We are pleased to present PIXEL//FLESH, a solo exhibition by Ziyi Zhang featuring her ongoing series of Data-Body Paintings curated by Jinyi Freya Xu at LATITUDE Gallery. Moving across painting, digital imaging, robotic fabrication, and sculptural relief, the exhibition examines how a technology acquires weight, texture, and bodily presence after leaving the screen.

The title PIXEL//FLESH names both a division and a point of contact. The double slash evokes a line of code, a rupture between systems, and a pathway through dimensions. On one side is the pixel: standardized, virtual, and weightless. On the other is flesh: tactile, organic, and subject to gravity. Like a portal ripped open, Zhang’s works force these two incompatible realms to collide.

Zhang’s practice begins with ordinary fragments from her immediate surroundings – a knitted sweater, a plastic shower curtain, metal wire, grass, or a chipped wall. These objects are uploaded into virtual space, where their distinct material qualities are flattened into the unifying code of pixels. Just as painting historically translated the visible world through pigment, the screen metabolizes these radically different forms of matter, rendering them temporarily equivalent as data.

Yet Zhang refuses to let the image remain within the frictionless architecture of the screen. Using robotic fabrication technology developed in collaboration with Canon Solutions, she translates digital images and three-dimensional meshes into topographical surfaces. These machine-produced structures are subsequently adjusted and painted by hand with oil pigment, pearl powder, epoxy clay, and other materials. The machine establishes the image’s architecture; the artist’s hand gives it friction, instability, and skin.

The resulting works hover between painting and technology. From a distance, they retain the visual seduction of digital images: luminous color and artificial sharpness. At close range, however, their surfaces begin to resist the screen’s promise of seamlessness. Pixels protrude from the picture plane. Gradients become ridges. Compression becomes texture. In this space, the robotic and the painterly do not fight each other; instead, they produce a hybrid form belonging entirely to neither system. As the image moves from object to data to physical relief, it acquires a distinct material presence.

Zhang describes this condition as a form of “screen-native materiality”: matter shaped by the visual logic of digital technology but no longer confined to the digital realm. Her Data-Body Paintings do not present the physical and virtual as opposing worlds. Instead, they reveal how deeply the two have already entered one another. The screen reorganizes our perception of physical matter, while matter exposes the limits of the screen’s apparent perfection.

The exhibition therefore asks what “flesh” might mean in a screen-mediated world. It is not limited to the biological body. Flesh becomes any surface capable of carrying sensation, pressure, memory, and transformation. Polymer becomes flesh. Pigment becomes flesh. In leaving the screen, the pixel gains depth, weight, and friction. It becomes flesh.

About the Artist

Ziyi Zhang (b. 1999, Beijing) is a cross-disciplinary artist based between Chicago, New York, and Beijing. She received her BFA, with a minor in Philosophy, from Washington University in St. Louis in 2021 and her MFA in Painting and Drawing from the School of the Art Institute of Chicago in 2023.

Her work has been exhibited at venues including Nguyen Wahed, MAMA Projects, and Plexus Projects in New York; Levant Art in Shanghai; OneArt Gallery and Bonian Space in Beijing; and Twelve Ten Gallery in Chicago. Her practice has been featured in Artnet, Chicago Reader, Digital America, Floor Magazine, Tussle, and Visual Atelier 8, among others.

NEW YORK, NY - FLOHAUS Gallery is pleased to present A Home Together, a group exhibition and salon presentation exploring relationships between humans and animals through companionship, care, rescue, vulnerability, coexistence, and belonging. Presented in connection with International Homeless Animals Day, the exhibition brings together painting, photography, sculpture, ceramics, textiles, works on paper, illustration, printmaking, digital media, and mixed-media practices.

At its core, A Home Together considers what it means to warm encounters, establish trust, and create a sense of home across relationships. For a stray animal, home may begin as a cardboard box, a warm corner near a storefront, a patch of sunlight on the pavement, or the moment someone stops, notices, and chooses not to walk away. The exhibition presents home as a warm concept continually created through attention, responsibility, freedom, compassion, and emotional connection.

The exhibition unfolds in two interconnected parts: Encounters - Group Exhibition and Home Together - Salon Presentation that offer two distinct but equally important ways of experiencing the works.

