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nyc on view: knowledge is myth @carpenter_center_harvard October 1 — December 13 inquiries: @herald_st london | bologna
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bombmagazine.org/articles/2026/11/09/cole-lu-by-ho-won-kim carpenter.center/exhibitions/knowledge-is-myth-chimeric-continuities montezpress.com/static/media/interjectionPDFS/Interjection-012-02_Cole_Lu.pdf www.novacontemporary.com/exhibitions/58-the-engineers-cole-lu/overview www.heraldst.com/cole-lu-2024-
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Knowledge Is Myth: Chimeric Continuities opened last week at @carpenter_center_harvard and is on view through December 13
The installation in the first image brings together independently titled works made between 2018 and 2026, alongside reworked elements, in a new display under the umbrella title:
Here lies all his love of life. For what gives value to travel is fear: deprived of our mask, completely surface. Soul-sick, miraculously, the whole of life. The whole of lie.
(Second Manifesto)
2026
Burnt linen, bronze, marble, cherry, facsimile case
Also pictured is Orthros, 2019, and a few moments from last week’s artist talk.
Thank you Danni @danni_sh and Kate @katemcn , it’s been such a pleasure working with you both. I’m so grateful. It was a mesmerizing fever dream to share the conversation with Ami, @aydo_studio , and Danni last week. Thank you to the Carpenter Center team and everyone who joined us for the opening and talk.
Organized by Danni Shen, with Enzo Camacho & Ami Lien, Candice Lin, AYDO (Ayoung Yu & Nicholas Oh), and Cole Lu
2 & 4: Danni Shen
7–8: Courtesy the Carpenter Center for the Visual Arts at Harvard University. Photo: Susan Young
08 Oct 2026
I’m honored to share that The Engineers (2024) has entered the permanent collection of Dib Bangkok.
First presented at Wat Bowon, a royal temple and home to the first Buddhist educational institution in Thailand, for the Bangkok Art Biennale, the work was developed between the temple and Bangkok Kunsthalle, located in the former Watana Panich printing house, a site that was damaged by fire and now operates as Bangkok Kunsthalle.
Across these sites, the installation considers how inscription, destruction, and reconstruction are embedded within the architecture it occupies, and how systems of knowledge, memory, and collection are shaped through them across histories, in forms that continue to be renewed.
Grateful to have this work in the collection of Dib Bangkok, presented with Nova Contemporary.
@dibbangkok @bkkartbiennale @bangkok_kunsthalle @novacontemporary
13 Apr 2026
All he can do is recount the gravel falling from the sky. Occasionally, his mother spots him ducking and dodging, looking up: Does it look normal? Or is it changing? “It is brighter than before, sort of glowing.” “And that flutter inside you, you still feel that?”
(Lethe)
2025
Mud brick
85 x 37.7 x 9.4 in / 216 x 96 x 24 cm
On view at Aranya Art Center
As She Descends, curated by Yuan Fuca and Damien Zhang
September 21, 2025 - March 1, 2026
Photography Sun Shi
@heichiyuanr @damienzhg @aranyaartcenter
09 Oct 2025
Spoke with @kmhown for @bombmag while Knowledge Is Myth was still taking shape at the Carpenter Center. Thank you Ho Won for such a thoughtful conversation.
Knowledge Is Myth: Chimeric Continuities
curated by Danni Shen
on view through December 13
Carpenter Center for the Visual Arts, Harvard University
@carpenter_center_harvard @danni_sh
11 Nov 2026
I keep returning to how beginnings establish hierarchies.
These two burnt linen works bring together studies of Lascaux Cave and the Crystal Palace. Lascaux has been positioned as a symbolic beginning of art within Western art history, notably through Georges Bataille’s Lascaux; or The Birth of Art (1955). The Crystal Palace housed the Great Exhibition of the Works of Industry of All Nations in 1851, organizing raw materials, machinery, manufactures, and fine art through an industrial and imperial system of display. Rebuilt at Sydenham in 1854, the palace extended this framework through architectural courts presenting cultural histories, while reconstructions of prehistoric life occupied the surrounding grounds. Across these different histories, acts of selection, narration, preservation, and reproduction shape how knowledge acquires authority.
