Mirrors Within Mirrors
CFGNY
Alice Gong Xiaowen 龚晓雯
Gu Xingzi 顾幸子
Han Xinyu 韩新宇
Michael Ho 何麦克
Fu Nagasawa 长泽枫
Sydney Shen 沈心怡
Sun Woo 珗宇
展览时间：2026年5月14日至6月13日
周二至周六 | 12:00–18:00
开幕时间：2026年5月14日，星期四，纽约时间下午6–8点
Duration: May 14–June 13, 2026
Tuesday–Saturday | 12:00–18:00
Opening: Wednesday, May 14, EST 6–8 PM
地点：纽约市Grand Street 197号
Location: 197 Grand St, 2W, New York
About the Exhibition
Gallery Vacancy荣幸地宣布将于2026年5月14日至6月13日在纽约Derosia画廊呈现群展“Mirrors Within Mirrors”。本次展览汇集了CFGNY、龚晓雯 (b. 1994)、顾幸子 (b. 1996)、韩新宇 (b. 1998)、何麦克 (b. 1991)、长泽枫 (b. 1998) 、沈心怡 (b. 1989) 与珗宇 (b. 1994)的近期创作。
本次展览由纽约Derosia画廊空间主持举办，以此标志两处画廊坐标的对话：一个空间向另一个空间敞开，一种视角穿透另一种视角而发生折射。呼应了保罗·奥斯特在《纽约三部曲》中建构的嵌套图景：在互望的网格中，追踪者与被追踪者、观察者与被观察者、自我与替身的界限开始变得模糊。当这种嵌套被置于纽约唐人街这一特殊的地理交叉点上，“Mirrors within Mirrors”望向一个不断位移的场域：每一处反射都通向另一处，而原本可辨识之物则在其中保持着静默的流变。通过瓷器、绘画、雕塑与装置，参展艺术家的实践——无论其根植于亚裔经验，还是跨越于散居语境——均将身份视为一种通过表面、记忆、风格与感知而不断生成的动态产物，而非某种固定的原点。
CFGNY
石板皮层（1只手套，1个龟甲，1台电风扇，1个灯光开关，2个杯子，4个花瓶，1件纽扣衬衫，1把刀以及1根电源线），2024
釉面瓷器
37 x 31 x 48 公分（14.57 x 12.2 x 18.9 英寸）
CFGNY
Skins, Slate (1 Glove, 1 Tortoise Shell, 1 Electric Fan, 1 Light Switch, 2 Cups, 4 Vases, 1 Button-up, 1 Knife, 1 Electrical Cord), 2024
Glazed porcelain
37 x 31 x 48 cm (14.57 x 12.2 x 18.9 in)
通过对物质表面与身份“皮肤”的探测，艺术家们试图拆解文化记忆的沉积。CFGNY的《皮层》系列通过翻模平价的“中国制造（made in China）”商品并将其铸造成昂贵的“精细瓷器（fine China）”，颠覆了物质价值的既有等级。这些雕塑不仅是关于存在与缺席的记录，更揭示了全球贸易如何深刻地嵌入身份的塑造中。与之呼应，何麦克的大尺幅绘画将景观拉伸至近乎知觉的表面，又利用乳胶与玉粉重构的屏风作品，以一种带有肉身感的质地，承载着装饰、隐匿与投射的复杂功能。
何麦克
云音雾律，2026
布面油画、丙烯
115 x 205 公分（45 1/3 x 80 3/4 英寸）
Michael Ho
Song of Clouds, 2026
Oil and acrylic on canvas
115 x 205 cm (45 1/3 x 80 3/4 in)
而在声音与媒介的维度上，龚晓雯的广播装置《碰》（2026）通过调频频率将不同时空的声音碎片消融于广播景观之中；在此，语言先于理解而被感知，不可破译之物本身成为一种识别形式。这与长泽枫的实践形成折射：他将材料的触觉记忆转化为不安的自然形式，并在《花鸟》（2026）中利用侵蚀、渗色与手的缓慢压力，使继承而来的范式松动为一种临时的、活生生的存在。两者共同构建了一处“过渡场域”：在那里，装饰转化为运动，物质转化为图像，而自然则作为一种脆弱而不安的存在回归。
珗宇
苍白的果实，2026
布面油画
130 x 90 公分（51 1/5 x 35 2/5 英寸）
Sun Woo
Pale Fruiting, 2026
Oil on linen
130 x 90 cm (51 1/5 x 35 2/5 in)
在日常记忆的再访中，身体经验被重塑为带有张力的感知场域。珗宇在《苍白的果实》（2026）中构建了一个怪诞的家政剧场：枝头悬挂的禽蛋如“不可能的果实”，抵抗着关于生育与抚育的自然逻辑，将房间转化为一处疏离的归属之地。这种在生命意志边缘徘徊的瞬时感，在韩新宇的《心颤》（2026）中得到了延续，艺术家捕捉了打喷嚏时心脏瞬间停滞的生理迷思，将转瞬即逝的感官共鸣拉伸为一段徘徊在语言之上的记忆。沈心怡用《懦夫救星》（2026）进一步探讨了灵魂与物质现实之间的博弈，将电子游戏中的“褪色者（Tarnished）”幸存者身份与其作品表面失去光泽的金属质感（Tarnished finish）构成精妙双关；通过将 90 年代少女时代的怀旧符号与酸性腐蚀的“伤痕”并置，沈心怡创造出一种介于理想形式与残酷现实之间的、近乎可爱的、愁惨的忧郁感。与之形成对比的是顾幸子的《无题（小鹿与男孩）》（2026），作品呈现了一场悬浮于温柔与疏离之间的相遇：在雾蒙蒙的绿色田野中，动物成为了一面镜子，自我通过它感知到另一个既亲密又无法触及的存在；而紫色车尾的闯入则暗示了处于迁徙与归属缝隙中那种悬而未决的迁移状态。
“Mirrors within Mirrors”被构建为一个由递归影像与感知坐标交织而成的场域：它既不将作品锚定在特定地点，也不使其在纯粹的漂移中消散。在这里，留下成为了一种临时却持续的表达，在镜像的互望中建立起一种即使拒绝安定、却依然清晰可辨的亲近感 。
韩新宇
心颤，2026
布面油画
45 x 55 公分（17 3/4 x 21 5/8 英寸）
Han Xinyu
Bless you, 2026
Oil on canvas
45 x 55 cm (17 3/4 x 21 5/8 in)
Gallery Vacancy is pleased to announce the group exhibition Mirrors Within Mirrors, on view from May 14 to June 13, 2026, at Derosia, New York. The exhibition features recent works by CFGNY, Alice Gong Xiaowen (b. 1994), Gu Xingzi (b. 1996), Han Xinyu (b. 1998), Michael Ho (b. 1991), Fu Nagasawa (b. 1998), Sydney Shen (b. 1989) and Sun Woo (b. 1994).
