Living Content

Living Content Living Content is a curatorial platform focusing on contemporary art and limited-editioned apparel created in collaboration with artists.

Cato Ouyang (b. 1993, Chicago) works in multiple mediums – installation, sculpture, painting - interconnected by their e...
04/03/2026

Cato Ouyang (b. 1993, Chicago) works in multiple mediums – installation, sculpture, painting - interconnected by their explorations of the themes of spirituality and identity. In our interview for Living Content they say: “When I was younger, I used to really hit the buzz-word word-bank hard. Maybe as a way to shield my work, or prop it up. I had a realization that that's obnoxious, on many levels. I am... a young person coming from my own pretty limited subject position and set of experiences, and to say, "My work is about colonialism and it does this!" Well, it doesn't! It does something maybe semi¬ related but is at once deeply inadequate and more complicated and exciting.”
Their work, mostly installation, takes found objects and recontextualizes them through conceptual approaches to materiality.
Growing up in a secular home, explorations of spirituality are central to the artist’s work, with elements from Chinese mythology and Catholic iconography reoccurring yet never fixed. Cato has earned an MFA from Yale and has held solo exhibitions at Night Gallery (LA), No Place Gallery (Collumbus, OH), Lyles & King (New York), The Knockdown Center (NY) and Make Room (LA).

otherwise, spite: 1. wh**es at the end of the world / 2. from every drop of his blood another demon arose (1829-1840), 2020
Lamia, 2023
Apart (Half), 2024
Pitch, 2024


Joseph Buckley (b. 1990, Ellesmere Port, UK) is a New York–based artist working primarily in sculpture and installation....
03/26/2026

Joseph Buckley (b. 1990, Ellesmere Port, UK) is a New York–based artist working primarily in sculpture and installation. His practice draws on the language of science fiction to examine contemporary systems of power and the dystopian logic through which they increasingly shape social life. Buckley uses speculative narration as a way of approaching the present indirectly: its violences, its ideological residues, and its slow drift toward authoritarianism.
In a conversation from with Living Content, Buckley spoke about his recent efforts to think through fascism and its contemporary manifestations, while also trying to imagine political possibilities emerging from within the afterlife of colonial structures „Of late, I have been trying to work towards the topics of fascism and its contemporary manifestations. (...) In making all of this stuff, I am trying to help to dream up a politics sprouting out from within the nation-corpse of the colonizer: a republic on the British mainland, built around the central premises of artifact repatriation, of financial reparation, of apology.”
As Buckley suggest, literature and speculative narratives offer him a vocabulary for staying close to the darkness of the present without collapsing into it.
Buckley received an MFA from Goldsmiths, University of London. Selected solo projects include Despair Engine, Island Gallery, New York City; Cannibal Galaxies, Specialist Gallery, Seattle; Letter From the Home Office, Lock Up International, London; Traitor Muscle, Art in General, New York; and Brotherhood Tapestry, The Tetley, Leeds.

The Harrowing of Hell (2025)
Extinction (2024)
Walking Angel (2025)
Peasant (2024)
Better Clone Sons (2017)
Cousin Table (2020)
Psychic Armour for Black Northeners (2017)


Omg what a treat
03/16/2026


Omg what a treat

Brandon Ndife (b. 1991, Hammond, Indiana) is a NY based artist whose work deconstructs objects, both domestic and organi...
03/10/2026

Brandon Ndife (b. 1991, Hammond, Indiana) is a NY based artist whose work deconstructs objects, both domestic and organic, into haunting explorations on the conditions of decay. In our interview for Living Content he states: “I'm really interested in the way systems kind of break down over time, how the structures that hold up our daily lives fall apart when there is a panic. For a certain number of us in this country, that sort of collapse is omnipresent, and security is held by very loose threads. Impending collapse isn't so far-fetched. It's something that is experienced continuously, and I want to highlight that imagery.” The witnessing of the devastation left behind by Hurricane Sandy during his undergrad years is something that left a lasting impression on the artist and consequently on the works he produces. He uses ordinary objects such as kitchen cabinets, sinks and furniture through which he bridges the gap between personal and general, a continuous bargain regarding how much of his biography he wants to alude to in his work, while also highlighting class dynamics. Ndife’s work places decay at the forefront and constructs it as both reminder of social vulnerability but maybe - most importantly - as a place to linger in, to learn from, a transformative witnessing. Brandon Ndife has earned a BFA from The Cooper Union in 2013 and a MFA from the Milton Avery Graduate School of the Arts in 2020, initially trained as a painter he transitiond to sculptural practices, with numerous solo show in Atlanta, Brooklyn and New York, being currently represented by Greene Naftali Gallery in NY.

