Cyclical Gods: Reliving Pandemic
BY XIN WANG • FEATURES• MAY 8, 2020 Zhao Yao, “Spirit Above All,” 2016. I arrived at the opening of Sanctuary, artist Chen Dongfan’s first Continue reading
BY XIN WANG • FEATURES• MAY 8, 2020 Zhao Yao, “Spirit Above All,” 2016. I arrived at the opening of Sanctuary, artist Chen Dongfan’s first Continue reading
As a curator and art historian who has had a fair share of the excitement and discontentment with “contemporary Chinese Continue reading
Artist Talk | Chin(A)frica: An Interface Samuel Fosso, He Xiangyu, Oluremi C. Onabanjo and Xin Wang Artist Talk Continue reading
Duke House Exhibition Series Fall 2017 Institute of Fine Arts, New York University James B. Duke House 1 East Continue reading
驱车前往广州时代美术馆的路上,窗外时不时飙过一两辆自带改装遮阳伞的电动车。四两拨千斤的改装充满民间智慧:两三伞骨延长形成流线型尾部,符合空气动力学,游走于车河中又很拉风,惹得策展人侯瀚如赞不绝口:“这比扎哈哈迪的设计牛逼多了。”
Profile on painter and performance artist Tang Dixin for Flash Art’s March-April 2016 issue, which offers an editorial that “explores Continue reading
《国家与市场之间:后毛时代的中国当代艺术》(Between State and Market: Chinese Contemporary Art in the Post-Mao Era, 2014)实际探讨的是1978至1993年之间中国当代艺术体制从无到(算是)有的建立史。
曹斐近日在纽约Lombard Freid画廊展出新作《La Town》,40余分钟的定格拍摄影片全部由微缩人物与场景组成。在这个与现实比例为1:87的世界里,艺术家试图描摹一座城市的过往与命运。它反复在虫洞中迁徙至其他时空,逃避着记忆的捕捉,后在当代博物馆展览柜中被封存、展出、遗忘。