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colelu
Cole Lu
artist, nyc
Fire Lips, on view at Universitätsgalerie der Angewandten, Vienna, through June 6, 2026
So grateful to be included in this exhibition with Anne Carson, VALIE EXPORT, Johanna Gustafsson Fürst, Ana Mendieta, mhm,mhm, Evelyn Plaschg, Miriam Stoney, Mona Vătămanu & Florin Tudor. Curated by Johanna Thorell.
Installation view, Universitätsgalerie der Angewandten, Vienna, 2026
The woods had grown so still he could only hear something inside himself quietly pounding. Since returning, he sees Time everywhere—in the eye of a needle, the dust on the windowsill, the red at sunset. In the red sunset, he opened his eye; the hours jumped out of the clock, stood before him, demanding he work correctly. (Hypnos), 2023
Burnt birch
16 x 20 x 1.5 in/40.6 x 50.8 x 3.8 cm
Courtesy of Y.D.C.
Photo by Manuel Carreon Lopez
@dieangewandte
@university_gallery_angewandte
Fire Lips, on view at Universitätsgalerie der Angewandten, Vienna, through June 6, 2026
So grateful to be included in this exhibition with Anne Carson, VALIE EXPORT, Johanna Gustafsson Fürst, Ana Mendieta, mhm,mhm, Evelyn Plaschg, Miriam Stoney, Mona Vătămanu & Florin Tudor. Curated by Johanna Thorell.
Installation view, Universitätsgalerie der Angewandten, Vienna, 2026
The woods had grown so still he could only hear something inside himself quietly pounding. Since returning, he sees Time everywhere—in the eye of a needle, the dust on the windowsill, the red at sunset. In the red sunset, he opened his eye; the hours jumped out of the clock, stood before him, demanding he work correctly. (Hypnos), 2023
Burnt birch
16 x 20 x 1.5 in/40.6 x 50.8 x 3.8 cm
Courtesy of Y.D.C.
Photo by Manuel Carreon Lopez
@dieangewandte
@university_gallery_angewandte
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
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
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
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
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
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
Cole Lu's monumental installation 'The Engineers' (2024) has entered the permanent collection of Dib Bangkok, Thailand (@dibbangkok).
First shown at the Bangkok Art Biennale (@bkkartbiennale) in 2024, Nadine Khalil observed in her Frieze (@friezeofficial) review: 'Another quiet standout, this time at Wat Bowon [Temple], is New York-based, Taiwanese artist Cole Lu’s 'The Engineers' (2024). Two gated, portal-like archways are indistinguishable from the temple’s architecture until you notice the artist’s retro sci-fi engravings of enigmatic creatures on burnt Neem wood and linen, intended as a nod to early forms of writing.'
#ColeLu
The Engineers
2024
Burnt neem and burnt linen
280 x 290 x 120 cm
Cole Lu's monumental installation 'The Engineers' (2024) has entered the permanent collection of Dib Bangkok, Thailand (@dibbangkok).
First shown at the Bangkok Art Biennale (@bkkartbiennale) in 2024, Nadine Khalil observed in her Frieze (@friezeofficial) review: 'Another quiet standout, this time at Wat Bowon [Temple], is New York-based, Taiwanese artist Cole Lu’s 'The Engineers' (2024). Two gated, portal-like archways are indistinguishable from the temple’s architecture until you notice the artist’s retro sci-fi engravings of enigmatic creatures on burnt Neem wood and linen, intended as a nod to early forms of writing.'
#ColeLu
The Engineers
2024
Burnt neem and burnt linen
280 x 290 x 120 cm
Cole Lu's monumental installation 'The Engineers' (2024) has entered the permanent collection of Dib Bangkok, Thailand (@dibbangkok).
First shown at the Bangkok Art Biennale (@bkkartbiennale) in 2024, Nadine Khalil observed in her Frieze (@friezeofficial) review: 'Another quiet standout, this time at Wat Bowon [Temple], is New York-based, Taiwanese artist Cole Lu’s 'The Engineers' (2024). Two gated, portal-like archways are indistinguishable from the temple’s architecture until you notice the artist’s retro sci-fi engravings of enigmatic creatures on burnt Neem wood and linen, intended as a nod to early forms of writing.'
#ColeLu
The Engineers
2024
Burnt neem and burnt linen
280 x 290 x 120 cm
opening next week at Universitätsgalerie der Angewandten, Vienna
Fire Lips
12 March—6 June 2026
Opening reception March 11, 18:00
Curated by Johanna Thorell
I feel honored to have work included in this incredible group of artists and thinkers. Thank you Johanna for the invitation.
Universitätsgalerie der Angewandten
Heiligenkreuzerhof
1010 Wien
@dieangewandte
@university_gallery_angewandte
February’s contribution to IC012 is Cole Lu’s experimental preposition, ‘How Does The Voice Travel?’.
Guest edited by Christopher Whitfield.
Cole Lu (b. Taipei) lives and works in New York. Working across sculpture, installation, drawing, and writing, Lu’s practice explores myth, memory, and the architectures of displacement. His work engages material translation through wood burning, fire, linen, copper, found objects, and concrete, activating poetics of survival, orientation, and coded refusal. Language operates not only as text but as texture, carving lexicons into matter and myth into structure.
