Cavalcade
Centered on a forty‑minute film and accompanied by a suite of prints, Cavalcade zooms in on a gathering where humans and non-humans jostle for space, becoming a procession, a parade, a revue, a dream converging in fluid motion.
Wayfaring Ways To Be
Wayfaring Ways To Be Solo ExhibitionHanart TZ Gallery, Hong Kong (2025) Two things distinguish the human species: an ability to walk upright, and a capacity to think, straight and crooked. Walking expands horizons. Eyes travel further. Thinking loosens the tongue, in joy, in awe, in shame, in audacity. We begin talking, and we have not […]
Moon Clock
The Moon Clock is a device to tell the time. At midnight, and at noon, lies the moon. With the passing of the hours, it clocks the waxing and the waning of crimson moon-minutes
Twisted Time
Twisted Time (2024) is formed from two glass bicycle wheels mounted on a mirrored plinth where they rotate slowly
Borderlands
Borderlands (2024) is a series of seven laser engravings on black sandpaper. Rendered black on black, the hard-to-decipher drawings riff off medieval depictions of animals where the intended creature and its depiction only nominally match.
(ANTI-)CAPITALISM: The Imminent Promise and Fear of a Getaway Car
Text by Raqs, published in ‘A Companion to Contemporary Art in a Global Framework’ (2024), edited by Jane Chin Davidson and Amelia Jones.
Betaal Tareef: In Praise of Off-time (and its Entities)
A configuration of five graphic ‘imprints’ and three augmented-reality ‘interferences spread across various levels of The Cosmic House, London.
Autoluminous (Everything Is Burning)
Autoluminous is an index of our awareness of the inscription of energy into every waking, sleeping and dreaming moment.
Asia Art Archive, Hong Kong | Annual Artist’s Lecture
Hosted at Asia Art Archive’s Library, this year’s Annual Artist’s Lecture welcomes Raqs Media Collective as the guest speakers.
Delta
A set of four prints on metallic paper play with imagery from ‘Swamp’, ‘Marsh’, and the ‘Unruly Iris of Dissent’, and add a third element – a magnification of a falling tear drop, with traces of its salt crystals, denoting the salinity of the feelings that have us come undone.
Na-Bam
Na-Bam unfolds as meditation on water, depth, and the impossibility of measure. Presented as a six-screen video installation with video wallpaper, the work moves through shifting landscapes of land, river, sea, and forest—charting the imprints of thirst, flood, and memory.
The Bicyclist Who Fell into a Time-Cone
The Bicyclist Who Fell into a Time-Cone, published by Jencks Foundation (2023), takes the form of an artist book, and foregrounds text over image. Mirroring the film’s visual textures, the five voices in the pamphlet register varying distances from what is seen on the screen and its potential elucidations: voiceover, description of images, words on screen, added layers of annotations and meta-annotations.
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