Hosted by Derosia, the exhibition marks a conversation between two gallery coordinates: one space opening into another, one perspective refracted through the other. This resonates with the nested imagery constructed by Paul Auster in The New York Trilogy: within a grid of mutual observation, the boundaries between follower and followed, observer and observed, self and double begin to blur. Here, identity is no longer approached as a fixed origin, but as a dynamic product continually generated through surface, memory, style, and perception. Across porcelain, painting, sculpture, and installation, when this recursivity of "tracking" is situated at the unique geographical intersection of New York’s Chinatown, Mirrors within Mirrors looks toward a shifting field where each reflection opens onto another, and what appears legible remains quietly in flux. The participating artists—whose practices are rooted in or move across Asian and diasporic experiences—approach identity as a dynamic product continually generated through surface, memory, style, and perception, rather than a fixed origin.
何麦克
地转身移，2026
布面油画颜料、乳胶、现成物木框
187.5 x 310.5 x 3.3 公分（73 7/8 x 122 1/4 x 1 1/4 英寸）展开
Michael Ho
Silicate Transmigration, 2026
Pigment, latex, found wooden frame
187.5 x 310.5 x 3.3 cm (73 7/8 x 122 1/4 x 1 1/4 in) unfolded
Through the exploration of material surfaces and the "skin" of identity, the artists attempt to deconstruct the sedimentation of cultural memory. CFGNY’s Skins series takes moulds from "made in China" goods and recasts them in "fine China," reversing the traditional hierarchy of material value and revealing how international trade is embedded within the formation of identity. This dialogue is extended by Michael Ho, whose paintings bring landscape so close that it becomes a surface of sensation, while his folding screens, rendered through latex and jade powder, act as porous membranes that both receive and withhold.
长泽枫
花鸟，2026
布面油画
100 x 65.2 公分（39 3/8 x 25 2/3 英寸)
Fu Nagasawa
Bird-and-flower, 2026
Oil on canvas
100 x 65.2 cm (39 3/8 x 25 2/3 in)
In the dimension of sound and media, Alice Gong Xiaowen’s radio installation Pèng (2026) interweaves mediated fragments of voices across FM frequencies, allowing them to dissolve into the broadcast landscape; here, language is felt before it is understood, and the undecipherable itself becomes a form of recognition. This resonates with the practice of Fu Nagasawa, who translates the tactile memory of materials into unsettled natural forms. In Bird-and-Flower (2026), he employs erosion, bleeding, and the slow pressure of the hand to allow inherited paradigms to loosen into a provisional and living presence. Together, they establish a “field of transition” where ornament becomes movement, matter becomes image, and nature returns as a fragile, unsettled presence.
顾幸子
无题（小鹿与男孩），2025–2026
布面丙烯
132.1 x 101.6 公分（52 x 40 英寸)
Gu Xingzi
Untitled (deer with a boy), 2025–2026
Acrylic on canvas
132 x 102 cm (52 x 40 in)
In the revisitation of everyday memory, bodily experience is reshaped into a field of perceptual tension. In Pale Fruiting (2026), Sun Woo constructs an uncanny domestic theater where withered branches bear eggs like "impossible fruit," resisting the natural logic of birth and framing the room as a site of estranged belonging. This suspension at the edge of life force continues in Han Xinyu’s Bless You (2026), which captures the physiological myth of the heart's momentary pause during a sneeze, stretching a fleeting sensory resonance into a memory hovering above language. Sydney Shen’s Milksop Craven (2026) further explores the dialectic between the soul and material reality, creating a sophisticated pun between the “Tarnished” survivor identity of souls-like games and the work’s physical tarnished finish. By juxtaposing 1990s girlhood nostalgia with textural scars of acid patina, she stages a maudlin type of melancholy that remains caught between idealized forms and the harshness of reality. This sense of emotional perception is shared by Gu Xingzi, whose Untitled (boy with deer) (2026) stages an encounter suspended between tenderness and estrangement. In a misty green field, the animal becomes a mirror through which the self senses another presence—intimate and unreachable—while the interruption of a purple car rear suggests the unsettled condition of migration and being between places.
Mirrors within Mirrors is assembled as a field of refractive coordinates—neither anchoring the works to a single place nor dispersing them into pure drift. Here, staying emerges as something provisional yet sustained: an address made in passing, and a closeness that remains legible even as it refuses to settle.
