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	<title>kathy cho</title>
	<link>https://kathycho.info</link>
	<description>kathy cho</description>
	<pubDate>Wed, 25 Feb 2026 01:04:11 +0000</pubDate>
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		<title>about</title>
				
		<link>https://kathycho.info/about</link>

		<pubDate>Wed, 08 Apr 2020 21:33:44 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

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		<description>
Kathy Cho is a curator who supports the practices of living artists by producing exhibitions, events, images, and writing to collectively archive loose narratives of lived experiences. Ongoing research includes expanding the visual and dialogic lexicon of diaspora artists, and exploring the physical and digital architectures of affect.&#38;nbsp;Her accumulation of experiences in artist-run spaces, event production, studio management, and archives continues to inform how she approaches working with artists and cultural producers with care.&#38;nbsp;She received an MFA in Curating from Goldsmiths, University of London and was previously a Curatorial Fellow at The Kitchen, and Curator-in-Residence at the Bemis Center for Contemporary Arts. She is currently the Exhibitions Manager at Counterpublic, and has previously contributed to art ecosystems in New York, London, Philadelphia, Chicago, and online.
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		<title>closetotheclouds</title>
				
		<link>https://kathycho.info/closetotheclouds</link>

		<pubDate>Wed, 25 Feb 2026 01:04:11 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

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		<description>Close to the Clouds: Encountering Digital Diasporas, 2026, Bemis Center for Contemporary Arts, Omaha, NE
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Images courtesy of Colin Conces.
Exhibition Text [pdf], Gallery Guide, Review&#38;nbsp;Close to the Clouds: Encountering Digital Diasporas features Basel Abbas and Ruanne Abou-Rahme, Zainab Aliyu, Rindon Johnson, Lauren Lee McCarthy and Kyle McDonald, Rebeca Romero, and Tianyi Sun and Fiel Guhit—who consider how the formation of collective identities takes place utilizing technology and the internet. How does it feel to encounter the friction and slippage between prevailing ideas of “what your inherited cultural heritage should be,” and the illusion of choice created by interacting with algorithms to access niche communities? These personal and collective experiences, mediated by our relationship to technology, serve as metaphors for how we can store, access, and deploy our memories to process and generate new contexts.

The artists in Close to the Clouds use multiple approaches to expand the idea of “digital diasporas”—their works are invitations to oscillate between the physical and the digital, through durational mediums and a poetic interpretation of time. They consider how media and communications shape our sense of self as we move through various places. Across the exhibition one will encounter various sites from the site-specificity of Omaha, Nebraska to airports, islands, and ruins afar, ranging from real to immaterial spaces. By way of ancestral mythologies, current memories, augmented inner monologues, and imagined futures, the artists bring us closer to understanding how technological clouds affect our interpersonal relationships.Integral to expanding the ideas around Close to the Clouds, are written contributions focusing on points of overlapping research and deep engagement with the practices of the artists in the exhibition:

“The Network Is a Clearing” by Eileen Isagon Skyers [pdf]
“Notes on Distance and Depth” by Frederike Sperling [pdf]

“Securing the Cloud” by Jacinda Tran [pdf]
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		<title>playroom</title>
				
		<link>https://kathycho.info/playroom</link>

		<pubDate>Sun, 07 May 2023 17:19:58 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

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		<description>Playroom, 2023, International Studio &#38;amp; Curatorial Program, Brooklyn, NY

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Images courtesy of New Document and ISCP
Press Release, In Conversation with Clae LuPlayroom, a solo exhibition of work by Clae Lu, focuses on bringing pleasure, joy, and comfort through particular practices and mediums the artist returns to time and again. Central to Playroom is an installation inviting audiences to rest, reflect, and meditate to a sonic playlist of improvised ambient music created together with Ben Florencio, a producer, musician, and chosen family member of the artist. The installation serves as an idealized architectural facsimile of the various spaces where Lu seeks out and nurtures communal kinship. 

A constellation of wall works documents Lu’s everyday life: their main instrument, the 古筝 (gu zheng) presented as a sculptural object, paintings of a family style meal, a selection of self-interpreted scoring from the sonic playlist, and framed drawings. Dating as far back as 400 BCE, the 古筝 (gu zheng) is a traditional Chinese string instrument that is usually plucked. Lu’s experimental way of playing the instrument is an intentional act of queering, a reclamation of how it can be understood and explored, evident in both the sonic playlist and two live performances that take place during the exhibition. Throughout the exhibition, Lu asks, “What does it mean to celebrate the mundane?” and “How does my community come together to create new traditions?” &#38;nbsp;
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		<title>andsoon</title>
				
		<link>https://kathycho.info/andsoon</link>

		<pubDate>Thu, 05 Jan 2023 21:18:12 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/andsoon</guid>

