SpacecraftIcarus 13: Cinematic Narratives from Elsewhere (BAK, Utrecht, 2011); Prologue – Speculations on the Cultural Organisation of Civility (SKOR and various locations, Amsterdam, 2010); Not Yesterday, Not Tomorrow (Cable Factory, Helsinki, 2009); and Weak Signals, Wild Cards (De Appel, Amsterdam, 2009). As a writer, she has contributed to publications including Artforum, Art Review Asia, LEAP, Parkett, Spike, and Yishu Journal of Contemporary Art.