沈心怡
懦夫救星，2026
ASA树脂、做旧铝箔、环氧黏土、腐石粉版数：1/1+1 AP
35.6 x 40.6 x 24.8 公分（14 x 16 x 9 3/4 英寸)
Sydney Shen
Milksop Craven, 2026
ASA resin, patinated aluminium leaf, epoxy clay, pigment, rottenstone, edition AP_1+1 AP
35.6 x 40.6 x 24.8 cm (14 x 16 x 9 3/4 in)
About the Artists
CFGNY
CFGNY（Concept Foreign Garments New York）是一个成立于 2016 年的艺术家团体，由 Daniel Chew、Ten Izu、Kirsten Kilponen 与 Tin Nguyen 组成，现生活与工作于纽约布鲁克林。他们的创作围绕艺术、时尚与身份认同的交汇展开持续性讨论，以兼具批判性与戏谑感的方式探讨“vaguely Asian（模糊的亚洲性）”这一概念，这一概念并不试图定义身份，而是回应在全球语境中，种族、文化与视觉感知如何被概括与误读。CFGNY 的创作横跨图像制作、装置、雕塑、行为以及以时尚为基础的现成品拼贴等媒介，探索“介于其间”的状态与视觉建构，并重新审视数字模拟与物质转译之间的张力。CFGNY并不试图以单一方式定义“亚洲性”，而是持续探讨当代主体身份中复数、多元且持续游移的不稳定状态。
近期个展及双人展览包括：“Puddles into Pond”，Amant，纽约，2026；“e-nnui”与陶辉双个展，Hua International，北京，2025；“Fashion Max 2”，Japan Society，纽约，2023 ；“Collecting Dissonance”，Auto Italia，伦敦，2021 ；“Fake Fashion III”，阿姆斯特丹市立博物馆，阿姆斯特丹，2018 。近期群展包括：“2026年惠特尼双年展”，惠特尼美国艺术博物馆，纽约，2026；“Costume Art”，大都会艺术博物馆，纽约，2026；“Lavender Bloom”，kurimanzutto，纽约，2025；“Continuous Fractures Generating New Yields”，温哥华当代美术馆，温哥华，2025；“Synthetic Bodies”，里森画廊，伦敦，2024；“Making Home—Smithsonian Design Triennial”，库珀·休伊特设计博物馆，纽约，2024。驻留及入围奖项包括：“Artist in Residence”，SculptureCenter，纽约，2023 ；“West Elm Artist in Residence Program”，纽约，2022 ；及“BijlmAIR Residency”，阿姆斯特丹，2018 。CFGNY 的作品收藏于：X 美术馆，北京 ；及阿姆斯特丹市立博物馆，阿姆斯特丹 。
CFGNY (Concept Foreign Garments New York) is an artist collective founded in 2016 in New York, composed of Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen. Their practice emerges from an ongoing dialogue at the intersection of art, fashion, and identity, taking a critical and playful approach to the notion of “vaguely Asian,” which does not seek to define identity but responds to how race, culture, and visual perception are generalized and misread within global contexts. Working across image-making, installation, sculpture, performance, and fashion-based assemblage, CFGNY explores states of “in-betweenness” and visual construction, re-examining the tension between digital simulation and material translation. The collective does not aim to define a singular notion of “Asian-ness,” but instead continuously explores the plurality and instability of contemporary subjectivities, which remain multiple, shifting, and unresolved.
Recent solo exhibitions and two-person exhibitions include: Puddles into Pond, Amant, New York, 2026; e-nnui, with Tao Hui, Hua International, Beijing, 2025; Fashion Max 2, Japan Society, New York, 2023; Collecting Dissonance, Auto Italia, London, 2021; Fake Fashion III, Stedelijk Museum, Amsterdam, 2018. Recent group exhibitions include: Whitney Biennial 2026, Whitney Museum of American Art, New York, 2026; Costume Art, The Metropolitan Museum of Art, New York, 2026; Lavender Bloom, kurimanzutto, New York, 2025; Continuous Fractures Generating New Yields, Contemporary Art Gallery, Vancouver, 2025; Synthetic Bodies, Lisson Gallery, London, 2024; Making Home—Smithsonian Design Triennial, Cooper Hewitt, New York, 2024. CFGNY was the recipient of the Artist in Residence at SculptureCenter, New York, 2023 ; the West Elm Artist in Residence Program, New York, 2022 ; and the BijlmAIR Residency at CBK Gallery, Amsterdam, 2018. CFGNY’s works are in the collections of X Museum, Beijing; and the Stedelijk Museum, Amsterdam.
