NEW YORK, NY.- Lisson Gallery announced its representation of Tishan Hsu (b. 1951, Boston). Since the mid-1980s, Hsu has been at the forefront of exploring the effects of technological transformation, rendering poetic reimaginings of the human body through innovative materials and digital processes. His approach to the intersections of organic and artificial life has made him one of the most prescient voices in contemporary art today. Lisson Gallery will present Hsu’s work for the first time at Art Basel Hong Kong in March 2025, followed by his first solo exhibition with the gallery in New York in November of this year. Hsu is represented in collaboration with Empty Gallery, Hong Kong.

For nearly five decades, Hsu has investigated the evolving relationship between humans and technology. Though he gained early recognition in the 1980s with solo exhibitions in New York, he spent much of the following decades working outside the public eye, refining his ideas about digital culture, the body, and perception. Early works from this period introduced his now recognizable aesthetic—blurring the boundaries between flesh and technology through biomorphic forms, industrial surfaces, and a visual language evocative of digital systems. While Hsu’s initial explorations stemmed from his musings as an architecture student at MIT and then an early user of the word processor when it was first implemented, the work now resonates even further in an era where physical and virtual realities are increasingly enmeshed.

In 2019, Hsu’s exhibition Delete at Empty Gallery in Hong Kong marked a turning point in his career, confronting themes of data, memory, and personal history. Prompted by the rediscovery of family photographs following his mother’s death, the show explored the impermanence of technological memory and its relationship to identity. His first survey exhibition, Liquid Circuit (2020–21), organized by SculptureCenter and the Hammer Museum, reintroduced his pioneering 1980s works. Pieces such as Interface Remix (2001), depicting fragmented body parts dissolving into a screen-like vortex, struck a chord with digital natives grappling with the effects of technological acceleration. Following this, in late 2023, the Secession in Vienna hosted recent work 2023, an exhibition of entirely new pieces, including tablet-skin-screen, which fused industrial manufacturing with hand-crafted processes with materials like translucent acrylic and silicone casts to depict the interpenetration of both physical and virtual realms. This trajectory continues with Hsu’s largest retrospective outside the U.S. to date at the Musée d’art moderne et contemporain (MAMCO) in Geneva in March 2024, bringing together works from over four decades, from his groundbreaking 1980s sculptures to his recent productions developed collaboratively with Secession. These presentations underscore Hsu’s interest in human-machine interaction up to his recent exploration of artificial intelligence and the larger ontological implications it raises.

Hsu’s work has been widely exhibited internationally, with recent solo presentations at the Museum of Contemporary Art Toronto (2024), Secession in Vienna (2023/24), and MAMCO in Geneva (2024). He has participated in major group exhibitions such as The Milk of Dreams at the 59th Venice Biennale (2022) and Is it morning for you yet? at the 58th Carnegie International (2022). Tishan Hsu’s work is held in the collections of The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; Dallas Museum of Art; Centre Pompidou, Paris; Tate Modern, London; Museum für Moderne Kunst (MMK), Frankfurt; MAMCO Geneva, Switzerland; M+, Hong Kong; Pinault Collection; High Museum, Atlanta; The Weisman Art Museum, Minneapolis; Museum of Contemporary Art, North Miami; X Museum, Beijing; and The Rubell Family Collection, Miami, among others.

Tishan Hsu: I look forward to working with Lisson, a gallery whose program I have followed since I began showing. Their longevity and risk-taking always impressed me. With the gallery’s expansion including a base in New York, joining the gallery has been a welcome confluence of their growth and the needs of my practice.

Alex Logsdail, CEO of Lisson Gallery: As a longtime admirer of Tishan's work, it is an honor to be working with such a groundbreaking artist who speaks so directly to our times and our continued merging (for better or worse) with technology. His ability to create a truly unique language in his work, and its ongoing evolution, makes him a standalone figure who has few direct peers. The influence of Tishan’s work on other artists is palpable and his prescience of vision going back to the 1980s has given him a singular position to ask a fundamental question: What makes us Human?