At the Carpenter Center, the two independently titled works enter a shared architectural arrangement. Their placement, scale, and the surrounding wooden display structure become part of how they are encountered, bringing different historical moments and systems of knowledge into the same field.
Left:
In the darkness of the cave, they lit fire to cook tender roots— the blind eyes in the dark cave filled with salt tears. The blind eyes of the mother and the father filled with salt tears. In the darkness of the dark cave, the blind eye of the bison filled with salt tears.
(One day the sun fell)
2024
Burnt linen
Right:
Asbestos glory these men set around their dear fatherland, watching a black cloud storm from the horizon, thinkers of late times, they trade metals, weapons, letters of the alphabet. To think and to thank are words of one and the same origin. A slow leak of immortality.
(Crystal Palace)
2025–26
Burnt linen
Knowledge Is Myth: Chimeric Continuities, curated by Danni Shen. On view through December 13, 2026.
Courtesy the Carpenter Center for the Visual Arts at Harvard University. Photo: Julia Featheringill.
@danni_sh
@carpenter_center_harvard
07 Nov 2026
Thoroughbred (But you, you were born for a lucent day)
2018–2026
Bronze; found carved cherry side table with black marble top
Comprising: Thoroughbred (No caster of weather foretold), 2018, bronze; found carved cherry side table with black marble top, date unknown
Developed in 2018 from a cast of my face, the figure became an early sculptural iteration of Geryon within a larger body of work, combining human features with horns, mane-like hair, and enlarged ears. For the Carpenter Center, the earlier bronze enters a new composition with a found carved cherry side table and black marble top, bringing the figure and the furniture supporting it into the same work while retaining the sculpture’s earlier history.
The arrangement belongs to a larger installation informed by histories of museum display, from the period rooms and the 2024 reinstallation of eighteenth-century American furniture in The Metropolitan Museum of Art’s American Wing to the movable teaching displays of the Musée des Arts et Métiers. These references consider how furniture, placement, and relationships between objects shape the histories told through them. The table is not simply a pedestal: its materials, ornament, and proportions become part of how the figure is encountered.
Part of Knowledge Is Myth: Chimeric Continuities, curated by Danni Shen, at the Carpenter Center for the Visual Arts, Harvard University. On view through December 13, 2026.
@danni_sh
@carpenter_center_harvard
20 Oct 2026
On view at Frieze London with Herald St
Booth A27
from 14—18, October
As he thinks and moves past saplings, he becomes something different, unable to form words around memories or the people he loved. Here is a stash of promise, the power of expression, or power as expressed, like Redwoods, like lived experience, like a tree needs no witness, like the dying sea. Not being ready, meaning movement hurts, has to do with presence, consumed by flames. Of all things, he wonders about the trivial, the otherness of others, as in how to be a person, how to withhold your apology at the crossing, as in cruelty as universal, as apple pie, as America, proud to serve to die, of all things, matters of heart and mind.
(Amnesia)
2025-2026
Burnt birch
61 x 45.7 x 3.8 cm / 24 x 18 x 1.5 in
© Cole Lu. Courtesy of the artist and Herald St, London & Bologna. Photo by Frankie Tyska.
@friezeofficial
@herald_st
14 Oct 2026
#ColeLu features in ‘Knowledge Is Myth: Chimeric Continuities’ which previews this Thursday at the Carpenter Center for the Visual Arts (@carpenter_center_harvard).
The exhibition features works by four artists and collectives that complicate the binaries of mythology and knowledge, and their constructs. The title ‘Knowledge Is Myth’ plays off the phrase “knowledge is power,” popularised by Sir Francis Bacon in the late sixteenth century at the height of the European Enlightenment, globalisation, and religious conflict. Drawing from diasporic as well as chimeric and hybrid subjectivities, these works reconfigure colonial hierarchies of being that separate human and nonhuman realms, while embracing what decolonial writers Walter Mignolo and Catherine E. Walsh describe as an ecology of knowledge informed by non-Western epistemologies, carried through myths and the power of storytelling.