Alice Gong Xiaowen 龚晓雯
龚晓雯，1994年出生于中国北京，现生活和工作于康涅狄格州，纽黑文市。龚晓雯于 2016 年获得芝加哥艺术学院艺术学士学位，目前在耶鲁大学艺术学院雕塑系就读硕士学位。龚晓雯的创作以其从小移居加拿大的成长经历出发，借由传统文化的多重视角，深掘潜藏在日常物件中的群体记忆，探索不断迁徙变动离散经验中归属感的形塑与投射。她的雕塑和装置作品通常结合现成物、声音、金属铸造和其他易逝脆弱的材料为媒介，借此重新串连习俗和仪式中固有的行为经验，旨在持续流转的意识中探索关于身份的认知。龚晓雯的实践将弥漫且发散的感官知觉汇聚于现成物的应用之中，经由反覆出现的形式与姿态将既定的寻常物件指向更为开放的纯粹空间。跨媒材的嫁接与并置，龚晓雯将原先熟悉的事物再次异化疏离，而得以招唤存在于记忆中始终无法被完整捕捉又不断错位的感官知觉，不断流转聚合而逾越了材料相应的物质经验中文字阐述力有未逮的边界。
近期的个展及双人展览包括：“Heavy Fog”，Franz Kaka，多伦多，2025；“浮痕回响”，Gallery Vacancy，上海，2025；“Asymptote, circling”，CHAMBER lower_cavity，霍利奥克，2024；“Malar”，House of Seiko，旧金山，2023。近期群展包括：“Centrifugal”，Island Gallery，纽约，2025；“To Save & To Destroy”，BANK，纽约，2025；“After (H)ours”，马凌画廊，纽约，2025；“Eurhythmia”，Silke Lindner，纽约，2025；“Fourth River”，Romance，匹兹堡，2025；“Can Thought Go On Without a Body?”，Stilllife，纽约，2024；“Adaptation”，Franz Kaka，多伦多，2024；“In Summer’s Teeth”，Silke Lindner，纽约，2023；“Bury the Bridge”，DUPLEX，纽约，2022。她曾获众多奖项和奖学金，其中包括：2022年Canadian Council for the Arts Grant的“Explore and Create Grant”、2019 年 “UrbanGlass”冬季奖学金、以及 2015 年“John W. Kurtich Foundation Travel Fellowship”。
Alice Gong Xiaowen, born in 1994, in Beijing, China, now lives and works in New Haven, Connecticut. She received her BFA from School of the Art Institute of Chicago in 2016 and a MFA in Sculpture from the Yale School of Art in 2025. Her sculptures and installations, often combining ready-made, sound, metal casting and ephemeral materials, intentionally defamiliarize and recalibrate behaviors associated with customs and rituals, reconstructing identity and authenticity as lineages in flux. Found objects are incorporated into her practice as placeholders, layering sensorial cues into disorienting and ambiguous distillations where repetitive motions and forms occurred in her works fall into the void. In her multi-media assemblages, the familiar becomes alien, foreshadowing a loss of integration that reconstitutes perceptual remnants into distant echoes and further bearing witness to the exhaustive efforts to grasp words or translation, a pursuit that fails and remains in a state of constant dissociation with its material endeavor.
Alice Gong Xiaowen’s recent solo and two-person exhibitions include: Heavy Fog, Franz Kaka, Toronto, 2025; Sustain, Gallery Vacancy, Shanghai, 2025; Asymptote, circling, CHAMBER lower_cavity, Holyoke, 2024; Malar, House of Seiko, San Francisco, 2023. Group exhibitions include: Centrifugal, Island Gallery, New York, 2025; To Save & To Destroy, Bank Gallery, New York,2025; After (H)ours, Kiang Malingue, New York,2025; Eurhythmia, Silke Lindner, New York, 2025; Fourth River, Romance, Pitttsburgh, 2025; Can Thought Go On Without a Body?, Stilllife, New York, 2024; Adaptation, Franz Kaka, Toronto, 2024; In Summer’s Teeth, Silke Lindner, New York, 2023; Bury the Bridge, DUPLEX, New York, 2022. She is the recipient of the Explore and Create Grant from the Canadian Council for the Arts, 2022; the UrbanGlass Winter Scholarship Award, 2019; and the John W. Kurtich Foundation Travel Fellowship, 2015.
Gu Xingzi 顾幸子
顾幸子，1995年出生于中国南通，现工作生活于布鲁克林。顾幸子于2018年获得芝加哥艺术学院艺术学士学位，并于2023年毕业于纽约大学艺术学院硕士学位。顾幸子的绘画创作通过柔和交错的色彩、飘逸空灵的形体，探讨了跨文化背景下亲密与孤寂、自我与他者微妙关系中那些难以言喻的感受。他的作品承载了跨越地理与身体边界的复杂经验，试图在如梦境般的场景中调和身为异乡者的茫然与失重。饶富东方韵味的视觉语汇源自于艺术家自身的成长背景，通过色彩的浓、淡、干、湿，从水墨罩染对物象的捕捉描绘在离散迁徙中的寂寞、疏离与归宿，将欲望与情感的表达转化在氤氲流淌的情愫之中。人物多半自若地彼此依偎或者平静地兀自栖息在艺术家笔下的异世界，在轻柔的缱绻与无邪的年华中相互试探，进一步探讨了亲密关系中性别与权力的游移。顾幸子在克制中寻找自由，静谧的画面透过材料的特质揭示了潜藏在叙事之外无尽的暧昧，将自我的想像寄托在朦胧的风景中。
近期个展包括：“另一半的梦”，Gallery Vacancy于弗里兹伦敦，2025；“Fluffing the Foliage”，C L E A R I N G，纽约，2025；“Pure Heart Hall”，Lubov，纽约，2024；“The Feeling Begins”，80WSE Gallery Project Space，纽约，2022。近期群展包括： “On Cue”，Stilllife，纽约，2025；“Meet me by the lake”，C L E A R I N G，纽约，2024；“Can Thought Go On Without A Body?”，Stilllife，纽约，2024；“dimly at first”，Loft 121 Gallery，纽约，2023；“Loosie”，80WSE Gallery Project Space，纽约，2023；“White Lodge”，island gallery，纽约，2023；“Nature 2023”，CICA – Czong Institute for Contemporary Art，金浦，2023。顾幸子曾获得多项奖项和奖学金，其中包括：2023年Vermont Studio Center的“Zeta Orionis Fellowship”；2022年11th Prisma Art Prize颁发的“ArtRights Prize”。顾幸子的作品收藏于奥克兰中央城市图书馆。
Gu Xingzi(they/them), born in 1995 in Nantong, China, currently lives and works in Brooklyn, New York. They received a BFA from the School of the Art Institute of Chicago in 2018, and completed an MFA at New York University in 2023. Interwoven a wide range of soft color palette with ethereal flowing forms, Gu’s work delves into the unspeakable interplay between intimacy and solitude, the self and the other in the customary behaviors across cultural boundaries. Their works embody the complex experience of traversing geographical and physical limitations, attempting to reconcile the disorientation and weightlessness of a wanderer adrift in a dreamlike, surreal landscape of their own fictional creation. Rooted in a visual language shaped by their oriental sensibilities and upbringing, Gu employs the traditional Chinese brush painting technique, using varying density of color wash–dry and wet, light and thick–to evoke themes of loneliness, alienation, and belonging in the context of migration and displacement. This transformation unfolds within the flowing, nebulous affection of the artwork, where the desire and emotion intertwine with the vaporous sphere. Gu’s painted figures often rest in intimate embrace or exist serenely within an otherworldly realm, lodged in a sensual yet innocent exploration that deepens the fluidity of gender and power dynamics in their relationships. Willing from restraint, Gu’s tranquil compositions enlivened by the unique qualities of their materials, unveil a plethora of ambiguities that extends beyond the narrative on the surface. The self emerges within misty landscapes, where the imagination and reality converge.
