Los Angeles–based Hong Kong artist Shirley Tse (b.1968) works in the media of sculpture, installation, photography, and text. She at once deconstructs the world of synthetic objects that carry paradoxical meanings and constructs models in which differences might come together. To visualise heterogeneity, Tse conflates different scales, fuses the organic with the industrial, moves between the literal and the metaphorical, merges narratives, and collapses the subject and object relationship.
Tse received a Master of Fine Arts degree from ArtCenter College of Design, Pasadena, and a Bachelor of Arts degree from the Chinese University of Hong Kong Department of Fine Arts. Her work has been exhibited at venues including the Pasadena Museum of California Art (2004/2017); Osage, Hong Kong (2010/2011); 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 is featured in many articles, catalogues, and other publications including Akademie X: Lessons in Art + Life (2015) and Sculpture Today (2007).
Tse received the John Simon Guggenheim Memorial Foundation Fellowship in 2009 and has been on the faculty at California Institute of the Arts since 2001, where she is the Robert Fitzpatrick Chair in Art.
About Christina Li
Photograph by Michael CW Chiu
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.