Lu combines pyrography (drawing by fire), mythological storytelling, and autobiographical narrative to examine trans identity and longing. Lu examines established social hierarchies and their myth-making origins, such as Western folklore, where monsters are misunderstood, feared, and eternally othered from humans. In a new site-specific installation, the artist reimagines what it means to become monstrous, or more-than-human, throughout time as well as modes of display.
The exhibition continues until 13 December 2026.
#ColeLu
Thoroughbred (But you, you were born for a lucent day.)
2018–26
Installation comprising existing work and found furniture
Bronze; found carved cherry side table with black marble top
26.5 x 25.5 x 16.5 in / 67.31 x 64.77 x 41.91 cm
30 Sep 2026
Somewhere in the middle of crime and Love Me Tender, 2026
in collaboration with @pitifulmimosa
Site-responsive installation with architectural interventions and erasure texts
made for the inaugural gathering of lovers
@dionysus.in.modernity @lilykwak @cyntheticpleasures
on view by appointment through September 9
27 Aug 2026
Looking back at Open Video Call 2018, artist Cole Lu ( @colelu ) reflects on his selected work, "Everytime I Said Something to You Deeply and Untechnical", a work he says feels like "encountering a past version of myself through a language I hadn't spoken in a long time."
Though Cole's practice has since evolved toward sculptural work, he doesn't see his early film work as a departure, but the beginning of a reworking. Cole considers the writing that first emerged as text within the film gradually became a way of thinking, that now shapes his sculptures, titles, and larger bodies of work.
Almost 9 years later, the film captures a quiet moment of transition: an artist standing on the threshold of something new, carrying forward ideas that were already taking root.
As we count down to the final days of Open Video Call 2026, we're grateful to celebrate the artists and artistic practices that emerged over the years.
Where might your work lead?
🎥 Submit your video to ICA OVC by Friday, July 31 at 11:59 PM. Click the link in bio.
Image Credits:
Slide 1: Cole Lu. Photo by Farah Al Qasimi ( @frequentlyaskedquestion )
Slides 2 - 6: Stills from "Everytime I Said Something To You Deeply and Untechnical" (2017) directed by Cole Lu.
30 Jul 2026
CFG-20260717
Look 35 Cole Lu @colelu
Our dad Cole Lu pulls up in the cargo van, with snacks in hand and small unexpected presents to make each day on earth together a gift.
Vision: @cfgny2
Lookbook Photography: @davidbrandongeeting
Styling: @avenagallagher
Styling Coordinator: @willum.iv
Hair: @Kazukatahira
Makeup: @souhi_lee @milkmakeup
Nails: @c_ielle
Shoes: @marsell.official
Eyewear: @mykitaofficial @akila.la
Jewelry: @lauralombardi @hera_jwlry @hannahjewett._ @jwoo___________
Sound: @l_y_d_o
Lighting: @s.arai__
Movement: @elliot_reed_laboratories
Dramaturg/PR: @cyntheticpleasures
Amant PR: @nothingobstacle
Kitchen PR: @purplepr
Stage Management: @buffysierra
Production: @amant.arts @thekitchen_nyc
Catering: @h31.syk @bong.nyc @puredegrees
22 Jul 2026
A few moments from Uses of Pressure, a reading with Miriam Stoney at the closing of Fire Lips, curated by Johanna Thorell at the University Gallery of the Angewandte, Vienna.
The exhibition brought together works by Anne Carson, VALIE EXPORT, Johanna Gustafsson Fürst, Cole Lu, Ana Mendieta, mhm,mhm, Evelyn Plaschg, Miriam Stoney, and Mona Vătămanu & Florin Tudor.
Thank you to Johanna, Miriam, and everyone who joined us.🤍
@university_gallery_angewandte
@dieangewandte
08 Jun 2026
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