Their recent solo exhibitions include: A Half-Dream, Gallery Vacancy at Frieze London, 2025; Fluffing the Foliage, C L E A R I N G, New York, 2025; Pure Heart Hall, Lubov, New York, 2024; The Feeling Begins, 80WSE Gallery Project Space, New York, 2022. Group exhibitions include: On Cue, Stilllife, New York,2025; Meet me by the lake, C L E A R I N G, New York, 2024; Can Thought Go On Without A Body?, Stilllife, New York, 2024; dimly at first, Loft 121 Gallery, New York, 2023; Loosie, 80WSE Gallery Project Space, New York, 2023; White Lodge, island gallery, New York, 2023; Nature 2023, CICA – Czong Institute for Contemporary Art, Gimpo, 2023. Gu Xingzi is the recipient of the Zeta Orionis Fellowship in 2023; the ArtRights Prize from the 11th Prisma Art Prize in 2022. Their work is in the collection of Auckland Central City Library.
Han Xinyu 韩新宇
韩新宇，1998年出生于中国上海，现生活、工作于伦敦。她于2020年获得纽约视觉艺术学院艺术学士学位，并于2024年获得伦敦大学学院斯莱德美术学院艺术硕士学位。韩新宇的创作实践根植于跨文化的流动经验，从伦敦的审慎多元、纽约的开放以及上海的原生记忆，环境的交织与变换形塑了她对时间、空间与情绪的敏锐捕捉能力。她致力于探索结构与情绪、静止与流动、记忆与时间之间的张力，透过层叠的笔触与色彩的动态变化延展时间，捕捉存在与消逝之间的瞬间。
近期个展包括：“一切终将过去”，叁拾空间，北京，2026；“At the still point of the turning world”，Modern Animals Gallery，苏黎世，2025；“界限之舞”，弥金画廊，上海，2023；“春日 Spring 2022”，NICHES，重庆，2022；“独处”，Hè Gallery，上海，2021。群展包括：“真实的湿度”，Tiderip，伦敦，2025；“Betwixt”，General Assembly Gallery，伦敦，2025；“第三文化原住民”，颂艺术中心，北京，2025；“Volume #2”，Slippery Slope，苏黎世，2025；“BUFFER 3”，Guts Gallery，伦敦，2024；“跨级社区”，油罐艺术中心，上海，2024；“X Gala”，X美术馆，北京，2024；“江湖：中心的离散”，ZIAN画廊，杭州，2024；“Chromaphilia / Chromophobia”，SVA Chelsea Gallery，纽约，2020等。她曾入围 “Saatchi Art 年度新锐之星”，2020。
Han Xinyu, born in 1998 in Shanghai, China, now lives and works in London. Han received her Bachelor of Fine Arts from the School of Visual Arts, New York in 2020, and her Master of Fine Arts from the Slade School of Fine Art, UCL, London in 2024. Her creative practice is rooted in the fluid experiences of cross-cultural movement; the interplay and shift between the prudent plurality of London, the openness of New York, and the primal memories of Shanghai have shaped her keen ability to capture time, space, and emotion. Han explores the tensions between structure and sentiment, stillness and motion, and memory and temporality, extending time through layered brushstrokes and dynamic shifts in color to capture the fleeting moments between presence and disappearance.
Recent solo exhibitions include: This too shall pass, Sense Gallery, Beijing, 2026; At the still point of the turning world, Modern Animals Gallery, Zurich, 2025; Dancing on the Line, Gene Gallery, Shanghai, 2023; Spring 2022, NICHES, Chongqing, 2022; Home Alone, Hè Gallery, Shanghai, 2021. Recent group exhibitions include: True Humidity, Tiderip, London, 2025; Betwixt, General Assembly Gallery, London, 2025; Z Generation of Third Culture: Intercultural Child, Soul Art Center, Beijing, 2025; Volume #2, Slippery Slope, Zurich, 2025; BUFFER 3, Guts Gallery, London, 2024; SUPERCROWS/SUPERCOMMUNITY, TANK Shanghai, Shanghai, 2024; X Gala, X Museum, Beijing, 2024; Jiang Hu: The Discrete Center, Zian Gallery, Hangzhou, 2024; Chromaphilia / Chromophobia, SVA Chelsea Gallery, New York, 2020. She was named as one of Saatchi Art’s Rising Stars in 2020.