I. ENCOUNTERS

Encounters is an exhibition that presents warm encounters between humans and animals around care, memory, rescue, grief, trust, and the emotional bonds. The exhibition brings works and stories of Sammy Bennett, David Enriquez, Chandra Fang, Kim Myung-sik, Luigi Mallozzi, Kylie McLaughlin, Kristine van Ingen, and The Dog Obsession (Andi and Paulina) to express the heartmoving connection with their animal family members.

To consider abandonment, survival, rescue, adoption, grief, and the acts of care through which a place becomes a home. For an animal living without shelter, home may begin as a cardboard box beneath an awning, a warm corner near a storefront, a patch of sunlight on the pavement, or a narrow opening in a forgotten building. These lives unfold within the same cities as ours, yet often remain unseen. Once a lovely present enters one another’s life, a warm story begins, and a home is built by love. A Home Together begins when that love encounters someone who stops, notices, chooses not to walk away, and shares love and home.

II. HOME TOGETHER - Salon Presentation

While Encounters creates space for contemplation, Home Together shifts into a more intimate and abundant salon-style environment. The salon presentation includes works of Ming Chang, Emily Chao, Cindy Chen, Christine Chiang, Sophia Collender, Rhea Dias, DIKSHANT, Sherly Fan, Cat Johnston Floyd, Sophie Furman, Roman Karas, Sarah Roman, Alex Strycula, Angela Sun, Katrien Vandecruys, Casa Vanessa, Xinlin Wang, and Lucinda Wei. Small paintings, works on paper, photography, illustration, prints, ceramics, and objects are brought together in an intimate space that reflects the rhythm of everyday life after the amazing encounters.

The salon presentation offers a close look that connects to the experience of living with both art and animals. Through its layered installation, Living Together reflects the character of a home as it is actually lived: abundant rather than isolated, imperfect rather than fixed, and gradually shaped by the beings, memories, and objects that inhabit it. Audiences are invited to move through the space discovering individual moments within shared stories.

Encounters and Living Together move between contemplation and everyday experience. One section creates space to pause and engage closely with individual works; the other builds a collective environment in which different forms of art and life coexist. Neither section is positioned above the other. Instead, they offer complementary approaches to the exhibition’s central question: how is a home created between different lives?

Across both presentations, home appears not as ownership or enclosure, but as a condition of safety - the freedom to rest without fear, to move through a space without being threatened, to be recognized as an individual life, and to remain present through memory and emotional connection. Through these two interconnected environments, A Home Together becomes both an exhibition and a shared space for considering how belongings are built over time. It invites viewers to reflect on how attention, compassion, and even the smallest act of kindness can redirect the course of a life.

New York, May 2026 – We are pleased to present Between the Breath of Objects, a group exhibition featuring Kyung Kim, Luping Wang, Silvia Muleo, Xuemeng Li, and Ziyi Zhang. The exhibition explores how objects, long understood as passive and inert, begin to register as active participants within a shared field of breath, time, and perception.

In contemporary conditions shaped by technological mediation and ecological awareness, the boundary between the human and the material has become increasingly porous. Objects no longer remain external to experience; they circulate through systems of touch, image, sound, and data, accumulating traces of use, memory, and affect. Within this expanded field, the exhibition asks: when objects enter into relation with human breath, understood as rhythm, presence, and duration, how might the distinction between life and matter be rethought?

Between the Breath of Objects approaches objects not as fixed entities but as relational formations shaped through interaction. Drawing on the idea of “the thing” as a gathering of forces, the exhibition frames each work within an unfolding ecology. Breath functions as both metaphor and medium, a temporal condition through which bodies, materials, and environments become entangled. What emerges is not representation, but a field of co-presence where objects seem to expand, contract, and resonate within space.

Across installation, painting, moving image, and sound, the participating artists articulate distinct modes of relation. Ziyi Zhang materializes the cognitive gap between screens and physical reality. Treating the digital as a tangible medium, she ‘uploads’ everyday objects into virtual space and extrudes them back into topographical paintings via robotic and painterly processes. Her work acts as a physical glitch, giving structural weight to the flattened logic of the screen. Silvia Muleo works with light, hardware, and screen-based perception to reveal digital space as both illumination and interruption, where physical and virtual realities overlap and interfere. Xuemeng Li approaches the interface as a permeable threshold, exploring how identity is constructed and dispersed across mediated systems. Kyung Kim’s abstract landscapes extend the exhibition’s elemental dimension, offering painting as an atmospheric field shaped by rhythm, seasonality, and perception. Luping Wang’s practice reconfigures ephemerality as duration, translating transient forms into wearable structures where time lingers on the body rather than passes.

