Kiang Malingue is pleased to present, along with SCAI The Bathhouse, at Art Collaboration Kyoto 2025 a selection of photographs and paintings by Cho Yong-Ik, Su-Mei Tse, and Carrie Yamaoka. This group of highly meditative pieces by three established artists of Asian descent celebrates nature, life, memory, and an ongoing exploration of one’s spiritual and physical intertwinement with art.

Highlights include 95-111 (2021) and 3577 (2019), paintings created by Cho Yong-Ik (1934-2023) towards the end of his life. As a Dansaekhwa pioneer from South Korea, Cho differentiated himself from other Dansaekhwa artists by permitting subtle hints of colour to grace his work, whilst remaining true to the emphasis on natural, energetic materiality. Cho’s later works are no less vibrant and lively than the pieces made in the 1970s: he applied signature painting methods such as scratching—gently peeling off the top layer of paint with his thumb, a dry brush or a knife to reveal the alter undertone—making porous matrices with unique painterly marks. These recent paintings represent an awe-inspiring oeuvre that practices the art of breathing, and the possibility to reconcile collective order with individual freedom.

Su-Mei Tse’s Reminiscences (Venetian) (2024) was first shown in “Daydreams”, the artist’s solo exhibition at Kiang Malingue’s Hong Kong location in 2024. It consists of a photograph, a video, and a string of mala prayer beads that are in fact dried roses. For the artist, the work evokes the idea of a visual melody from a distance, reverberating in silence—it also marks the end of the “Daydreams” exhibition and the beginning of a new cycle. Rome (Gaëlle) (2015-2017) and Forest (Backlight) (2024) are exemplary photographic works by Tse, who has been repositioning the photographic subject in relation to nature and history for more than twenty years.

A suite of five wall pieces by Carrie Yamaoka, who has recently been awarded the prestigious 2025 Maria Lassnig Prize, showcases the artist’s deep interest in incorporating unexpected, accidental and spontaneous developments into her singular art that is at once painterly, photographic and radically sculptural. She uses mylar and resin to produce highly reflective surfaces that are almost fluid; additionally, instead of firmly controlling the creative process, the artist is guided by the principle of setting up numerous conditions for events and incidents to transpire. Revisiting dormant finished or unfinished works from her studio, including 20 by 20 (green verso) (2006/2022) and 20 by 16 (black vinyl fold) (2015/2024), Yamaoka’s art directly addresses the viewer at the intersection between records of chemical action/reaction and the desire to apprehend a picture emerging in fleeting and unstable states of transformation.

Also on view from November 12 to December 3, 2025, is Inside Out / Outside In, Carrie Yamaoka’s first solo exhibition in Japan at the Manshu-in Temple, Kyoto, presented by Kiang Malingue. Responding to Manshu-in’s porous spatial boundary between the inside and the outside, Yamaoka guides the viewer by employing the toggling perspectives of looking into and out of, from a distance and close-up. Her works, partially exposed to the elements, catch the intensity of sunlight and shadows at different times of the day, reflect what lies beyond through changing air currents and wind, coalescing perception with the viewer’s internal rhythm.