Michael Ho 何麦克
何麦克，1991年出生于荷兰阿纳姆，现生活、工作于伦敦。2019年毕业于英国建筑联盟学院。何麦克是一位跨学科艺术家，他的创作聚焦离散身份、文化差异以及神话建构中的空白地带。他成长于德国，父母来自于中国温州，他将自身的归属感形容为“在无家之中栖居”，因此常以混杂、过渡与未定形为创作的方法。其创作跨越绘画、影像与雕塑，借由中国神话、物质文化，以及关于死亡与来世的观念作为“门槛”，在“在场／不在场”的阈限上展开细微的对话。其实践深受已故搭档何智仁（1993–2022）的影响与形塑，这份失去既非叙事的终点，也不只是私人之哀，而是一种生成性的动力，使缺席的幽影得以激活记忆与神话，将哀悼转化为持续发生的空间。由此，他不断追问文化传承、东方主义母题、来世叙事，以及那些脆弱却顽强的“介于其间”的结构。2020–2022年与何智仁以双人组的形式共同创作；个展包括“Kūnlún”，V.O Curations，伦敦，2021。
何麦克的个展包括：“假作真时真亦假”，Gallery Vacancy于Independent，纽约，2024；“As Feelings Burn Their Way”，High Art，巴黎，2023；“洞天”，Gallery Vacancy，上海，2023；“密恋”，Gallery Vacancy于弗里兹伦敦，2022。近期群展包括：“ Chase a Crooked Shadow: Film Noir as Contemporary Mirror”，The Warehouse，达拉斯，2026；“瓯江流域艺术家群展”，昊美术馆，2025；“Boxes”，Nova Contemporary，曼谷，2025；“A Door Left Ajar”，Kurimanzutto， 纽约，2025；“360°：我们为何绘画？”，天目里美术馆，杭州，2025；“Embodied Forms: Painting Now”，Thaddaeus Ropac，伦敦，2024；“Phantom Hymn”，Modern Art，伦敦，2024；“Re: Representation”，James Fuentes，纽约，2024；“The Moon and I”，GRIMM，纽约，2023；“New Moroism”，White Cube，香港，2023；“Michael Ho, Su Yu-Xin, Hiroka Yamashita”，Blum & Poe，东京，2023；“Hollow Earth: Art, Caves & The Subterranean Imaginary”，诺丁汉当代艺术中心，诺丁汉，2022；“豆梦之奶”，刺点画廊，香港，2022；“Current Transmissions”，ICA，伦敦，2022；“各找各家”，Gallery Vacancy，上海，2022；及“Intra-action: Part 2”，Soft Opening，伦敦，2021。他的影像作品曾在伦敦皮卡迪利广场，伦敦ICA和Nottingham Contemporary放映。何麦克的作品收藏于：ASOM Collection，日内瓦；Asymmetry Art Foundation，伦敦；Domus Collection，纽约；K11 Foundation，香港；Labora Collection，达拉斯；李琳收藏，杭州；Longlati Foundation，香港；M Art Foundation，香港；Tanoto Family Collection，新加坡；X美术馆，北京；之已基金会，北京。
Michael Ho, born in Arnhem, Netherlands in 1991, Ho graduated from the Architectural Association in 2019. Ho is a London based multidisciplinary artist whose practice navigates diasporic identity, cultural mismatch, myth-making, and the spaces between. Raised in Germany by parents from Wenzhou, China, Ho describes his sense of belonging as a “residence in homelessness,” and his practice often explores hybrid, liminal states where identity is unsettled. Working across painting, film, and sculpture, Ho draws on Chinese mythology, material culture, and the concepts of death and afterlife as thresholds to explore subtle dialogues between presence and absence. Crucially, his practice is shaped by his late collaborator Chiyan Ho. The loss becomes neither a narrative endpoint nor purely a personal grief, but a generative force. Ho’s work allows the spectre of absence to animate memory and myth, turning mourning into ongoing space. Through this personal and spiritual resonant practice, Ho interrogates cultural inheritance, orientalist tropes, afterlife, and the fragile architectures of in-betweenness.
Recent solo exhibitions include: A Semblance of Truth, Gallery Vacancy at Independent, New York, 2024; As Feelings Burn Their Way, High Art, Paris, 2023; Grotto Heavens, Gallery Vacancy, Shanghai, 2023; Tryst, Gallery Vacancy at Frieze London, 2022. His works have been featured in group exhibitions at The Warehouse, Dallas, 2026; HOW Art Museum, Shanghai, 2025; Nova Contemporary, Bangkok, 2025; Kurimanzutto, New York, 2025; By Art Matters, Hangzhou, 2025; Thaddaeus Ropac, London, 2024; Modern Art, London, 2024; James Fuentes, New York, 2024; GRIMM, New York, 2023; White Cube, Hong Kong, 2023; Blum & Poe, Tokyo, 2023; Nottingham Contemporary, Nottingham, 2022; Blindspot Gallery, Hong Kong, 2022; ICA, London, 2022; Gallery Vacancy, Shanghai, 2022; and Soft Opening, London, 2021. His film projects have been screened at Piccadilly Circus, London, ICA, London and Nottingham Contemporary. Ho’s works are in the collections of ASOM Collection, Geneva; Asymmetry Art Foundation, London; Domus Collection, New York; K11 Foundation, Hong Kong; Labora Collection, Dallas; Li Lin’s Collection, Hangzhou; Longlati Foundation, Hong Kong; Tanoto Family Collection, Singapore; X Museum, Beijing; ZHI Foundation, Beijing.