Decline (2025)
Group Huddle (2026)
Brood of Vipers (2024)
Split End (2024)
Breeding Ground (2020)
Sconce (2020)

ndife

K.R.M. Mooney (b.1990 in Seattle, USA), creates installations and sculptures focusing on their interaction with the gall...
03/05/2026

K.R.M. Mooney (b.1990 in Seattle, USA), creates installations and sculptures focusing on their interaction with the gallery space and bodies. Their background in metalsmithing techniques shines through in the way they handle materials, transforming metals such as silver and steel through techniques like soldering and electroplating. The interaction of the materials with their environment implies many things in Mooney’s practice – for one, the effect of time and temperature that seek to remind the viewer of the material’s agency. They often position their sculptures in doorways or directly on the gallery floor, to highlight their interdependence to spatial dynamics and to bring focus to the ground itself. The artist lives and works in New York, having graduated Central Saint Martins, London and California College of the Arts, San Francisco. Their work has been featured in the Withney Biennal 2024, with solo exhibitions in Progetto, Lecce, Italy (2023), Konrad Fischer Galerie, Berlin (2021), Altman Siegel Gallery, San Francisco (2019), Kunstverein Braunschweig (2017), and as part of the SECA Art Awards at the San Francisco Museum of Modern Art (2017), Pied-à-terre, Ottsville, PA (2015),and the Wattis Institute for Contemporary Art, San Francisco (2015).

c.i, (april 11), 2023
Circadian Tackle V, 2015
Second Affordance II, 2017
Detrition (i), 2019
Housing (c.) ii, 2022

Alexandra Noel (b. 1989, Columbus, Ohio) is an LA-based painter whose work explores a diverse range of subjects and scen...
03/04/2026

Alexandra Noel (b. 1989, Columbus, Ohio) is an LA-based painter whose work explores a diverse range of subjects and scenes, ranging from natural disasters to seemingly mundane suburban settings. The small size of her paintings has an effect on the way her subjects are framed—zoomed, cropped, and rescaled, as if seen through a viewfinder. She intends, through both her technique and scaling, to reconfigure the relationship between the work and the viewer, and to create a space of intimacy and literal closeness to the artworks.
There is an interplay of surrealism and familiarity in her practice: domestic subjects are placed in unusual, sometimes bordering on dystopian, circumstances. Take, for instance, her paintings of tornadoes.
Alexandra also writes fiction, that has been “a linguistic parallel” to her practice as a painter, and often writes texts that accompany her paintings in exhibitions.
She has an upcoming exhibition at Derosia Gallery in March 2026.

Ship spotting (2018)
Storm Squatting with George (2021)
Who sent you? (2020)
Narcissus and Echo in the Mud (2024)
Antennae (2025)

Stella Zhong (b. 1993, Shenzhen) is a New York based artist working with installations, sculpture, videos and paintings....
03/03/2026

Stella Zhong (b. 1993, Shenzhen) is a New York based artist working with installations, sculpture, videos and paintings. Her point of departure starts where human understanding seems to collapse on itself, grappling with the intrinsic limtations of perception. Fascinated by both the cosmic and the atomic, with a nurturing interest in quantum mechanics, she states: ,,It seems to get weirder and more abstract the closer we look”. This feeling is evoked by many of her works, which seem to exist at the threshold of reality, unidentifiable objects in a vast empty space, that tend to disorient the viewer and effectively destabilize notions of authority. The subjects of her works often oscillate between geometric forms and objects with an organic quality to them – a variety that is also apparent in the materials she uses, ranging from clay and foam to string and waxed paper. She holds a BFA in Glass from RISD and an MFA from Yale and has had solo shows in galleries such as Antenna Space and Chapter NY.

Object of high inertia (2024)
There is no outside (2023)
Pond in Pond II (2019)
Free range Suns (2025)
Convex Multiplied by Impasse (2023)


Founded in 1994, the Center for Land Use Interpretation (CLUI) is a non-profit research and education organization with ...
02/26/2026

