Adam Shiu-Yang Shaw: What Time Has Left


In Adam Shiu-Yang Shaw’s sculptures and installations, built environments, machines and domestic articles are modelled and reproduced as a means to explore cultures of commemoration. Borrowing techniques derived from sceneographic and museological presentation (how objects and settings are staged for both fictive and historical purposes), the artist alienates his subjects from their utilitarian capacities. Rather, the doorways, windows, postboxes, basins and other such features of civic life which feature in the work, become memory evoking models for outmoded, unnoticed and suppressed facets of the places we inhabit. These architectural motifs become a means to chart social and domestic spaces as sites of fugitive activity.

Adam Shiu-Yang Shaw (b. 1987, CA) lives and works in Berlin. He attended Royal Institute of Art in Stockholm and Piet Zwart Institute in Rotterdam. He is currently completing the Berlin Program for Artists. Selected solo exhibitions include Can There be Forgiveness? at Ashley, Berlin, 2018, F-150 at Polansky, Prague (2018); Benevolent Nerves at Galerija 427, Riga (2018); and Vinegar Stone & the Language of Flowers at Towards, Toronto (2017). Selected group exhibitions include: BPA//Exhibition, KW Berlin (2021); Friend of a Friend at Galeria Wschód with Emanuel Layr, Warsaw (2021); Condo at Union Pacific with Wschód and Et. Al, London (2020); But Doctor, I am Pagliacci at The Loon, Toronto (2019), Clerks’ Quarters at KW Institute’s Bobs Pogobar, Berlin (2018); At the End of the Game You will be Forgotten at Alyssa Davis Gallery, New York, (2018); Jugend ist Trunkenheit Ohne Wein at Bikini Space, Basel (2018) and Peach at W139, Amsterdam (2016).

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