randian | 燃点

“Surplus value” is value that people recognize beyond existing value. It is overlooked value. It is not about exploitation, but about discovery and creation. It is the “usefulness of uselessness.” Song Dong >> Read more

HdM GALLERY is pleased to present ‘Menthe and Caramel’, the new solo show by French sculptor and painter Ivan Messac, and curated by Lu Mingjun. >> Read more

Owing to Edouard Malingue Gallery's great commitment, Condo will finally come to Shanghai in July 2018. “Condo” — taken from “Condominium” (com “together” and dominium “right of ownership”, referring to a territory formally shared by different powers) — is a new format for international galleries to collaborate in exhibition-making. >> Read more

MadeIn Gallery is pleased to present “Flickering Boundaries” opening on January 19, 2018, and showcasing the works of Elliot Dodd (U.K., b. 1978), and Xu Zhen® (2013), Yang Jun (b. 1963), Zhang Lian (b. 1984), Zheng Yuan (b. 1988) and Zhu Yu (b. 1970). The term “boundary” defines an area, which isn’t restricted to a […] >> Read more

French art group Agapanthe’s solo show “New Order”, curated by Lu Mingjun, is Wuhan International Art Center’s first attempt to introduce a residency program into their exhibition process. >> Read more

Presentations by Chen Shuxia, The Robert H. N. Ho Family Foundation Greater China Curatorial Residency Programme 2014 Grantee; and Lu Mingjun, The Robert H. N. Ho Family Foundation Greater China Research Grant 2015 Grantee. >> Read more

A+ Contemporary is pleased to present the opening of artist He Yida’s solo exhibition “Right Misplacement” on October 29th, 2016. >> Read more

The first appearance of the ouroboros—the mythological snake that eats its own tail—appears in an ancient funerary text discovered in the tomb of Tutankhamen in 14th century BC. Across cultures, this act of autophagy has symbolized the cyclical processes of life and death, whose union can be seen formulating pre-modern conceptions of eternity. >> Read more

Stepping into the exhibition, what I first noticed were two Chinese characters about a person’s height, printed in red, jumping out from the white background of the gallery. These characters provide the most distinctive visual cues in Zeng Hong’s solo exhibition “Quaderni Rossi”. >> Read more

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. >> Read more