未能証實 PROOF WOULD END IT
Solo exhibition
策展/统筹:周翊 Curated/Produced: 周翊 ZhouYi
Concept developed with Dr. Michelle Lewis-King / 概念與王米雪博士共同發展
展览鸣谢:张淼 蒋娇 崔施雨
Special thanks to: Zhang Miao, Jiang Jiao, Cui Shiyu
2026年7月18日至8月16日
未能証實 PROOF WOULD END IT
Silicon wafer, micro-engraving · 5 + 1AP · 2025
非作品之證書 Certificate of the Anti-Work
UV print on aluminum · Edition of 10 · 2026
Curated by 周翊 ZhouYi
Concept developed with Dr. Michelle Lewis-King / 概念與王米雪博士共同發展
March 2026 / Hong Kong
Cubist Guitars in Digital Color Space
Sound: Dr. Michelle Lewis-King
啪嗒绘画 PataPaint
Site-specific installation: solar powered, self-illuminating screen.
Curated and organized by 周翊 ZhouYi
半手动时代 Semi-Manual Era
Artists: Chen Ke | Nick Fudge | Gao Ludi | Lao Jiahui Shang Liang | Song Yonghong | Unmask (Liu Zhan) Wang Yiwei | Yancong | Zhang Yudong
Curators: Duan Shaofeng, Feng Xi, Li Jia, Zhou Yi + Dong Jing, and Miao Zijin
Apollo's Decathlon
Group exhibition
Exhibition curated and organized by Lara Pan in collaboration with the museum.
June 1–September 21, 2024
Picasso Pizazz
Collection launch: May 8, 2024
Future Paint
Nick Fudge | Charley Peters | Komply
Curated and organized by Nick Fudge
April 11–May 19, 2024
Artist Talk April 11, 2024
Destruction of Appearance
Collection launch: Nov 15, 2023
Digital Divide II – Painting in the Age of New Media
Nick Fudge | Andreas Lau | Enda O'Donoghue | Römer + Römer | Sandra Schlipkoeter
October 1–30, 2021
Digital Divide – Painting in the Age of New Media
Nick Fudge | Andreas Lau | Römer + Römer
December 2019–January 12, 2020
AboutKatalogTalk by Claudia StamatelatosReality Drive:Escape Velocity
SOLO EXHIBITION
Concept developed with Dr. Michelle Lewis-King
Borderlands
Nathan Barlex | Gareth Cadwallader | EC, Gearing Evans | Nick Fudge | Sam P Gibson | Hanz Hancock | Sharon Hall | Dan Hays | Vincent Hawkins | Claire Jarvis | Sue Kennington | Phil King | David Leapman | Lee Maelzer | Patrick Morrisse | Charley Peters | Benjamin Senior | Jamie Shovlin | Mark Sibley | Caroline Walker
Obscured by Clouds
Nick Fudge | Phil King
Curated by Mathew Burrows.
Concept developed with Dr. Michelle Lewis-King
Much of the work and many of the exhibitions presented here were developed in intellectual and creative partnership with the artist and scholar Dr. Michelle Lewis-King — a friendship begun at Tyler in 1992, renewed in 2010, and central to the practice ever since.
此處呈現的諸多作品與展覽,皆與藝術家及學者王米雪博士在思想與創作上的長期合作中發展而成——這份友誼始於一九九二年的泰勒藝術學院,二〇一〇年重新接續,此後始終是這一實踐的核心。
In 2015, after more than two decades of keeping his work private, Nick Fudge decided to return to exhibitions. His first exhibition since his MFA show in 1994 was a two-person show with Phil King entitled Obscured by Clouds, held at The Observer Building in Hastings. The choice of venue was no accident - far from the pristine walls of a traditional white cube gallery, the dilapidated, graffiti-covered building was a perfect reflection of Fudge's ongoing resistance to the commercialized art world. It was a space that challenged conventional expectations, in keeping with his belief in preserving the integrity of his work.
His return was not about conforming to the art market, but about reasserting his independence and continuing his practice on his own terms. His choice of a non-traditional venue signaled that while he was ready to show his work again, he would do so in a way that maintained the rebellious spirit and conceptual integrity that had always defined his approach.
Material for No Thing
Nick Fudge | Steve Voll
MFA Graduate Exhibition.
Exhibition concept developed with Dr. Michelle Lewis-King
Fifth Anniversary Exhibition
Mat Collishaw, Keith Coventry, Tobias Eyferth, Nicholas Fudge and Sarah Lucas.
Curated by Michael Landy.
Nick Fudge's decision to withdraw from the London art scene of the 1990s was both deliberate and significant. After graduating from Goldsmiths in 1988, he was ready to join his friends and colleagues in shaking up the London art scene in what became known as the Young British Artists (YBA) movement. Despite the potential for immediate success, Fudge made the bold decision to leave London and move to America. There, he worked in secret, distancing himself from the commercial pressures of the YBA movement. This retreat allowed him to maintain the conceptual integrity of his work and develop his practice on his own terms.
Between 1988 and 2015, Fudge made a conscious decision to limit the public exposure of his work, a choice rooted in his desire to maintain control over the development and conceptual integrity of his artistic practice. By withdrawing from the art market and gallery system, Fudge aimed to protect his work from the distorting pressures of market demands, commercial success, and the relentless focus on career progression instilled in many forms of art education and to allow his art practice to flourish without external influence.