randian | 燃点

Ding Yi’s paintings refuse to answer, to limit or be limited. Whether small or vast, their multi-hued fields of crosses map and divide pictorial space, transparent and unguarded, beguiling with pattern. But this is no panacea for interpretation, for anything-goes opinion. Look closely at each painting and you can become familiar with them, with the individual character of the multitude of marks that compose their seeming and actual similarity, the repetitions, threads and permutations, and yet still not know them

Inga Svala Thorsdottir and Wu Shanzhuan’s manifesto and series of works titled Thing’s Right(s), a revision of the 1948.

The renowned American philosopher Hilary Putnam passed away last year. Even though he was a pioneering figure in new American Pragmatism, second to none in both the multi-disciplinary scope and abundance of his work, he was still, at the time of his death, best remembered for coming up with the question known as “brains in a vat”…

Since opening ShanghART in the lobby of a hotel in Shanghai in 1996, Lorenz has been friend and mentor to scores of artists, including Ding Yi, Zeng Fanzhi, Yu Youhan, Zhao Bandi, Xu Zhen, and Birdhead, among many others. Sardonic and understated, Helbling’s Swiss roots are routinely noted but as Zhou Tiehai comments, “Lorenz has long been one of us”.

Why Felix Gonzalez-Torres, and why now? What are the nuanced relationships to identity and aesthetics we could distill from his oeuvre that might help us contribute to social change?

“Has the decision to host the Olympics not yet been made? Why is it that we dare not do such a thing?” —Deng Xiaoping, 1990

“River of Fundament”, an operatic, five-hour-long film created by Matthew Barney in 2014, was presented in Asia for the first time last September; it is known in translation as Chongsheng zhi He— literally “River of Rebirth­ ­—which is believed to be the film’s subject.

The Mainland and Hong Kong aren’t the same story. And yet, at this historical juncture, the two are connected.