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Burger Collection, Hong Kong (2026)

11/05/2026

For the latest issue of Inside Burger Collection, Edward Gomez surveys the six-decade long career of Tadanori Yokoo one of Japan‘s most iconic artists and graphic designers. His first big survey show was staged at in 1972 where his radical postwar and anti-modernist designs were celebrated by an international audience.

Born in 1936 in the Kansai region of western Japan, Yokoo showed an early affinity for art, especially picture books and manga. After high school, Yokoo worked at a printing company and for a
newspaper in Kobe. Hired by an Osaka-based advertising firm, he was transferred to its Tokyo office, where, during the 1960s, he earned acclaim for the bold, radical imagery and content of his posters for underground theater troupes and films, as well as corporate clients. After seeing a Picasso exhibition in New York in 1980, Yokoo gave up graphic design and dedicated himself to painting. He remains a leading cultural figure in his homeland, and an iconic emblem of his generation of Japanese artists.

Link in bio

29/04/2026

Congratulations to Marguerite Humeau for being short-listed for the 2026 Turner Prize 🎉

Marguerite Humeau, “Jean, an Elephant watching the scene with a sense of wonder”, 2016, polystyrene, white paint, nylon, powder-coated metal

This earlier sculpture was part of Humeau’s show FOXP2 and in 2016 and belongs to a series that speculates on the way elephants communicate with one another and how they engage in language games and herd rituals. In preparation for this work, Humeau contacted a number of zoologists, paleontologists, biologists, and psychologists, and asked them to imagine what might have been the evolution of elephants if, instead of humans, they had been able to use language. Known for her supernatural, biomorphic sculptures and drawings, Humeau often places her works in complex installations that engage archeological and scientific imaginaries.

Marguerite Humeau (b. 1986) lives and works in London and received her MA from the Royal College of Art, London, in 2011. She recently showed a new body of work in Ishøj, Denmark, and in Florida.

17/04/2026

Zhang Xiaogang, Jump No. 5, 2021, oil on paper with paper collage

Jumping figures have been among the recurring subjects of Chinese artist Zhang Xiaogang’s recent paintings on canvas and paper: human figures appear to be suspended in solidified air, impervious to gravity’s pull, with the act of jumping offering a reflection on the ambiguity of human action and control. Known for his Big Family series, begun in the 1990s, Zhang’s deeply psychological paintings and drawings document the changes in Chinese society from its turbulent revolutionary past to its dynamic self-understanding in the new millennium.

Zhang Xiaogang (born 1958, Kunming) graduated from Sichuan Academy of Fine Arts, Chongqing, in 1982. He lives and works in Chengdu and Beijing.

11/03/2026

Katharina Fritsch, Schwarzer Knoten und weisses Podest und Hellgrüner Knoten und hellgraues Podest (Black Knot and White Pedestal and Light Green Knot and Light Gray Pedestal), 2021

This sculpture of two so-called “Sailor’s knots” by German artist Katharina Fritsch (b. 1954 in Essen) pays homage to a hidden detail in her monumental installation Rattenkönig (Rat-King), 1993: sixteen giant, identically black rats are arranged in a circle, with their tails forming a huge knot in the center. Taken out of their initial context, then doubled and colored in a peculiar green - a color she has developed in recent years - the knots testify to Fritsch’s interest in estranging us from familiar objects and images. Her perfect shapes and surfaces belie the fact that each of her objects is entirely made by hand in the studio.

“I think everything can be a sculpture for me,”the artist once said. “From the beginning, I wanted to create a kind of middle world that took you behind the object again by yourself, a world that really surprises people like they haven’t seen the object before.” (‘A Sculptor of the Female Gaze’, by Megan O’Grady, Feb 12, 2020)

Fritsch was recently awarded with the prestigious Kaiserring of the city of Goslar, Germany. A new version of her iconic Hahn (C**k) is currently on view

03/03/2026

For the latest feature of Inside Burger Collection in this month’s curator and writer Laura McLean-Ferris sat down with Nick Mauss to discuss the artist’s multifaceted body of work spanning ceramics, drawings, paintings on mirrors and textiles, as well as exhibition displays and architectures, choreographies and costumes.

“In terms of research,” Mauss explains, “I always knew it was important to look in the wrong places. And doing research, for me, is quite emotional. I think about it as looking very carefully, very closely at something—so closely that it starts to appear as itself again, and all the clichés fall away.”

Nick Mauss (b. 1980 in New York) has pursued a hybrid mode of working that merges the roles of curator, artist, and scholar. Integrating histories of performance and staging in his studio practice, he proposes new relations between spectator, performer, artwork, and institution. He has exhibited his work in various internationally institutions such as Espace Louis Vuitton, Munich (2025); the Nouveau Musée National de Monaco, Monaco (2022; 2016; 2014); Musée d’Art Moderne de Paris, Paris (2021; 2017); Kunsthalle Basel, Basel (2020); Whitney Museum of American Art, New York (2020; 2018; 2013; 2012); Fondation Louis Vuitton, Paris (2019); Museum Ludwig, Köln (2019)

Laura McLean-Ferris is a New York-born writer and curator based
in Paris. Her work has appeared in 4Columns, Artforum, ArtReview,
Bookforum, Frieze, Flash Art International, and Mousse, among other publications. Formerly, she was chief curator at the Swiss Institute, New York, where she organized numerous projects and exhibitions, including “Rosemary Mayer – Ways of Attaching” (2021).