These works move beyond objects as fixed forms, proposing a continuum where matter, perception, and time unfold through relation. Between the Breath of Objects invites viewers into a field of shared becoming, shaped by proximity, resonance, and transformation.

Kyung Kim (b. 1996, Seoul, Korea) is a South Korean-born painter currently based in New York. Her abstract paintings explore intangible sensitivities of sound, temperature, and time, shaped by memory and perception. Working on clear-primed linen, she treats oil paint as more than pigment, allowing it to linger like a softly composed scent. Her work translates invisible processes and experiences into open, atmospheric forms.

Luping Wang (b. 1997, Zhejiang, China) is a New York-based artist and designer who redefines jewelry as a medium for body sculpture and spatial narrative. Working primarily with silver, she moves beyond the literal imitation of nature to reconfigure the structural limits of the material, evoking a sense of breath within static objects. Her work transforms jewelry into intimate bodily landscapes where metal is transmuted into symbols of vital energy and the cyclical resonance of growth defined as Karma. Balancing rigorous precision with sensorial fluidity, Wang’s visual language bridges Eastern metaphysics and the avant-garde pulse of New York to manifest a high-vibration resort-style sense of ease.

Silvia Muleo (b. 1998, Pisa, Italy) is an artist based between Pisa and Brooklyn. Her multidisciplinary practice explores the shifting boundary between digital and physical realities, shaped by her coming of age within Web 2.0. Working across video, painting, and participatory installation, Muleo examines how light, screens, and technological systems simultaneously illuminate and disrupt perception, constructing a fragmented field in which the digital and physical are inseparable.

Xuemeng Li (b. 2000, Hunan, China) works across photography, film, and sound. His practice takes shape through the act of looking, exploring relationships between humans and water, nature and the self. His work moves between inner experience and lived reality, engaging themes such as the act of recollection and environmental change. Through abstraction in image-making, Li translates wordless awareness into tangible visual experiences.

Ziyi Zhang (b. 1999, Beijing, China) is a cross-disciplinary artist working across painting, net art, performance, video, and writing. Her practice captures the cognitive friction of our digital era, constantly navigating the feedback loop between physical reality and virtual existence. Whether utilizing robotic technology to extrude flattened digital data into topographical, highly tactile paintings, or employing AI and digital forensics to unearth decade-old intimate histories inexplicably hidden within a brand-new hard drive, Zhang treats the digital realm as a tangible medium. By blurring the boundaries between automation and human labor, truth and fabricated narrative, the personal and the collective, her work translates lived experience into a native visual language for the algorithmic age.

Jinyi Freya Xu (b. 2002, Dalian, China) is a New York–based curator. Her practice translates experience, time, and perception into visual and spatial forms, bridging curatorial inquiry with philosophy, AI, and cross-disciplinary thinking. She holds an M.A. in Visual Arts Administration from New York University and a B.A. from the Central Academy of Fine Arts. Xu has curated exhibitions, including When Blurry Memories Awaken, Inner Feast, and Entangled. Xu has contributed to exhibitions, publications, and institutional projects at the West Bund Museum × Center Pompidou, Matthew Liu Fine Art, and Latitude Gallery, with extensive experience in artist collaboration, narrative development, market strategy, and cross-cultural exchange.

Shuhan Zhang (b. 2002, Jiangsu, China) is a curator and writer. She is currently an M.A. candidate in Visual Arts Administration at New York University and holds a B.A. from the Central Academy of Fine Arts. Her research focuses on digital art, cultural platforms, and the contemporary art market. She has curated exhibitions including After the Face, Lithic Coordinates, Losing Ghosts, A Lure, A Lament, and Spreading Growth. Her writing has been published in Tussle Magazine, IMPULSE Magazine, Art Spiel, and Whitehot Magazine, with a focus on exhibition criticism and contemporary art discourse.

FOR IMMEDIATE RELEASE

Osmosis Artists: Guo Tongtong, Kyung Kim, Joy Li, Xingze Li, Yu Ruo-Jie, Bingyi Zhang

Flohaus Gallery, 209 W 38th Street, #500, New York, NY 10018 April 25 – May 3, 2026 Opening Reception: Saturday, April 25, 2026 | 6–8 PM Curated by Jinyi Freya Xu and Luman Jiang

New York, NY, April 25, 2026 – Osmosis is a group exhibition at Flohause Gallery bringing together six artists working across painting, installation, photography, and mixed media.

