CFGNY

Since 2016, New York-based artist collective CFGNY has investigated the transnational circulation of style, addressing a constellation of aesthetics across architecture, contemporary fashion, historical collecting practices, and cultures of cuteness. The group’s practice coalesces around exploring an ineffable but shared recognition of being perceived as other that it calls “vaguely Asian.” Approaching identity and subjectivity as relational endeavours, CFGNY conceives its art-making – integrally collaborative within and beyond the collective – as an act of sociality.

In *Continuous Fractures Generating New Yields*, the group presents a new body of porcelain sculptures cast from the imprints of cheap household objects manufactured in China, displayed in an architectural construction that offers deliberately partial points of view. Invoking porcelain’s myriad connotations in the western imagination – including its association with Asian skin, its collectability as a symbol of wealth and its historical role as a privileged commodity in early modern trade – CFGNY reflects on the affects and cultural politics of imported Chinese goods.

#### Biography
CFGNY is an artist collective whose research-based practice takes the form of image making, installation, sculpture, and performance to expand ideas of racialization and subjectivity. Founded in 2016, the collective continually returns to the term “vaguely Asian”: an understanding of racial identity as a specific cultural experience combined with the experience of being perceived as other. Recent exhibitions, performances and projects include Cooper Hewitt, Smithsonian Design Museum, New York (2025), Hammer Museum, Los Angeles (2024), PIN-UP Magazine, Milan (2023), SculptureCenter, New York (2022), Japan Society, New York (2022), X Museum, Beijing (2021), RISD Museum, Providence (2019), and Stedelijk Museum, Amsterdam (2018). In October 2024, CFGNY was named Frieze London’s Focus Stand Prize winner for its presentation with Hot Wheels, Athens and London. CFGNY is composed of Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen.

CAG - CFGNY - Exhibition Guide - Regular Print - web.pdf

CAG - CFGNY - Exhibition Guide - Large Print - web.pdf

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Black text on a white gallery wall leading into an exhibition, introducing the artists “CFGNY.” In partial view is a large wood and translucent plastic structure, with an amorphous sculpture inside.

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A wide angle view of a large structure made from vertical wood beams and translucent plastic. Two amorphous porcelain sculptures sit in an alcove in the structure on top of a mirrored surface. 

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A close up of two black and white amorphous porcelain sculptures on a mirrored surface. Behind and to the right of them are two circular mirrors. Vertical wood beams are visible in the background.

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A side view of a large wooden and translucent plastic structure, where a porcelain sculpture sits inside in an alcove. A soft sculpture on the floor sticks out through a cut-out in the structure.

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A close up of an amorphous sculpture, made of multiple broken pieces of porcelain stuck together. Floral pattern imprints and various glazes decorate its surfaces. A circular mirror is visible behind.

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A close-up of the end of a long stuffed soft sculpture made from various textured fabrics sewn together, which sticks out on the floor through a cut-out in a wood and translucent plastic structure.

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A view of a wooden and translucent plastic structure’s walls. Inside it and partially in view is an amorphous orange porcelain sculpture, and below it a long soft sculpture on the floor.

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A close up of an amorphous orange porcelain sculpture, with various cracks and textures across its surface. It is seen through a small opening between vertical wood beams and translucent plastic.

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A view of a wooden and translucent plastic structure, where a porcelain sculpture sits inside an alcove. A second sculpture is partially visible through a small opening and plastic.

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A close up of an amorphous porcelain sculpture, with various cracks and textures across its surface. Its reflection is mostly visible in a circular mirror behind it.

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An angled view of an amorphous porcelain sculpture inside an alcove in a large wooden and translucent plastic structure. A second sculpture in a separate alcove is obscured through the plastic.

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An image of multiple amorphous porcelain sculptures, with various cracks, imprints, and glazes across their surfaces. The reflections of three are visible in mirrors below, behind and above them. 

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A view of a large wooden and translucent plastic structure, with amorphous porcelain sculptures inside its alcoves. Three are placed on top of a reflective surface with a circular mirror behind them

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A close-up of multiple amorphous porcelain sculptures, with various cracks, imprints and glazes across their surfaces. They sit on a mirrored surface. Vertical wood beams are visible in the background

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An image of an amorphous porcelain sculpture, with various cracks and imprints across its surface. Another orange sculpture, vertical wood beams and circular mirrors are visible behind it.

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A close up of an amorphous sculpture, with various cracks, imprints and glazes across its surface. It is mostly orange and sits on a translucent surface. Vertical wood beams surround the sculpture. 

