RYAN KUO lives and works in New York City. His works are process-based and diagrammatic and often invoke a person or people arguing. This is not to state an argument about a thing, but to be caught in a state of argument. He utilizes techniques from video games, productivity software, web design, motion graphics, and sampling to produce circuitous and unresolved movements that most recently relate to contemporary experiences of work, virtual societies, and their convergence in spaces of whiteness.

His current projects aim to crystallize his position as a hateful little thing whose body fills up white space out of both resentment and necessity. These include an AI conversational agent being developed in collaboration with Pioneer Works that embodies the “faith” that underpins white supremacy and Christian fundamentalism and casts doubt on nonbelievers; an online platform that considers miserable white liberalism as one tentpole of a self-propagating, reactive program; and an artist’s book about aspirational workflows, File: A User’s Manual, modeled after software guides for power users.

His 2018 solo commission at bitforms gallery, The Pointer, addressed whiteness as “an unremitting affective failure that erases bodies, including its own, in its search for a neutral point of origin,” and doubled as an admission of his own complicity as an Asian American well acquainted with the elaborate contortions needed to assimilate into whiteness.
His work has appeared at Queens Museum (NYC), bitforms gallery (NYC), Goethe-Institut China (Beijing), the Current Museum of Art (NYC), left gallery (Berlin), Goldsmiths (London), Carpenter Center for the Visual Arts (Cambridge, MA), and MIT Media Lab (Cambridge, MA), and has been published in Art in America, BOMB, and Rhizome. He was recently in residence at Pioneer Works (NYC) and the Queens Museum Studio Program (NYC).

He holds a Master of Science in Art, Culture and Technology from MIT. Here's his thesis.

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