		<description>and so on, 2022, das weisse haus, Vienna, Austria

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Images courtesy of Klara Schnieber, Joanna Pianka, and Xenia Snapiro
Further Info, Exhibition Expanded at dwhxand so on is a group exhibition at das weisse haus featuring the works of Ana de Almeida, Caroline Garcia, Rami Geroge, Na Mira, Rebeca Romero, and agustine zegers, from November 2022-February 2023. Together the artists of and so on provide guidance towards ways of moving through personal and cultural bereavement rooted in the loss of relationships and knowledge that is inevitable. and so on considers sites of loss as a space for creation, immeasurable to producing living archives. 

agustine zegers ongoing olfactory research is intertwined with their relationship to the history of environmental extractivism in Chile. Considering non-normative artforms and methods of storytelling, their poetic installation brings a macro view to and so on and imagines the scent of Earth before anthropogenic destruction altered the composition of atmospheric breath. Their work invites one to imagine communing with a ‘precarious breath’ and acts as an expanded interpretation of intergenerational memory found within the other artists’ works.

Caroline Garcia and Na Mira use ancestral rituals from their matrilineal heritage to directly process their personal experiences with the passing of life. Garcia’s installation along with her performance draws from Indigenous Filipino practices of headhunting and martial arts, as a way of processing grief, specifically that of matriarchal loss. Mira’s drawing uses the process of ‘automatic writing’ interwoven with the practice of Korean shamanism as a space for channeling with and listening to ancestors and spirits. Mira notes, “when my arm broke I adapted to automatic writing with my non-dominant hand which wanted to write red, in words unfamiliar to me. I asked and listened and bodied and recorded what we needed for the passage.”

Ana de Almeida has conducted in-depth research into the architecture of das weisse haus’ current location, and the former uses of the building, particularly when it was a female Teacher’s Training College (1885-1962). Considering the concepts of displacement within nostalgia and ersatz nostalgia, de Almeida’s installation intertwines the immateriality of gendered labor with the intent to materialize a glitching modernism. In an adjacent methodology, Rebeca Romero utilizes digital technologies and her research of pre-Columbian cultural objects, textiles, and yet interpreted symbology, to consider the possibilities of fictional artifacts and how history is translated.

Rami George utilizes the ritual of collecting to archive an ongoing aftermath. A translucent unfinished wall created with readymade construction materials, has a selection of intimate photographs embedded onto it, revealing a video in the furthest room: a collation of everyday moments from friends in Lebanon, who recorded life after decades of civil war.

By engaging with personal and collective loss, these artists utilize melancholia as a site for generating new perspectives and meanings. Their respective areas of research are driven by personal sensibilities and an urge to understand, redefine, and reinterpret their experience of loss—whether it’s the loss of life, knowledge, or cultural memory. Thusly, and so on is a response to how one can be reshaped in speculative, non-linear, and embodied ways by both profound and ordinary loss.
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		<title>downtoearth</title>
				
		<link>https://kathycho.info/downtoearth</link>

		<pubDate>Wed, 28 Sep 2022 17:55:21 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/downtoearth</guid>

		<description>Down to Earth, 2022, Roots &#38;amp; Culture, Chicago, IL

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Images courtesy of Robert Chase Heishman
Further InfoDown to Earth was a group exhibition at Roots &#38;amp; Culture, Chicago, from July-September 2022, organized as part of the CONNECT curatorial residency.Moving between disciplines, nature, and technology, artists Gloria Fan Duan, TJ Shin, and Jessica Williams,&#38;nbsp;uncover our deeply complex relationships with non-human entities. The artists reference existing systems and unearthed histories as a way to bring attention to overlooked perspectives and consider an intertwined futurity, often rendered through digital means. Together, the artists diverge from the expected to expand the evolving definition of queer ecology.

 

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		<title>lunarnewyear</title>
				
		<link>https://kathycho.info/lunarnewyear</link>

		<pubDate>Thu, 09 Apr 2020 01:03:31 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/lunarnewyear</guid>

		<description>Lunar New Year, 2019, The Yard Theatre, London, UK &#38;nbsp;

&#60;img width="2304" height="3456" width_o="2304" height_o="3456" data-src="https://freight.cargo.site/t/original/i/d01a27abdd232f62b9dac13813c1c6d05d0674d0354239b383d808e98b8cbebe/IMG_0780.jpg" data-mid="66242907" border="0"  src="https://freight.cargo.site/w/1000/i/d01a27abdd232f62b9dac13813c1c6d05d0674d0354239b383d808e98b8cbebe/IMG_0780.jpg" /&#62;
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Press Release
For the year of the pig, Phantom Limb (Kathy Cho, Katie Yook), Diaspora Disco and Eastern Margins collaborated to bring in Lunar New Year at The Yard Theatre in London.
Related events included:&#38;nbsp;a 40-person family-style dinner by Berlin-based artist and chef, Julez Noh; performances by Eunjung Kim, Lucky Ping Pong Dragon Karaoke, Monica Tolia and Rachel Cheung; installations by Quek Jia Qi and Soljee Ahn; and a DJ set by multimedia artist Jae Ho Hwang.
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		<title>phantomlimb</title>
				