Lu has presented solo and two-person exhibitions at the Institute of Contemporary Art at MECA (Portland), Herald St (London), Each Modern (Taipei), and the Bangkok Art Biennale. His work will be featured in upcoming 2026 exhibitions at the Carpenter Center for the Visual Arts at Harvard University (Cambridge) and the University of Applied Arts Vienna. Recent group exhibitions include Aranya Art Center (Qinhuangdao), Kunsthal N (Copenhagen), Bortolami (New York), Tina Kim Gallery (New York), and Nova Contemporary (Bangkok).
His writing has appeared in Coffee House Press, Inpatient Press, and WONDER, with forthcoming work from Montez Press. His work is held in the collections of DIB Bangkok Museum and the Museum of Modern Art (MoMA) Library, and has been featured in Frieze, Artforum, Flash Art, ArtReview, and ArtAsiaPacific.
He was recently Artist-in-Residence at Bangkok Kunsthalle.
Image Description: A series of screenshots stating ‘How Does The Voice Travel?’ by Cole Lu, including a selection of text from the Interjection Calendar.
February’s contribution to IC012 is Cole Lu’s experimental preposition, ‘How Does The Voice Travel?’.
Guest edited by Christopher Whitfield.
Cole Lu (b. Taipei) lives and works in New York. Working across sculpture, installation, drawing, and writing, Lu’s practice explores myth, memory, and the architectures of displacement. His work engages material translation through wood burning, fire, linen, copper, found objects, and concrete, activating poetics of survival, orientation, and coded refusal. Language operates not only as text but as texture, carving lexicons into matter and myth into structure.
Lu has presented solo and two-person exhibitions at the Institute of Contemporary Art at MECA (Portland), Herald St (London), Each Modern (Taipei), and the Bangkok Art Biennale. His work will be featured in upcoming 2026 exhibitions at the Carpenter Center for the Visual Arts at Harvard University (Cambridge) and the University of Applied Arts Vienna. Recent group exhibitions include Aranya Art Center (Qinhuangdao), Kunsthal N (Copenhagen), Bortolami (New York), Tina Kim Gallery (New York), and Nova Contemporary (Bangkok).
His writing has appeared in Coffee House Press, Inpatient Press, and WONDER, with forthcoming work from Montez Press. His work is held in the collections of DIB Bangkok Museum and the Museum of Modern Art (MoMA) Library, and has been featured in Frieze, Artforum, Flash Art, ArtReview, and ArtAsiaPacific.
He was recently Artist-in-Residence at Bangkok Kunsthalle.
Image Description: A series of screenshots stating ‘How Does The Voice Travel?’ by Cole Lu, including a selection of text from the Interjection Calendar.
February’s contribution to IC012 is Cole Lu’s experimental preposition, ‘How Does The Voice Travel?’.
Guest edited by Christopher Whitfield.
Cole Lu (b. Taipei) lives and works in New York. Working across sculpture, installation, drawing, and writing, Lu’s practice explores myth, memory, and the architectures of displacement. His work engages material translation through wood burning, fire, linen, copper, found objects, and concrete, activating poetics of survival, orientation, and coded refusal. Language operates not only as text but as texture, carving lexicons into matter and myth into structure.
Lu has presented solo and two-person exhibitions at the Institute of Contemporary Art at MECA (Portland), Herald St (London), Each Modern (Taipei), and the Bangkok Art Biennale. His work will be featured in upcoming 2026 exhibitions at the Carpenter Center for the Visual Arts at Harvard University (Cambridge) and the University of Applied Arts Vienna. Recent group exhibitions include Aranya Art Center (Qinhuangdao), Kunsthal N (Copenhagen), Bortolami (New York), Tina Kim Gallery (New York), and Nova Contemporary (Bangkok).
His writing has appeared in Coffee House Press, Inpatient Press, and WONDER, with forthcoming work from Montez Press. His work is held in the collections of DIB Bangkok Museum and the Museum of Modern Art (MoMA) Library, and has been featured in Frieze, Artforum, Flash Art, ArtReview, and ArtAsiaPacific.
He was recently Artist-in-Residence at Bangkok Kunsthalle.
Image Description: A series of screenshots stating ‘How Does The Voice Travel?’ by Cole Lu, including a selection of text from the Interjection Calendar.
February’s contribution to IC012 is Cole Lu’s experimental preposition, ‘How Does The Voice Travel?’.
Guest edited by Christopher Whitfield.
Cole Lu (b. Taipei) lives and works in New York. Working across sculpture, installation, drawing, and writing, Lu’s practice explores myth, memory, and the architectures of displacement. His work engages material translation through wood burning, fire, linen, copper, found objects, and concrete, activating poetics of survival, orientation, and coded refusal. Language operates not only as text but as texture, carving lexicons into matter and myth into structure.