Founded in 1994, the Center for Land Use Interpretation (CLUI) is a non-profit research and education organization with a broad transdisciplinary approach to the study of U.S. landscapes as extensions of socio-political dynamics. With its main center located in LA, it has many smaller ones spread across the country, some in remote locations which aid research purposes. Recognizing the complexity of modern landscapes, shaped by military, industrial, capitalist and carceral control, the CLUI explores many types of land use related to agriculture, industry, communication, transportation, housing and many more. The organization's identity has been called „unclassifiable” existing at the meeting point of many disciplines seeking to create a truly holistic, eco-intersectional perspective. CLUI also runs multiple sub-groups and projects, including Texas Oil: Landscape of an Industry, a 2009 research project exploring North America’s petrochemical network. Recent projects include Remote Sensing: Explorations Into the Art of Detection, Boron becomes Critical and Rare Earth: Critical Minerals in the USA. 
The types of projects that CLUI engages in are as diverse as the methodology, from aforementioned research projects to field trips, exhibitions, lectures and publications. Simply put, its goal is to make visible the invisible – in a twofold sense: firstly, to make information accessible to everybody, and secondly in uncovering aspects of land use that often remain invisible, either because of remote locations or on grounds of military and corporate security.

Remote Sensing: Explorations into the Art of Detection (2024)
Boron Becomes Critical (2025)
Rare Earth: Critical Minerals in the USA (2025)


Candice Lin (b.1979 in Concord) is an interdisciplinary artist that lives and works in LA. Her practice is informed by p...
02/25/2026

Candice Lin (b.1979 in Concord) is an interdisciplinary artist that lives and works in LA. Her practice is informed by post-colonial critique and often includes organic materials and processes like mold or fermentation. Her work with fluids pushes the post-colonial dialogue to another level, moving across materials that range from tea to distilled urine, which are imagined to “seep into and erode the stabilizing forces and categorical imperatives that define a colonialist imaginary” (M. N. Holte). Her works are often infused with colonial tensions. Though her installations - A Hard White Body, a Pourous Slip (2018) and Xternesta (2022), the second being featured at the Venice Biennale - Lin seeks to collapse binaries by engaging with rot, porcelain and tincture drawings that burn through paper.
The title of her most recent exhibition: g/hosti (2025), featured at Whitechapel Gallery in London, derives from the shared etymology of the words: guest, host and stranger, the focus being a reflection on the last years of political conflicts. Lin is also an associate professor in the Department of Art at the UCLA, where she says her focus shifted to understanding power (especially after witnessing how faculty treated student protests), not as something monolithical, but rather as something in which agency and resistance coexist.

g/hosti (2025)
Xternesta (2022)
A Hard White Body, a Pourous Slip (2018)


Wong Ping (b. 1984, Hong Kong) is a cantonese artist who lives and works in Hong Kong. His work centers mainly around an...
02/24/2026

Wong Ping (b. 1984, Hong Kong) is a cantonese artist who lives and works in Hong Kong. His work centers mainly around animations & installations. His animations are infused with a certain deadpan humor which often covers critical commentary on contemporary Hong Kong society, while also delving into themes like loneliness, desire and sexuality. His work has been called provocative but he likes to think of it as „walking on the line rather than crossing it”. Some of our favorite works include Jungle of Desire (2016), following the narrators internal conflicts in regards to his relationship, and Emo Nose (2015) that delves into the co-dependent relationship of the protagonist and his anthropomorphized nose, who keeps getting further away from him the more negative emotions he experiences and eventually disappears from his life completely.
Wong Ping’s most recent work, Debts in the Wind, has won the 2025 Sigg Prize awards, the author’s specific style merging the absurd with the colloquial following different narratives on the backdrop of a golf course.

Emo Nose (2015)
Jungle of Desire (2016)


Jessie Homer French was born in New York in 1940, and lives and works in California. She is a self-taught artist or as s...
02/19/2026

Jessie Homer French was born in New York in 1940, and lives and works in California. She is a self-taught artist or as she likes to call herself: "a regional narrative painter”. French obtained recognition as an international artist in her 70s, and this included participating in the 2022 Venice Biennale, alongside other notable distinctions such as being part of the permanent collection of the Dallas Museum of Art, Palm Spring Art Museum, the Smithsonian, and others.
Her style, comprising of flat oils and relatively simple figures, landscapes, and surfaces, contrasts the mounting tensions of the increasingly complex and often disastrous relationship between humans and their environment. True to her self-proclaimed stance, she often depicts the environment that surrounds her: rural California. Death is a subject she often returns to in her paintings - keeping a seemingly fragile balance between a dark and a hopeful perspective .
Working mostly in oil, an interesting departure from her usual medium is the series “Mapestries:” tapestries that expand the depiction of rural landscapes into manufactured landmarks and stealth bombers flying in the Southern Californian desert.

Road Kill (again) (1998)

Mapestry of the Coachella Valley (2012)

Father and Son (2022)

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