"What's more mystifying and seductive than encountering an other that feels familiar?"

We have never touched the world directly. What we touch is the way the world arrives at us. Between the two, there is always a medium: language, culture, the environment in which we grew, the narratives we were given, the assumptions so familiar we no longer think to question them.

In biology, osmosis describes the spontaneous movement of solvent molecules through a semipermeable membrane, requiring no external force, only a membrane and a difference in concentration on either side. Osmosis takes this process as a framework for examining how cultural contact occurs in contemporary life: not through rupture or assimilation, but through prolonged, silent, unstoppable mutual permeation. The exhibition considers the invisible membrane that encloses each individual, filtering everything visible, refracting every arriving signal. Osmosis happens when the membrane thins. Not disappear. But sometimes it thins enough that pressure from the other side begins to seep through, carrying an unfamiliar warmth, quietly shifting the density on this side.

Guo Tongtong (b. 1979, Suzhou) works in paper-based mixed media, drawing on her training in printmaking at Nanjing Art Institute and Tianjin Academy of Fine Arts. Her Love Letter series weaves watermark prints, hand-drawn marks, and collaged materials into layered compositions accompanied by three-line poems. Printed traces and freehand gestures coexist on the same surface, producing a transparency that is never fully resolved. Recent exhibitions include a solo show A Love Poem to the Time at BFM Art Center (2025) and the Guanlan International Print Biennial (Shenzhen, 2023).

Kyung Kim is a South Korean-born, New York-based painter who translates sensory memories of natural landscapes into painting, capturing invisible sensitivities of sound, temperature, and time. She holds a BFA from SAIC and an MFA from Pratt Institute (2024). In 2024 she published her first art book, The Waxing Moon.

Joy Li (b. 1999, Gansu) is a sculptor and interdisciplinary artist. BFA from MICA, currently MFA Sculpture at Yale School of Art. For Osmosis, she presents Our Ephemeral Eternity: Our Love, Our Ordinary Battlefield (2025), a mixed-media installation where domestic objects construct a landscape in which intimacy and conflict become a permeable membrane. Recent solo exhibitions include Gas Station X (Vanguard Gallery, Shanghai, 2024) and Icarus' Wings (Guangdong Times Museum, 2024). She was a 2024 Porsche Young Chinese Artist of the Year nominee and Skowhegan fellow.

Xingze Li (b. 1992, Ya'an) is a Brooklyn-based artist working at the intersection of photography and sculpture. His dye sublimation on aluminum pieces lend weight to unassuming walls in domestic and semi-public spaces, capturing each surface's sense of time and passage of light. For Osmosis, he presents Untitled (mid Jan. on 43 St) (2024), an elliptical aluminum panel where the membrane becomes visible as material encounter. BFA from Xi'an Academy of Fine Arts, MFA from Pratt Institute (2019). Exhibitions at Yi Gallery, Ortega y Gasset Projects, and Sweet Lorraine Gallery.

Yu Ruo-Jie is an artist, curator, and writer working across video, installation, painting, and new media. For Osmosis, she presents Take a Nap in Bubble – No. 18 (2022), a photographic work that freezes the oscillation of transient foam, rendering uncertainty in pixelated visual language. The bubble, simultaneously transparent and distorting, becomes the exhibition's most literal figure for the membrane. Recent solo exhibitions include Dozing in the Fold of Dreamland (Modern Art Museum, Shanghai, 2022) and The Lying Flower (Three Shadows Photography Art Centre, Beijing, 2021).

Bingyi Zhang is a painter exploring relationships between perception and the natural world. BFA in Studio Art from NYU, currently pursuing graduate studies at Harvard University. For Osmosis, she presents Whisper of Water (2024), an acrylic painting capturing the ever-changing surface of water under shifting light.

When Blurry Memories Awaken

Curated by Jinyi Freya Xu

Nugyen Wahed Gallery, 504 E 12th St, New York, NY 10009

March 22 - March 31, 2026

We are pleased to present When Blurry Memories Awaken, an exhibition curated by Jinyi Freya Xu that brings together seven artists – Ruoyu Gong, Sharon Cheuk Wun Lee, Xinzi Luo, Wandi Ni, Hafsa Nouman, Haidong Yang, Jingyi Zhang. Rather than treating memory as a fixed archive of the past, the exhibition approaches it as a process shaped by perception, materiality, and temporal distance, one that continuously oscillates between recollection and imagination.