		<link>https://kathycho.info/phantomlimb</link>

		<pubDate>Wed, 08 Apr 2020 21:33:45 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/phantomlimb</guid>

		<description>Phantom Limb, 2018, Cody Dock, London, UK &#38;nbsp;

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Press Release
Phantom Limb was an exhibition co-curated with Katie Yook, centering the practices of Korean diaspora artists Na Mira (Los
Angeles), Jette Hye Jin Mortensen (Roskilde), Joan Oh (New York City), TJ Shin (New York
City), and Zadie Xa (London). It took place over several weeks in November 2018, at Cody Dock in London.
Korean diaspora identity straddles multiple geographies, with one leg in a host country and another
phantom limb reaching towards Korea. Phantom Limb brings together five artists to expand and
re-contextualize what it means to self-identify as Korean within a Western context. Through immersive
installation, video, sculpture, and a programme of events, the artists work to build a lexicon of Korean
diaspora imagery. Cody Dock’s unique architecture and location on the River Lea intertwines with the
themes of movement, fluidity and ungroundedness found within the works.
Related events included: The Apology, a performance by Jette Hye Jin Mortensen in collaboration with Musarc; A Vegetable Fermentation Workshop with Kimchi Radishian, a fermentation workshop led by Joan Oh; and Fleshing Out the Ghost: the Fetish, Desire, and Master in K-beauty, a performative lecture by TJ Shin.Preceding the exhibition, to delve deeper into their practices, we also recorded and published artist interviews:&#38;nbsp;Na Mira, Jette Hye Jin Mortensen, Joan Oh, TJ Shin, Zadie Xa.</description>
		
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	<item>
		<title>banal</title>
				
		<link>https://kathycho.info/banal</link>

		<pubDate>Wed, 08 Apr 2020 21:33:46 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/banal</guid>

		<description>Banal, 2018, Enclave Lab, London, UK


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Press ReleaseCo-curated as To Whom It May Concern with Shirin Fathi, Banal was a solo exhibition featuring Moshtari Hilal at Enclave Lab, London which took place over a couple weeks in November 2018.
Banal was a research based exhibition which explores the aesthetic of everyday life in Kabul and Hamburg, where Moshtari Hilal has spent most of her life with relatives and family members. What seems banal within our everyday lives is a source of inspiration for Hilal, who observes, conceptualises, and creates a visual language. Everyday life, the objects and their arrangement produce familiarity and regularity. Her take on the aesthetic of everyday life is exhibited through drawings, video installations, collages and sketchbooks. 
Related events included: a panel discussion with artist Moshtari Hilal, curator Shirin Fathi, PhD candidate Paniz Musawi Natanzi and artist Yumna al-Arashi.
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	<item>
		<title>loudbodies</title>
				
		<link>https://kathycho.info/loudbodies</link>

		<pubDate>Thu, 09 Apr 2020 01:38:35 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/loudbodies</guid>

		<description>Loud Bodies, 2018, Goldsmiths Centre for Contemporary Art, London, UK

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Further InfoLoud Bodies was a weekend of participatory events, sonic performances, and a panel discussion, where visitors were invited to engage with some of Mika Rottenberg’s critical themes: those wrapped in a thick mantle of absurd and often sensory metaphors. It concurred with Mika Rottenberg’s solo and inaugural exhibition at the Goldsmiths Centre for Contemporary Art in London. It was co-organized with fellow students of Goldsmiths MFA Curating ‘19.
Related events included: a panel discussion with: Helena Reckitt, Molly Arthurs and Siobhán McGuirk on the economy of female labor; sonic performances by Musarc and&#38;nbsp;Fernanda Muñoz-Newsome; and partcipitory events,&#38;nbsp;Talking to a brick wall with Louise Ashcroft and&#38;nbsp;Take the unpredictable trouble: A group poetry reading with Shanzhai Lyric.
</description>
		
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	<item>
		<title>warmclean</title>
				
		<link>https://kathycho.info/warmclean</link>

		<pubDate>Thu, 09 Apr 2020 02:28:49 +0000</pubDate>

		<dc:creator>kathy cho</dc:creator>

		<guid isPermaLink="true">https://kathycho.info/warmclean</guid>

		<description>It Might Be Warm But It’s Not Clean, 2017, High Tide, Philadelphia, PA




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Co-curated with High Tide gallery in Philadelphia, It Might Be Warm But It’s Not Clean featured collaborative works by Trisha Cheeney and Vijay Masharani.
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