HAND-FETISH-PROJECTS®

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

Gối — Hot & Hotter Seasons — Digital Painting Set within the perpetual “hot and hotter” climate of Saigon, the work treats heat as both atmospheric condition and social pressure system. A fragile feminine figure — carrying residues of bourgeois romanticism — drifts through a hyper-synthetic neon landscape shaped by compression, detachment, and emotional fatigue. The coexistence of cat and mouse reflects a flattened psychological state associated with contemporary tang ping culture, where disengagement becomes a survival mechanism within accelerated urban life. Blending film-noir linework with artificial chromatic intensity, the piece operates less as narrative illustration than as an emotional afterimage of a city overheating from within.

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. Decades later, Gối produced this tray as a sensory transfer device, isolating the poet’s hallucination and migrating it into physical form. She frames the piece as a derivative work of sensation itself.

Gối — Soft Overflow — Mixed media This mixed-media object treats glaze as a counterfeit bodily fluid, using controlled drips and viscous accumulation to simulate the collapse of boundaries between organism, secretion, and material surface. The form resists stable categorization, operating somewhere between domestic utility, erotic artifact, and biological residue

Asahi Rokuji — Fission — Experimental Photography In this piece, Asahi Rokuji explores the tension between fragmentation and cyclical continuity. Through the lens of a low-saturation aesthetic, the work dissects the internal “fission” of the modern subject—how we are constantly split between disparate digital identities and temporal states. The composition functions as a visual loop, suggesting that our search for meaning is not a linear progression, but a repetitive descent into the Y3K-infused abyss. It is a sterile yet hauntingly precise meditation on the fragmentation of the self within an increasingly synthetic reality.

Alexey Velikorodny (Bangkok) — 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® (HFP) is an exhibition platform for independent visual artists in Southeast Asia. This page lists active open calls for curated group exhibitions, print publications, and other collaborative formats — updated as new opportunities open.

Submissions are online. Exhibitions and publications may be physical, digital, or both, depending on the call.

HFP Gallery works with artists who have a distinct visual identity — practitioners whose work exists outside commercial briefs and institutional gatekeeping. Each call has its own deadline, format, and selection criteria, listed individually below.

Open to artists across Southeast Asia and beyond.