The physical presence are vessels of our own experiences, shaped and sustained by the totality of our memories. Every recollection constructs the architecture of our present self. Yet when we turn back toward the past, memory always appears in flux — both near and distant, shadow-like yet illusory. Blurry memory is not simply a residue of forgetting, but the inherent form through which memory exists. It reveals how our perception of the past is continuously defined by processes of layering, fading, and reconstruction.

In remembering, the distinction between objectivity and subjectivity begins to dissolve. Memory no longer reproduces fact; it becomes an act of re-creation, woven from perception, emotion, and imagination. The exhibition resists medium-based categorisation in favour of perceptual proximity. Painting, photography, and object-based works are placed in dialogue through shared concerns with surface, transparency, repetition, and trace.

Ruoyu Gong uses personal symbolism to explore psychological interiority and emotional perception. Sharon Cheuk Wun Lee works across photography, video, and installation, examining memory, historical rupture, and mediated vision through archival and cartographic approaches. Jingyi Zhang uses multi texure to explore perception through natural metaphors. Haidong Yang employs the photobook as a narrative and temporal structure to investigate alternative viewpoints and everyday power relations. Xinzi Luo works across painting, sculpture, and socially engaged practice, exploring utopian imagination and relational community structures. Hafsa Nouman examines memory, desire, and colonial histories through spatial thresholds, material surfaces, and embodied gestures in painting. Wandi Ni creates multi-panel paintings that reflect on shared memory between humans and non-humans, rooted in land, time, and ecological continuity.

In an image-saturated per45resent defined by speed and clarity, When Blurry Memories Awaken insists on the value of uncertainty. Blurriness functions as a critical space, which allows memory to remain active, porous, and unresolved, reminding us that what shapes subjectivity most deeply is often what cannot be fully fixed or confirmed.

Press Release

We are pleased to present Yanti Zhao’s solo exhibition Entangled curated by Jinyi Freya Xu and Eliza Xinping Tan, in Latitude Gallery (5 Lispenard Street, New York) from October 30 – November 4. Entangled unfolds as an inquiry into the temporal knots that bind consciousness, memory, and matter—where past, present, and future coexist, looping through one another, and cause and effect dissolve into a shared rhythm of becoming. Through layered material gestures, Yanti Zhao traces how identity emerges from this simultaneity of time and transformation. Through mixed media paintings and spatial interventions, Zhao explores the porous boundary between what is remembered and what continues to unfold. The exhibition reflects on how time emerges not from clarity or separation, but from entanglement, which coexist within the same continuum of becoming.

Across paintings layered with ink, mineral pigment, clay, and rice paper, Zhao’s gestures oscillate between tension and release. Each work is a record of transformation: surfaces stretch, fold, and erode, tracing the persistence of life within rupture. The recurring motif of the rope—twisted, frayed, or taut—evokes the interdependence between confinement and connection.

Through material and temporal layering, Zhao constructs an ecology of emotion and matter. Time, in their practice, is not linear but cyclical—folding into itself through remembrance and renewal. Entangled becomes a meditation on coexistence: how relationships between self and world evolve through care, erosion, and persistence.

Artist Statement

Yanti Zhao’s practice centers around an exploration of diverse materials—Mixed media painting, rope, installation, performance art and organic matter—drawn to their inherent possibilities and contradictions. Through processes of layering, overlapping, and transformation, they generate dynamic interactions between tension and release, harmony and fracture.

Yanti approaches both the land and the human body as living archives—sites where memory, experience, and matter interlace. Their installations construct spatial environments where traces of the past fold into the present, while performances use the body as an instrument of duration and vulnerability, revealing how pain, care, and renewal are intertwined. In painting, layering and erasure become acts of rewriting, gestures that expose how memory is not fixed but continually rewritten within itself.

Time folds, knots, and spirals. It is nonlinear and affective, lived through cycles of loss and persistence, forgetting and returning. Within this entanglement, identity is not a stable core but a constellation of overlapping temporalities—crossing the boundaries between lived and imagined, personal and ecological. Through an ethics of attention and transformation, their work proposes that decay is not disappearance but another form of becoming.

