randian | 燃点

Sitting at a small table in the Lehmann Maupin booth at Art Basel Hong Kong, Chris Moore spoke with Rachel Lehmann about how she became involved with art, galleries and Hong Kong.

(中文) 前些年，中国的艺术研究只是体现在部分展览和艺术项目中，如今可以在不少艺术家的创作里嗅到，它伴随受欧美教育的一批年轻艺术工作者回归来势凶猛。“研究”受艺术生产者追捧，特别能代表今天艺术正在经历的，一场更大范围的整体转型。

Over the past few years my research has focused on the development of sound art and experimental music practices in China since the early ’90s. My approach to these practices has been strongly influenced by the idea that sound can be critical.

The first was that we understand our localities better than outsiders do; and the second, was that we know better than the locals how things ought to be. This brings me to reflect again on the anxiety caused by On Practice—Northeast Asia (实践论-东北亚) a year and a half ago; it’s relevance seems pretty clear.

(中文) 作为一名多媒体艺术家，施勇（1963年生于上海）的创作涉及行为艺术、装置、影像和雕刻，其不拘一格，风格迥异的作品背后往往体现了其对文化、经济，以及艺术界的深刻剖析。

Ancient forms of punishment that involve bodily dismemberment were considered “inhumane” and thus abolished. In comparison, in the effort to challenge norms regulating common conceptions of humanity, many contemporary artworks often take up “dehumanizing” positions

Lu Pingyuan makes stories. The stories he makes involve things and theatrical and interactive situations. They involve text, film and miscellaneous objects. He is an artist and he has a cat. The cat sometimes makes an appearance in the stories.

Perhaps no one in the western art world today has more to say about a whole host of topics, from independent publishing, to queer history, to dealing with loss and hope, than AA Bronson.