Fu Nagasawa 长泽枫
长泽枫，1999年出生于日本高知县，现工作生活于京都。他于2022年毕业于武藏野美术大学油画系，并于2025年取得京都艺术大学油画硕士学位。长泽的绘画实践源于对日本民俗艺术与工艺传统图像语言的再访，常以陶器、染织与日常生活器物中的鸟类、植物与装饰性图样为题，进行再创与转译。他结合油画与木版印刷等技法，在着意与偶发之间构建层叠画面，其作品中常见的非均质肌理、偏移印痕与即兴笔触，使画面同时显露出手工技艺的触感与时间性，如同经历烧制后无可复制的窑变效果。在这一过程中，长泽将注意力从符号转向材料感知，创建出新的图像场域，使那些源于传统文化的形象得以被重新置入当代语境，悄然转化。
近期个展与双人展包括：“Folk Fog”，Chiso Gallery，京都，2026；“Zankyu”，Taka Ishii Gallery，前桥，2026；“☆ Book Mark”，COHJU Contemporary Art，京都，2026；“Mark Making”，Taka Ishii Gallery，东京，2025；“Artifact – Nature”，COHJU Contemporary Art，京都，2024。群展包括：“Future Fossils”，于Paris Internationale，巴黎，2025；“COHJU群展”，京都，2025；“Second Signal”与“grid4”，biscuit gallery，东京，2025；Kengo Kito推荐艺术家展“Floor”，西武涩谷画廊，东京，2024；“Shibuya Style vol.17”，西武涩谷画廊，东京，2023；“HOP”，京都艺术大学Galerie Aube，京都，2023。
Fu Nagasawa, born in 1999 in Kochi, Japan, now lives and works in Kyoto. He received a BA in Oil Painting from Musashino Art University in 2022 and completed his MFA in the same field at Kyoto University of the Arts in 2025. Nagasawa’s practice revisits the visual and symbolic language of Japanese folk art and craftsmanship, drawing on motifs such as birds, plants, and ornamental patterns found in ceramics, dyed fabrics, and everyday objects. Working with both oil painting and woodblock printing, he reinterprets these inherited forms through layered compositions that oscillate between intention and accident. Irregular textures, misaligned imprints, and gestural brushstrokes echo the tactile nature of traditional techniques, where each variation, like the unpredictable results of kiln‑fired glazes, resists standardization. Through this process, Nagasawa shifts attention from decorative imagery to material resonance, proposing a renewed pictorial space in which forms rooted in secular culture are neither quoted nor rejected, but recontextualized and quietly transformed.
Recent solo and duo exhibitions include: Folk Fog, Chiso Gallery, Kyoto, 2026; Zankyu, Taka Ishii Gallery, Maebashi, 2026; ☆Book Mark, COHJU Contemporary Art, Kyoto, 2026; Mark Making, Taka Ishii Gallery, Tokyo, 2025; Artificial-Natural, COHJU Contemporary Art, Kyoto, 2024. Selected group exhibitions include: Future Fossils, at Paris Internationale, Paris, 2025; COHJU Group Exhibition 2025, Kyoto, 2025; Second Signal and grid4, biscuit gallery, Tokyo, 2025; Kengo Kito Recommended Artist Exhibition “Floor”, Seibu Shibuya, Tokyo, 2024; Shibuya Style vol.17, Seibu Shibuya, Tokyo, 2023; and HOP, Kyoto University of the Arts Galerie Aube, Kyoto, 2023.
Sydney Shen 沈心怡
沈心怡，1989年出生于美国新泽西，现生活、工作于纽约。2011年毕业于库伯联盟学院。她的装置、雕塑通常流露不寻常的诡谲与疏离。她从一系列的历史和当代文化资源中得到灵感，包括中世纪刑罚考究、科幻文学、和线上世界中加密的暗网，并以弗兰肯斯坦式—科学怪人的手法将中西方医疗器械、3D打印、以及生物标本等有机和人造材料重新搭建，利用这种诱人且恐怖双重性将观众一步一步拉入她自编自导自演光怪陆离多重虚构的「真实」之中。
她的个展和个人项目包括：“第一把椅子”，Gallery Vacancy于巴塞尔艺术展香港展会，2023；“我到你的荣耀里”，Gallery Vacancy于Liste Art Fair Basel，巴塞尔，2021；“Strange But True”，Queens Museum，纽约，2021；“苦鞭作乐”，Gallery Vacancy，上海，2021；“Every Good Boy Does Fine”，Sophie Tappeiner，维也纳，2019；“Onion Master”，New Museum，纽约，2019。近期群展于：Musée de Carouge，日内瓦，2025；美凯龙艺术中心，北京，2024；广东时代美术馆，广州，2024；Jack Barrett，纽约，2023；金鹰美术馆，南京，2023；Simone Subal，纽约，2022；Lubov，纽约，2022；Kraupa-Tuskany Zeidler，柏林，2022；47 Canal，纽约，2022。沈心怡是2019–2020年Queens Museum Jerome Foundation Emerging Artist Fellowship的得奖者，并在2019–2020年取得Lower Manhattan Cultural Council Workspace的驻留。沈心怡的作品收藏于：Asymmetry Art Foundation，伦敦；G Museum，南京；Longlati Foundation，香港；美凯龙艺术中心，北京；M+美术馆，香港；Sigg Collection，巴塞尔；Tanoto Family Collection，新加坡。
Sydney Shen, born in 1989 in Woodbridge, now lives and works in New York. She completed her BFA at The Cooper Union for the Advancement of Science and Art, New York in 2011. Shen uses sculptures and installations to create an atmosphere of wretched apprehension, examining the limitation of mentality through the extremity of the physical body. Exploring through various sources from historical and contemporary art history, including but not limited to medieval excruciation, supernatural horror fiction, and Internet subcultures, Shen frankensteins organic and fabricated materials such as Chinese and Western medical apparatus and instruments, graphic designed ornaments, and biological specimens. With the enticing but horrifying duality in her work, Shen manages to drag the audiences into the bizarre yet motley world she creates, directs and performs in.
