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HAND-FETISH-PROJECTS®

Independent Arthouse ● Artist Publication ● Group Exhibition ● Curatorial Platform ● Artwork Placement

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Gối — Hot & Hotter Seasons — Digital Painting — The painting demonstrates how digital visual language can merge with traditional illustration without losing its artistic presence. Although the image strongly evokes the atmosphere of the AI era, no AI was involved in the artist’s process. The artist intentionally chose a method of flat image construction that she believed AI still could not fully imitate, creating a quiet tension between handmade authorship and synthetic visual culture. In this sense, AI indirectly pushes human art toward other formal directions even through absence, turning the work into a subtle form of silent confrontation. Beneath its neon surface, the painting also carries a nostalgic mourning for the decline of Saigon’s old bourgeois world, allowing it to stand in emotional opposition to the flattened unreality of speculative digital futures.
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Gối — Bích Khê Tray — Ceramic — Bích Khê (1916–1946) – a central figure of Vietnamese Symbolism – did not depict women as physical subjects but as spectral disturbances moving through language. In Tranh Lõa Thể, the body dissolves into perfume, light, rhythm, and fever, becoming less a human figure than a psychic apparition briefly intercepted by poetry. In an era where AI can already imitate poetic structure through statistical language prediction, Symbolist poetry remains difficult to fully replicate precisely because of its unstable symbolic layering, overlapping metaphors, and irrational emotional syntax. Decades later, Gối produced this tray as a sensory transfer device, isolating the poet’s hallucination and migrating it into physical form. The artist ultimately frames the object as a derivative work not of narrative, but of Symbolist sensation itself.
Asahi Rokuji — Fission — Experimental Photography — The work combines photography with digital manipulation while refusing the polished visual logic now common in AI-generated imagery. Its awkwardness is intentional. Distortion and flatness are left exposed instead of corrected, turning visual discomfort into part of the image’s structure. Perhaps in the AI era, simply continuing to photograph real human beings already feels unusual enough, without needing technical spectacle to justify it. The piece quietly suggests that human image-making may begin separating itself from synthetic culture not through perfection, but through forms of deliberate instability.
Gối — Soft Overflow — Mixed media — This mixed-media object treats synthetic resin as a counterfeit bodily fluid, allowing it to spill across ceramic surfaces as though the material itself were undergoing orgasmic collapse. As AI gradually extends its synthetic organism into more and more territories of visual culture, sculpture of this nature still remains strangely difficult to neutralize. Contemporary visual culture is increasingly dominated by polished forms engineered for frictionless circulation, where artworks are expected to behave almost like luxury interface design. As AI gradually extends its synthetic organism into that ecosystem, works built around instability become harder to economically discipline. This object survives precisely because it leaks. Its humanity exists not only in the emotion it evokes, but in the way the material itself refuses mechanical control..
Alexey Velikorodny — Aya Shalkar —Photography People once questioned the necessity of painting after the invention of photography. Today, a similar question begins to surround photography itself, as AI systems become increasingly capable of reproducing nearly every visual component associated with photographic image-making. What, then, continues to shape our immediate recognition of human presence within independent photography? Is it the model’s micro-expressions, or forms of imperfection that emerge unintentionally rather than being strategically constructed as aesthetic response? The photograph unintentionally becomes a compelling reminder of why certain human-made images continue to feel immediately recognizable.

Hand-Fetish-Projects® is an independent arthouse working across curated exhibitions, print publications, and the open calls for artists that feed both — all of it built on a specific idea about what actually makes work get seen.
ISSUE #1 ● PROJECT #2 ● EXHIBITION #3

Collectible Art Pieces made by HFP, idea with series of Vietnamese famous poem.

OPEN CALLS

We all understand that no artist creates without a concept, even if that concept remains unconscious. Yet what determines whether others recognize the value of a work is rarely the work itself. An artwork needs to exist within the right context, under the right conditions, for the world to see why it matters. This is the first principle from which Hand-Fetish-Projects® (HFP) begins.

HFP both produced and was produced by Algorithmic Postmodernism; a framework that encourages artists not to place unquestioned trust in any institution. Ironically, this is precisely why HFP creates open calls: to provide artists with visible markers of recognition and career milestones, while remaining aware that such signals are themselves part of the system being examined.

Exhibition DocumentationCuratorial EssaysArchival ArtbookExhibition DocumentationCuratorial EssaysArchival Artbook

Brand CollabsArt Merch ReleasesBrand CollabsArt Merch Releases

ExhibitionArtist CreditsArchive & ReactivationExhibitionArtist CreditsArchive & Reactivation

Raw street photography Southeast Asia — layered human presence in chaotic urban environment
Street artist photographing artwork for Instagram in hopes of gaining algorithmic visibility in art.

ISSUE #1

Southeast Asia urban landscape from top of view

Twice yearly ● Independent selection ● No fee

A curatorial art edition that examines Southeast Asia as a cultural condition rather than a geography; its contradictions, adaptations, desires and inherited codes. Each issue is conceived as a visually driven art book, where artistic practices and their relationships carry the argument.

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PROJECT #2

Recurring ●Thematic ● Submission fee

A thematic publication that turns its attention to the stranger territories of contemporary culture; subcultures, sexuality, gender, fetish, desire and subjects that resist polite categorisation. Each project brings distinct artistic practices into dialogue around a specific cultural question.

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EXHIBITION #3

An art installation featuring a collection of ceramic sculptural lamps by artist Hoang-Dan Pham for Hand-Fetish-Projects. Set against a textured grey wall with draped white fabric, three organic, fleshy, and heart-shaped ceramic lamps with glowing vintage Edison bulbs are displayed at different levels. The composition includes a vintage wooden television set on the floor and a retro white telephone receiver hanging from above, creating a surrealist, postmodern still life.
Collection of Ceramics Lamp” by Hoang-Dan Pham, Hand-Fetish-Projects. A surrealist mixed-media installation showcasing three unique, organically shaped ceramic lamps paired with vintage television and telephone elements in a gallery setting

Occasional ● Curated selection ● Off-site

A physical extension of the same inquiry, situated beyond the conventions of the white cube. Each exhibition brings contemporary art into spaces shaped by everyday life, commerce or community, allowing the character of the setting to become part of the curatorial proposition.

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HFP is an independent arthouse; our publications, open calls and exhibitions are built without institutional backing.

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