In these material and temporal entanglements, Yanti invites a meditation on coexistence: how relationships between body and land, between matter and memory, might transcend intimacy and evolve into dynamic interconnections shaped by tenderness, erosion, and time itself.

New York, August 8, 2025 – We are pleased to present Inner Feast, a group exhibition conceived as a psychological banquet for the soul. The exhibition will be on view for one week at Accent Sister (89 5th Ave #702, New York, NY), transforming art into a form of psychic nourishment and inviting audiences to traverse the subconscious and engage with the layered entanglements of personal affect and sociocultural narratives.

Inner Feast's conceptual foundation is Freud’s id–ego–superego model, Jung’s process of individuation, and the Daoist philosophy of Wu Wei. The exhibition charts a path toward inner healing through symbols, dreamscapes, and intuitive visual languages. The artists’ works function as psychological texts to be “digested,” weaving nonlinear perceptions and emotions into a deep dialogue between viewer and artwork, turning the exhibition into a process of feeling.

In this “Inner Feast,” Beiyi Wang uses ritualized installations and bodily experiments to place the audience in a liminal space where perception and time intersect, allowing psychic energy to undergo a quiet transformation through subtle but profound sensory interventions. Yanshan Ou constructs a cross-cultural CIN CIN using glass and sound, intertwining touch, memory, and communication in the gesture of a toast, exploring the intimate link between the senses and culture.

Chloe Yu Chen assembles a table of “cultural fragments” through ceramics and painting, where humor and poetry mask underlying tensions between identity, the body, and social regulation. Megan Nugroho renders “mental landscapes” between intimacy and wildness in colored pencil, using a soft yet sharp visual texture to reimagine the relationship between humans and nature at the edges of imagination.

Annie Yuan Zhuang transforms urban echoes, scent, and cycles of life into cross-media “psychological specimens,” constructing a subconscious pathway woven from sound, smell, and touch within overlooked fragments. Peishan Huang employs layered materials and deconstructed spatial language with a texture akin to slow chewing, making the subtle boundaries between mind and body emerge through a tactile and perceptual process of “digestion.” Zahra’a Nasralla merges tableware and cartographic imagery, turning “food” into a map of culture and memory, inviting the audience to enter fluid narratives of identity through acts of sharing. Anh Dao Ha, working with delicate materials and handmade interventions, evokes the faint tremors between body and memory, unfolding a quiet dialogue on self-formation between fragility and resilience.

Inner Feast invites viewers not only to see the works but to experience an art-infused spiritual meal. Each piece is a psychological slice, calling on audiences to sense, to “digest,” and ultimately to arrive at inner integration.

The exhibition is co-curated by Luman Jiang, Jinyi Freya Xu, Yvonne Yitian Xu, and Shuhan Zhang, whose backgrounds span the contemporary art market, digital art, cultural psychology, and interdisciplinary curatorial research. Together, they construct a pathway into the subconscious, making the exhibition a process of feeling rather than a simple act of viewing.

Exhibition Details

Dates: August 8–12, 2025

Artists: Chloe Yu Chen, Zahra’a Nasralla, Megan Nugroho, Yanshan Ou, Anh Dao Ha, Peishan Huang, Beiyi Wang, Annie Yuan Zhuang

Curators: Luman Jiang, Jinyi Freya Xu, Yvonne Yitian Xu, Shuhan Zhang

Emerging Trends in the Global Art Market | Asian Art Market Panel

The Blanc Gallery 12F, 15 E 40TH ST, New York, NY 10016 Friday, July 19, 2025 2:00–5:00 PM

New York, July 19, 2025 — We are pleased to present a special panel discussion, "Emerging Trends in the Global Art Market", focusing on the evolving dynamics and future trends of the Asian art ecosystem amid structural transformations in the global market.

This panel comes at a pivotal moment for the Asian art market, as generational shifts and geopolitical fluctuations continue to reshape the industry's paradigm. In the post-pandemic era, the rise of online platforms and the expansion of emerging collector groups are transforming modes of circulation and value production in art. Against this global backdrop, Asia is steadily rising as a major engine of market growth. From Mainland China, Hong Kong, and South Korea to Southeast Asia and the Middle East, regional developments in cultural policy, capital flow, and institutional ecosystems are converging to form a complex and promising future landscape.