Her solo exhibitions include: First Chair, Gallery Vacancy at Art Basel Hong Kong, 2023; Cupio Dissolvi, Gallery Vacancy at Liste Art Fair Basel, 2021; Strange But True, Queens Museum, New York, 2021; Misery Whip, Gallery Vacancy, Shanghai, 2021; Every Good Boy Does Fine, Sophie Tappeiner, Vienna, 2019; and Onion Master, New Museum, New York, 2019. Her works have been featured in exhibitions at: Musée de Carouge, Geneva, 2025; Macalline Center of Art (MACA), Beijing, 2024; Guangdong Times Museum, Guangzhou, 2024; Jack Barrett, New York, 2024; G Museum, Nanjing, 2023; Simone Subal, 2022, New York; Lubov, New York, 2022; Kraupa-Tuskany Zeidler, Berlin, 2022; 47 Canal, New York, 2022. Shen was the recipient of The Queens Museum-Jerome Foundation Fellowship for Emerging Artists and the Lower Manhattan Cultural Council Workspace Residency Program in 2019. Her works are included in the collections of: Asymmetry Art Foundation, London; G Museum, Nanjing; Longlati Foundation, Hong Kong; MACA Macalline Art Center, Beijing; M+ Museum, Hong Kong; Sigg Collection, Basel; Tanoto Family Collection, Singapore.
Sun Woo 珗宇
珗宇，1994年出生于韩国首尔，现工作、生活于首尔。她于2017年在哥伦比亚大学取得视觉艺术的学士学位。从加拿大移民和数字原住民的经历出发，珗宇将这些跨越地理和文化界限的经验与她的艺术实践交织到一起，在虚拟与真实的世界中探讨归属感、民俗传说以及集体记忆等概念。珗宇的绘画和雕塑作品往往摆脱了现实的束缚，构建出充满险象和类人机械躯体的场景；以诙谐的方式融合了梦境、痛苦和共生等主题的同时，作品探究了在超连接时代下肉身体验渐渐消融瓦解的过程。通过艺术家超写实的绘画技法，作品传递了气味、温度和湿度所承载的感官记忆，在网络时代逐渐异化的肉体经验中触发了跨越空间与地域的亲密性。在珗宇的实践中，她不断地将极致的感官细节融入到画面中，试图唤起发自内心的感受，亦将禁锢于痛苦中的宿命转化为一场主观性的无形奇观。
近期个展包括：“茧房”，Gallery Vacancy，上海，2025；“Portals”，Gallery Vacancy于Frieze London，伦敦，2024；“Swamps and Ashes”，Make Room，洛杉矶，2023。近期群展包括：“Still Life: Objects of Our Time”，施博尔画廊，首尔，2026；“PANORAMA”, Songeun Art and Cultural Foundation，首尔，2025； “Floating World: Bed, Bath, Bus”，Sehwa Museum of Art， 首尔，2025； “Alien”，David Castillo Gallery，迈阿密，2024；“Nova Libertatia”, The Orange Garden于Forum Studios，罗马，2024；“Cities in the Room”，首尔市立美术馆，首尔，2023；“Materi-delia”，Ulsan Art Museum，蔚山，2023；“Wetting Your Whistles”，Art Sonje Center，首尔，2023；“Second Life”，Lyles & King，纽约，2023；“Myths of Our Time”，Thaddaeus Ropac，首尔，2023。她的作品被收藏于：爱茉莉太平洋美术馆，首尔；Collection of Beth Rudin DeWoody，纽约；洛杉矶郡立美术馆，洛杉矶；Museu Inimá da Paula，贝洛奥里藏特；The Perimeter，伦敦；X 美术馆，北京。 珗宇作为艺术家双人组合 Dadboyclub 的共同创始人，她曾获2023年韩国Seoul Foundation for Arts and Culture的奖项和2021年Arts Council Korea and Ministry of Culture的“Art Change Up”奖。
Sun Woo, born in 1994 in Seoul, South Korea, now lives and works in Seoul. She received her Bachelor’s degree in Visual Arts from Columbia University in 2017. Invariably rooted in her personal experiences as a digital native and immigrant to Canada, Sun Woo’s work interweaves themes of migration across geographical and cultural boundaries, exploring the concept of belonging in both real and virtual spaces while attending to the collective memory of folklore and mythology. Moving beyond realistic inference, Sun Woo fabricates extreme perils and animated mechanical objects in her paintings and sculptures, wittily wielding together themes of dream, pain, and symbiosis while investigating the gradually disintegrating physical body in the age of hyperconnectivity. Through smell, temperature, and humidity provoked by her photorealist approach, these sensory perceptions activate a shared familiarity and intimacy, both at present and from afar, within the disassociated bodily contexts. Sun Woo’s works relentlessly insert heightened perceptual nuances to propose a possibility which summons and amalgamates the dislocated senses across time and within the corporeality created by the artist, evoking visceral feelings that turn the suffering of one’s immurement to the spectacle of disembodiment subjectivities.
Her solo exhibition includes: Shelter, Gallery Vacancy, Shanghai, 2025; Portals, Gallery Vacancy at Frieze London, 2024; Swamps and Ashes, Make Room, Los Angeles, 2023. Recent group exhibitions include: Still Life: Objects of Our Time, Esther Schipper, Seoul, 2026; PANORAMA, Songeun Art and Cultural Foundation, Seoul, 2025; Alien, David Castillo Gallery, Miami, 2024; Nova Libertatia, The Orange Garden at Forum Studios, Rome, 2024; Cities in the Room, Seoul Museum of Art, Seoul, 2023; Materi-delia, Ulsan Art Museum, Ulsan, 2023; Wetting Your Whistles, Art Sonje Center, Seoul, 2023; Second Life, Lyles & King, New York, 2023; Myths of Our Time, Thaddaeus Ropac, Seoul, 2023. As the co-founder of artist-duo Dadboyclub, Sun Woo is the recipient of Seoul Foundation for Arts and Culture in 2023 and Art Change Up from the Arts Council Korea and Ministry of Culture in 2021. Her works are in the collections of Amore Pacific Museum of Art, Seoul; Collection of Beth Rudin DeWoody, New York; Los Angeles County Museum of Art, Los Angeles; Museu Inimá da Paula, Belo Horizonte; The Perimeter, London; and X Museum, Beijing.
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