Lu has presented solo and two-person exhibitions at the Institute of Contemporary Art at MECA (Portland), Herald St (London), Each Modern (Taipei), and the Bangkok Art Biennale. His work will be featured in upcoming 2026 exhibitions at the Carpenter Center for the Visual Arts at Harvard University (Cambridge) and the University of Applied Arts Vienna. Recent group exhibitions include Aranya Art Center (Qinhuangdao), Kunsthal N (Copenhagen), Bortolami (New York), Tina Kim Gallery (New York), and Nova Contemporary (Bangkok).
His writing has appeared in Coffee House Press, Inpatient Press, and WONDER, with forthcoming work from Montez Press. His work is held in the collections of DIB Bangkok Museum and the Museum of Modern Art (MoMA) Library, and has been featured in Frieze, Artforum, Flash Art, ArtReview, and ArtAsiaPacific.
He was recently Artist-in-Residence at Bangkok Kunsthalle.
Image Description: A series of screenshots stating ‘How Does The Voice Travel?’ by Cole Lu, including a selection of text from the Interjection Calendar.
Last day on view at FOG Design+Art, San Francisco with Herald St
Booth 108
He carries much nostalgia for the time he can’t recall (Night is also a sun, variation 2)
2026
Burnt birch
18 x 24 x 1.5 in/ 45.72 x 60.96 x 3.81 cm
Courtesy of the artist and Herald St, London
Photo: Charles Benton
@fogfair
@herald_st
Last day on view at FOG Design+Art, San Francisco with Herald St
Booth 108
He carries much nostalgia for the time he can’t recall (Night is also a sun, variation 2)
2026
Burnt birch
18 x 24 x 1.5 in/ 45.72 x 60.96 x 3.81 cm
Courtesy of the artist and Herald St, London
Photo: Charles Benton
@fogfair
@herald_st
Now on view at FOG Design+Art, San Francisco with Herald St
Booth 108
Each morning, he rises from the phrase that possesses him, like a blind corridor, a sharp corner, or a song stuck in his head. He recalled from the man at the march, by the Yankee shortstop, the thrilling aurora. The whole year cracking against the luck, which, he tried time and time again, to forget the gun pointed to children’s heads, to forget the herder of cattle, or those of yesteryear. No one got hurt, but everyone was hurting. Awe of air, strain of eclipse, all notions became breaths.
(Transported Man)
2026
Burnt linen
50.8 × 76.2 × 3.8 cm / 20 × 30 × 1.5 in
© Cole Lu. Courtesy of the artist and Herald St, London.
Photo by Charles Benton
@fogfair
@herald_st
Now on view at FOG Design+Art, San Francisco with Herald St
Booth 108
Each morning, he rises from the phrase that possesses him, like a blind corridor, a sharp corner, or a song stuck in his head. He recalled from the man at the march, by the Yankee shortstop, the thrilling aurora. The whole year cracking against the luck, which, he tried time and time again, to forget the gun pointed to children’s heads, to forget the herder of cattle, or those of yesteryear. No one got hurt, but everyone was hurting. Awe of air, strain of eclipse, all notions became breaths.
(Transported Man)
2026
Burnt linen
50.8 × 76.2 × 3.8 cm / 20 × 30 × 1.5 in
© Cole Lu. Courtesy of the artist and Herald St, London.
Photo by Charles Benton
@fogfair
@herald_st
on view @friezeofficial @herald_st
Oct 15—19| A27
You know, too, that time darts across the field of vision and at the place where time stands still, one in front of the door, one behind, leaning back on itself. The first is stringent and metallic, like a steel pendulum swinging back and forth. The second squirms and wriggles like a Blue Tang in reefs.
(Oh time your pyramid)
2025
Burnt red oak, maple
© Cole Lu. Courtesy of the artist and Herald St, London. Photo by Jack Elliot Edwards.
on view @friezeofficial @herald_st
Oct 15—19| A27
You know, too, that time darts across the field of vision and at the place where time stands still, one in front of the door, one behind, leaning back on itself. The first is stringent and metallic, like a steel pendulum swinging back and forth. The second squirms and wriggles like a Blue Tang in reefs.
(Oh time your pyramid)
2025
Burnt red oak, maple
© Cole Lu. Courtesy of the artist and Herald St, London. Photo by Jack Elliot Edwards.
on view @friezeofficial @herald_st
Oct 15—19| A27
You know, too, that time darts across the field of vision and at the place where time stands still, one in front of the door, one behind, leaning back on itself. The first is stringent and metallic, like a steel pendulum swinging back and forth. The second squirms and wriggles like a Blue Tang in reefs.
(Oh time your pyramid)
2025
Burnt red oak, maple
© Cole Lu. Courtesy of the artist and Herald St, London. Photo by Jack Elliot Edwards.
on view @friezeofficial @herald_st
Oct 15—19| A27
You know, too, that time darts across the field of vision and at the place where time stands still, one in front of the door, one behind, leaning back on itself. The first is stringent and metallic, like a steel pendulum swinging back and forth. The second squirms and wriggles like a Blue Tang in reefs.
(Oh time your pyramid)
2025
Burnt red oak, maple
© Cole Lu. Courtesy of the artist and Herald St, London. Photo by Jack Elliot Edwards.
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