b. 1951, Boston, U.S; lives and works New York, U.S.
Tishan Hsu has probed the emotional, physical and cognitive effects of technological advances on our lives in prescient ways for over four decades. Through the use of uncanny imagery, software tools, and innovative fabrication techniques, his paintings and sculptures explore and manifest poetic new ways to engage and reimagine the human body. An early pioneer of such an inquiry, Hsu’s work has always reflected on the possibility that technology becomes an extension of the human body. Through modular sculptural components and visual representations of the body as simultaneously biological and digital, the work predicts the visual and lived landscape of data and information technologies. Later works consider the possibility that information and technology might be organized and structured around ideas of race, identity and heritage. This serves to further inscribe a sense of self into the technology that we use and brings forth important socio-political questions of autonomy and identity.
Tishan Hsu's recent projects include The Milk of Dreams, The 59th International Art Exhibition of La Biennale di Venezia (2022); skin-screen-grass, Miguel Abreu Gallery, New York (2021); Tishan Hsu: Liquid Circuit, SculptureCenter, New York (2020); delete, Empty Gallery, Hong Kong (2019); Tishan Hsu, Galerie Rolf Ricke, Cologne, Germany (1991); M.I.T. List Visual Arts Center, Cambridge, Massachusetts (1998); Leo Castelli Gallery, New York (1987); and Pat Hearn Gallery, New York (1987, 1986, 1985). Hsu has recently also shown work in In the Balance: Between Painting and Sculpture, 1965–1985, Whitney Museum of American Art, New York (2022); is it morning for you yet?, 58th Carnegie International, Pittsburgh (2022); The 59th International Art Exhibition of La Biennale di Venezia, Venice (2022); Minds Rising, Spirits Tuning, The 13th Gwangju Biennale, South Korea (2021); Hello America, Karma International, Zurich (2021); and Hello America, Karma International, Zurich (2019).
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