The event will unfold through two in-depth conversations:

The first panel will focus on structural changes in the global art market, exploring how economics, capital flows, and regional policies collectively shape cultural narratives on a global scale. The second panel will spotlight the next generation art collections, which will discuss shifts in collecting behaviors, aesthetic values, and how youth-driven forces are redefining market discourse.

This is not only a timely reflection on where the market stands and where it is headed, but also a generational and cross-cultural dialogue. We warmly invite you to join us for this conversation on the present and future of the art market.

Introduction Panel 1：Asia Rising: The Asian Art Market Amid Structural Transformation and Global Repositioning

As Asia continues to emerge as a key pillar of the global art economy, this panel will offer a macro-level analysis of the structural forces driving its rise. Regions such as East Asia, Southeast Asia, and the Middle East are undergoing significant shifts in cultural policy, capital flow, and institutional strategy—factors that are collectively reshaping Asia’s position and agency within the global art discourse and institutional frameworks.

This conversation brings together speakers from galleries, art advisory, auction houses to talk about both the divergences and interconnections across regions. The discussion will explore how artistic trends, institutional strategies, and policy infrastructures shape the development trends of the art markets in Asia. In particular, it will consider how the Asian art market navigates between local narratives and global visibility, seeking new directions and a competitive position in a rapidly evolving landscape.

Panel 2：The Power of a New Generation: Young Collectors and the Redefinition of Cultural Capital This panel centers on how the next generation is reshaping the art market ecosystem. Catalyzed by the rise of social media and digital platforms, young collectors and emerging platforms are changing traditional structures, reconfiguring value systems, circulation channels, and the distribution of cultural capital.

Bringing together voices from primary and secondary markets, this discussion will discuss how the art market is shifting from a model of inheritance to one of reinvention. Topics include the evolving behaviors of new-generation collectors and artists, aesthetic realignments, and how youth-driven forces are redefining market discourse.

We are going to explore how emerging collectors are establishing new aesthetic and collecting logics. How are next-generation advisors and valuation experts intervening and shaping the ecosystem? As platform logic redefines the rules of visibility, is this generation developing its distinct mode of cultural participation within a global context?

EmbodiedDissonance

Embodied Dissonance is a group exhibition will be presented in Fou Gallery from November 24 to December 4 that brings together artists who use the five senses as portals into their inner landscapes that spaces shaped by memory, grief, trauma, culture, or subconscious emotion, often disconnected from external reality.

Instead of resolving rupture or discomfort, this exhibition stays with it. It locates itself in the cracks where dissonance lives. Through sensory engagement, spanning soundscapes, touch, scent, visuals, and taste, the works invite a process of witnessing and with-ness — a way to acknowledge what exists and endures, to feel it as it continues to live on in the body.

In a time where our sensory field is saturated by algorithmic flows, compressed images, and instant gratification, our bodies often become estranged from the very sensations that make us human. “Embodied Dissonance” is conceived as a multi-sensory exhibition that uses the five senses: touch, sight, hearing, taste, and smell, as portals to re-inhabit the body and its memory. It is not about mending dissonance but staying with it, allowing discomfort to surface and be felt as a form of embodied knowledge and healing.

This exhibition gathers artists who approach the body as both subject and medium, exploring its thresholds, vulnerabilities, and resilience. Through scent-based installations, tactile objects, soundscapes, and immersive visuals, the works invite visitors to experience their own body as a living archive, one shaped by memory, trauma, grief, cultural inheritance, and desire. Rather than seeking harmony, the exhibition embraces friction and misalignment as spaces of care and transformation.

Drawing on sensory ethnography, phenomenology, and feminist theory, “Embodied Dissonance” builds on the idea of wit(h)nessing, which is anan aesthetic and affective practice of being with, where the artist, artwork, and spectator become co-witnesses of lived and shared sensations. These encounters are not passive observations but co-created moments where the body resonates, absorbs, and releases. As Anne Bogart writes, “exposure to discomfort and dissonance is as vital to our development as our need for food and water.”

By leaning into sensory dissonance, we ask:

What happens when we allow unease to guide us toward self-recognition? Can the body’s raw, unfiltered encounters become acts of healing and re-embodiment?

In this shared space, the exhibition is less a narrative than a process—an invitation to slow down, to listen through the body, and to rediscover the five senses as thresholds to inner landscapes. It asks the audience not just to view but to feel, to allow the works to unsettle, and ultimately to reconfigure their own embodied awareness.