17/02/2026

Happy New Year of the Horse 🐎

Mohamed Bouroussia, Window 2, 2017, black and white silver prints on car body part

Horses are among the recurring images in the videos, sculptures, and drawing of Algerian/French artist since his celebrated work “Horse Day” (2014-15), the cinematic culmination of an eight-month collaboration between Bourouissa and young Black horsemen of a non-profit equestrian society in an impoverished Philadelphia neighbourhood. Centering the narrative on the group’s preparation and presentation of a celebratory riding competition and pageant, Bourouissa examined the visual stereotypes and misrepresentations associated with “cowboy culture” in the United States. Initially met with distrust, Bourouissa chose participation over extraction: “I didn’t want to arrive, film and disappear. I had to create something that stayed with them,” the artist has said.

Mohamed Bourouissa (b. 1978 in Blida, Algeria) lives and works in Paris. His work has been shown internationally at the Centre Pompidou, New Museum. the Venice Biennale, and the Barnes Foundation. In 2020 he received the Deutsche Börse Photography Foundation Prize for his exhibition Free Trade at Rencontres d’Arles. In 2018 he was a nominee for the Prix Marcel Duchamp.

27/01/2026

Anne Truitt, Ink Drawing ‘59 [10], 1959, ink on paper

With its bold use of geometry and enhanced sensitivity to composition, this rarely shown early ink drawing by American artist Anne Truitt (1921-2004) foreshadows the artist’s column sculptures for which she is best known. A major figure of American art for over forty years, Truitt signaled a new direction for modern sculpture and became known also for her books - published during her lifetime and posthumously - distilling years of journal entries into vivid accounts of her life as an artist making sculpture, painting, and drawing.

Drawing was a daily ritual for Truitt throughout her life which she mostly spent in Washington, DC. She once said that “working on paper is marvelously freeing - something about the way in which it so generously offers itself to the hand, it’s perfect flatness, invites a kind of open play.”

Truitt’s work was recently part of “Minimal” in Paris curated by Jessica Morgan. Her first comprehensive European exhibition “Anne Truitt: Pioneer of Minimal Art” will open on March 28 in Düsseldorf, before traveling to and

05/01/2026

For the latest issue of Inside Burger Collection, art historian Harry C. H. Choi speaks to Hong Kong artist Kong Chun Hei (b. 1987) to discuss his quiet and intimate practice, the shifting role art, and our shared future.

Choi: “Understanding your worldview is even more generative at present, particularly as the world that we live in is filled with an unprecedented degree of uncertainty. I am curious about your vision of the future, both in terms of your practice and that of humanity at large.”

Kong Chun Hei: “Things that once appeared free or liberating
have increasingly become subtle instruments of domination. Pluralism, instead of dissolving boundaries, has led to more labels and distinctions. Globalization, having distributed crises more evenly than benefits, now seems to be entering a new, erratic phase. Despite paradoxical waves of optimism and certainty, it appears that we are headed toward a future of greater instability and fragmentation.”

AAP Almanac XXI Jan/Feb 2026 - Link in Bio

06/12/2025

Vaginal Davis, Righteous Anger Juno, Julian Eltinge as Cousin Lucy, Princess Flavour, and Milestones of Life, all 2018, mixed media on found paper

In these paintings on found paper, q***r icon combines a plethora of materials from nail varnish, rouge, hairspray, glycerin, witch hazel, mascara, blush, lip stain, lip gloss, to Nasenspray, cocoa butter, and perfume - a testament to Davis’s complex persona and five-decade long career as performer, visual artist, author, filmmaker, musician, educator, self-proclaimed “Blacktress,” and countercultural icon.

In a recent interview with for the artist has said: “For all these many centuries that I’ve lived on the planet, I really have done pretty much the same thing. I guess I’ve just taken my form of illness—and it definitely is an illness-and turned it into something. I think that’s the only way to describe it. I’ve always been a sick ticket, and I descend from a long line of sick tickets. And witches, and voodoo-hoodoo swamp women.”
(“A Woman’s Work is Never Done,” Vaginal Davis in conversation with Rick Owens, Artforum Vol. 62, No. 9, May 2024)

The survey exhibition “Vaginal Davis: Magnificent Product”, organized by Hendrik Folkerts, made its US debut in October, following iterations at Stockholm, and Berlin. Organized thematically, the exhibition includes major installations, video, paintings, zines, audio works, sculptures, and extensive archival materials, as well as and cross-disciplinary collaborations.

Vaginal Davis was born in Los Angeles and lives and works in Berlin.

12/11/2025

Shao Fan, Rabbit 1624, 2024, Ink on rice paper

In this recent, passionate rendering of one of his favorite subject, the rabbit, Chinese artist Shao Fan (b. 1964 in Beijing) continues his artistic investigation into key questions of ancient Chinese philosophy, such as the balance and unity between Man and Nature. Shao began painting at the age of three and received formal training from both his parents and the Beijing Art and Craft College. He is one of the first Chinese artists to explore the boundaries between visual art and design.

About the rabbit - a subject that came to Shao Fan by chance, when visiting a friend whose small flat housed far too many rabbits - the artist has said:

“While working on the series of animal paintings, I avoided painting the rabbits from nature. Instead I created them from my interior my heart. What I produce has its source in my own subjectivity. There are basically two levels: on the one hand my own intellectual world and my views about equality between people and animals. I argue for a harmonious connection between the two, and more respect towards the world in which we live.”

Shao Fan’s work is currently on view at the 15th “Does the Flower Hear the Bee” curated by Kitty Scott, Daisy Desrosiers, Xue Tan, Long Yitang, and Zhang Yingying, on view through 31 March, 2026.

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