West Coast NotesBy Michael SuhArt · Place · Rural Practice When life in its entirety becomes art, who defines the boundaries of the work? Who shapes the language through which it is interpreted? And how can villagers’ own voices remain…
In 2020, we began restoring a century-old building in Ottawa, Canada. What we thought would take two or three years eventually became a six-year journey. The pandemic, rising construction costs, design revisions, material shortages, and changing approvals all slowed the…
IN BETA 001 The Materials Have Their Own Time A curatorial note by Michael Suh Time Commons · Ottawa · 2026 In February, I attended Maude Arès’s live project La pomme par laquelle je bois at AXENÉO7 in Gatineau. I…
vibrARTion · ACTION SERIES Form Without Form A cross-media, site-based linguistic series that grows through action Emerging from vibrARTion’s trans-regional artistic actions, this series approaches artworks and art history through the concept of “before form.” Since 2012, “Form Without Form”…
By Michael Suh vs. Sorianna Prologue｜Why Return to 2012? Form without Form, presented at NordArt in 2012, has remained in my curatorial history as an unfinished state of thought—a suspended moment that was never adequately defined, never fully understood, and…
Sealing a Jar for Our Time — Dedicated to the Future On August 16, the Sealtan Project was officially launched at the Four Seasons Ballroom of Four Seasons Hotel Beijing. Under the theme “Seal a jar for this era —…
Exhibition Overview In 2012, “Forms of the Formless” opened as Action 2 of the vibrARTion Project at NordArt. The exhibition explored the “formless structures” of contemporary Chinese art, staging a constellation of sculpture, installation, painting, and video in a nineteenth-century…
Vibration Hamburg:Sealtan Project · Europe Chapter By Michael Suh / Curator When I return to Hamburg in language rather than in memory, Großen Bleichen no longer appears as a street I once walked through, but as a structure rising again…