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A back view of a large wooden and translucent plastic structure. A porcelain sculpture and the head of a soft sculpture centipede are partially visible through cut-out openings in the structure. 

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A close-up of a stuffed soft sculpture centipede, made from various textured fabrics sewn together. The centipede’s face has two large black eyes, brown tusks, and long, fluffy grey ears.

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Continuous Fractures Generating New Yields

Lindsay McIntyre

​​Lindsay McIntyre engages filmmaking as a material practice. For over two decades, she has experimented with manipulating the properties of celluloid, creating a diverse body of films grounded in labour, collaboration and process. Working between documentary, experimental film and expanded cinema performance, McIntyre’s oeuvre reflects on displacement from Inuit Nunangat, place- and land-based methodologies, Inuit community, and survivance, often in conversation with her family history.
 
At the Contemporary Art Gallery, McIntyre presents *Tuktuit*, a film installation exploring the interconnectedness of lichen growth, caribou populations and land use in the North. The film, which depicts McIntyre processing a caribou hide, incorporates footage shot on 16mm film made with caribou gelatin emulsion, and is projected on the hide it depicts. Alongside the installation and across CAG’s façade are related caribou hide works and photographs thereof, which extend *Tuktuit*’s concerns with labour and intergenerational knowledge.

The exhibition is accompanied by *What We Never Lost*, an offsite presentation at Yaletown-Roundhouse Station featuring multiple-exposure stills from *Seeing Her*, a film that places McIntyre’s filmmaking in dialogue with her great-grandmother Kumaa’naaq’s skilled beadwork.

#### Biography
Lindsay McIntyre is an artist and filmmaker of Inuit and mixed settler descent who explores place-based knowledge, material practices and personal histories in her experimental/documentary shorts. Her films have received numerous awards and accolades and have been presented at Anthology Film Archives, the Baltimore Museum of Art, Berkeley Art Museum and Pacific Film Archive, the National Museum of the American Indian, Rovaniemi Art Museum, and in film festivals worldwide. *NIGIQTUQ ᓂᒋᖅᑐᖅ (The South Wind)* (2023), her recent leap into narrative, garnered her Best Short at the imagineNATIVE Film + Media Arts Festival and a submission to the 2025 Academy Awards. Her related first dramatic feature, *The Words We Can’t Speak* (in development), won the Women in the Director’s Chair Feature Film Award. She is a fellow of Sundance Native Lab (2024), Forge Project (2024) and the COUSIN Collective (2022), and teaches Film + Screen Arts at Emily Carr University of Art + Design on unceded Coast Salish Territory in Vancouver. 

CAG - Lindsay McIntyre - Exhibition Guide - Regular Print - web.pdf

CAG - Lindsay McIntyre - Exhibition Guide - Large Print - web.pdf

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Black text on a white gallery wall leading into an exhibition, introducing the artist “Lindsay McIntyre.” A light brown handbag hangs at a slight angle on a wall opposite, further inside the gallery. 

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A light brown handbag made from caribou hide hangs at a slight angle on a white hook on a wall. The bag is covered in many tiny holes. 

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A caribou hide is stretched and suspended between two dark gray poles with thick string. A film is projected directly onto the hide and the wall behind it. A light gray couch faces the installation. 

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A side angle view of a caribou hide, stretched and suspended in front of a wall, onto which a film is projected. The film still is black and white, making the hide appear covered in shadows. 

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A frontal view of a caribou hide, stretched and suspended in front of a wall, onto which a film still is projected. The hide is covered in many small holes. The film still partially shows two hands. 

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" A side angle view of a caribou hide, stretched and suspended in front of a wall, onto which a film is projected. The hide is covered in many small holes. The film still shows an open landscape and sky "

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"An image of a caribou hide stretched inside of a wooden frame. The hide is decorated with detailed beadwork in the shape of lichen. Vintage doilies are stitched into the small holes in the hide. "

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" A close up of a light brown caribou hide, with multiple holes, many of which are covered by vintage doilies stitched into them, and outlined with small beads in various colours.  "

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CAG’s façade with Lindsay's McIntyre's photographs across nine street-facing windows. The artworks are close up images of detailed stitching on caribou hide surfaces. 

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Three windows featuring close up images of detailed stitching on caribou hide surfaces. The thread is various shades of brown, and certain sections are frayed.

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A pair of windows featuring close up images of detailed stitching on caribou hide surfaces. The thread is various shades of brown, and certain sections are frayed. 

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Three windows featuring close up images of creased caribou hide with many small holes. Light shines through from the back of the material.

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Distance Between Objects, Time Between Events

Exhibitions

Talks & Events