Joyce Ho: Vera

中文

Joyce Ho: Vera
Solo Exhibition ShanghART Beijing, Beijing

Date: 11.22, 2025 - 01.22, 2026

Artists: Joyce HO Tsai-Jou 何采柔

Joyce Ho: Vera
Exhibition Date: 2025/11/22 - 2026/01/22 ( Tue.-Sat. 11am-6pm )
Location: ShanghART Beijing
261 Caochangdi, Airport Side Road, Chaoyang District, Beijing

ShanghART Gallery is pleased to announce the solo exhibition “Vera” by artist Joyce Ho, running from November 22, 2025, to January 22, 2026 at its Beijing space.Marking the artist's first solo exhibition at ShanghART Beijing, the narrative of the exhibition unfolds from the behavioral trajectory of “Vera”, a “proxy” the artist has been shaping for years. Through video, painting and sculpture, Ho constructs a multi-dimensional system of observation that delves into the state of uncertainty within the flux of everyday life.

Before it Happens (2025), a central series in the exhibition, observes the subtleties of human behavior through isolated, segmented movements: the performer carries out everyday tasks with extreme slowness – ironing, wiping, cleaning and applying makeup. When these fragments are sped up to “normal” rhythm, a peculiar sense of dissonance could be perceived beneath these seemingly smooth actions. Natural elements that are beyond control – the smoke rising from the iron, the mist slowing clearing from glass and the fleeting flicker of the eyes – are superimposed with mechanized bodily motions, creating subtle misplacements in the image. The practical function of daily labor is deprived, transformed instead into ritualized performance. Through repetition and interruption, the work exposes the fragile nature of order.

Drawing from her theater background, Ho brings a “director’s perspective” and a spatial way of thinking into her artistic practice, treating the exhibition space as a concrete narrative structure: the movements of the figure, the objects and the external gaze form a multidimensional network of interactions. Under this framework, Vera functions both as performer and vessel - a body reduced to functionality and a medium of uncontrollable elements. Such duality brings to the viewer’s attention the fluidity concealed within the depths of order.

At the intersection of labor and ritual, Ho’s work may also reflect a certain paradox: we yearn to transcend the constraints of the everyday, yet remain bound by our reliance on the security of the mechanical. When repetitive rhythm is interrupted by uncontrollable factors, are we constructing order or dismantling meaning?