•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Terence Koh
These Decades that We Never Sleep, Black Drums

2004

drum kit, paint, ropes from a ship found after midnight, black wax, plaster, vegetable matter, crushed insect parts, artist`s blood and cum

Stool, 50 x 30cm
100 x 163 x 100cm
Terrence Koh’s sculptures are born of queer youth culture and luxurious decadence. Exuding a magnetic sensuality, These Decades that We Never Sleep, Black Drums is an object of obsession, its ebony coils trailing with enticement, visually echoing waves of noise. Luring with its swarthy depths, …Black Drums creates a suggestive void: of memory and fantasy, drawing connotations of art history, gothic subculture, and fetish gear. Using raw materials of cloth, metal, and plaster, Koh’s sculpture beacons with tactility, mirroring yearning and loss as physical desire.
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Terence Koh
These Decades that We Never Sleep, Black Light

2004

crystal chandelier, paint, lollipops, vegetable matter, human and horse hair, mineral oil, rope from a ship found after midnight, glass shards, stones and artist`s blood and shit

190 x 72 cm
Taking the form of a boudoir chandelier, Terrence Koh’s These Decades that We Never Sleep, Black Light hangs with a tempting anticipation; its heavy weight dangles, both dangerous and beguiling, dripping opulent crystals and bijou. Rather than illuminating, the sculpture’s deadened black surface promises to devour. Flirting between pleasure and pain, lust and death, Koh offers a dark romanticism, filled with apprehension and possibility.
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Terence Koh
Big White Cock

2006

sculpture, white neon, wires

132.1 x 121.9 cm
Crowing with early-hour neon glory, Terrence Koh’s Big White Cock is everything its title suggests! Illuminating with greasy innuendos of back-alley sex shops and mega-bucket chicken shacks, Koh’s electric sign pulsates as a high-design icon glamorising the art of slumming it. Addressing issues of race, gender, and sexuality, Koh turns the coded language of sub-culture into a fetishised logo of duplicity. In sexual terms a ‘chicken’ may be a gay teen or Chinese prostitute, but sometimes a cock is just a rooster!
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Terence Koh
Untitled (Medusa)

2006

Mixed media sculpture, wood, paint, plaster, urinal, steel, porcelain, mirror, glue, bonding paste, ashes, oil, burnt wood, light, wiring and artists piss

235 x 107 x 107 cm
Standing as a white cube within the white cube of the gallery, Terence Koh’s Medusa has the outward appearance of polished respectability. Through the door of his structure, however, it is revealed as a WC of iniquity, a literal closeting of desire. Decked out in dirty black, with rows of phallus-laden religious icons, and satanic plumbing fixtures, Koh’s toilet stall is both urinal and confessional, a smutty cupboard where seduction and transcendence are gleefully indulged.
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Terence Koh
Crackhead

2006

Mixed media - 222 heads of plaster, paint, wax, fire, charcoal, inside 22 glass vitrines, UV glue, paint, fingerprints, some vitrines with breaks and/or cracks



Dimensions vary with installation: sizes per vitrine vary from 60 x 35x 35 cm (largest), 50 x 30 x 32 cm(medium), 33 x 23 x 23 cm (smallest)
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Terence Koh
Untitled (Vitrines 5 - Secret Secrets)

2006

Mixed media sculpture

Dimensions vary with installation
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Terence Koh
The Camel was God, the Camel was Shot

2007

Cast of Artist`s body, bronze and white patina.

22 x 179 x 55 cm

OTHER RESOURCES

artfacts.net
Additional information on Terence Koh

artnet.com - The Bunny with Bite by Ana Finel Honigman
Without prior knowledge of Terence Koh’s multifaceted art practice, no-one peering into The Whole Family (Bigger), his tranquil installation in the 2004 Whitney Biennial, would connect him to his alter-ego, Asianpunkboy (APB) or assume he was the author of his eponymous custom-made books and website.
For the Biennial, Koh crafted a hut covered in white plush panels and filled with cornstarch. Pushing back a furry flap, the viewer was introduced to a pristine serene enclave decorated with idiosyncratic objects painted white, the memorial color for many non-Western cultures.

secession.at
In his work, Terence Koh mobilizes seduction, lust and desire. These moments exemplify a strategy that integrates a queer, polymorphously perverse approach into art production. The meaning produced by his objects is tightly interwoven with both private narration and a wide range of subcultural fields of association.

briansholis.com - Terence Koh by Brian Sholis
New York artist Terence Koh creates handmade books and zines, prints, photography, sculptures, performances, and installations. He first gained notoriety for his website and zine titled asianpunkboy.
extracity.org -
Extra city explore the world of Terence Koh
Originally known as Asianpunkboy, Terence Koh has been prolifically productive in the queer-core underground for over a decade, producing art-porn zines and websites as well as art.

secession.at
Terence Koh generiert in seinen Arbeiten Momente der Versuchung, der Lust und des Begehrens. Sie stehen exemplarisch für die Strategie, queere, polymorph perverse Zugänge in die künstlerische Produktion einfließen zu lassen. Die Signifikanz seiner Objekte ist angebunden an private Narration und ein weites Spektrum subkultureller Assoziationsfelder. Dabei verwendet Koh oft triviale Materialien, die durch seinen transformativen Umgang einer nahezu klassischen Ästhetik wieder eingeschrieben werden.