randian | 燃点

Vanishing Deconstructions See+ Gallery, Beijing, China December 05, 2015–January 30, 2016 Organizer: Hua’er, Director of See+ Gallery Moderator: Antonie Angerer Translator (Chinese): Zwei Fan Date: December 04, 2015 Q (aka Kyoo Lee, hereafter Q): Thanks, everybody, for being here. Special thanks to Hua’er for organizing this event, Antonie and Zwei for moderating and translating, and […] >> Read more

Dates 2017.08.27 (Sun.) Guided Tour 2:00 – 3:00 p.m. | Panel discussion 3:00 – 5:00 p.m. Venue Tina Keng Gallery Host Ava Pao-shia Hsueh Panelists Hsiao Chong-Ray, Xia Kejun, and Yuan Hui-Li Contemporary Ink Forms and the Restructuring of Aesthetics: Yuan Hui-Li’s Revolution of Fiery Ink How does one reshape the ink forms and artistic […] >> Read more

Continuing in the model of Pulse Reaction I of providing a platform for the exchange of ideas between Chinese contemporary art practitioners, >> Read more

The “Cultural Palace: Floating Theater” is intended to achieve the handling of internal contradictions and co-construction of the self-organization in an institutional context, >> Read more

Am art space is one of China's few independent non-profit art spaces dedicated to residency projects. Randian meets the founders. 
 
 
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The OCAT Institute is a nonprofit research center dedicated to the history of art and its related discourses. >> Read more

Born in Barbados in 1959, Ashley Bickerton had a peripatetic childhood across four continents, from Guyana to Ghana, on to the Balearic Islands and England, then finally Hawaii. His upbringing followed the career of his Anglo-American father, the eminent linguist Derek Bickerton, who researched creole languages and theorised on the formation of human language. >> Read more

Simon Mordant is one of Australia’s most prolific art collectors and philanthropists. As chair of Australia’s Museum of Contemporary Art and as Australia’s past Venice Biennale Pavilion Commissioner, Mordant has been one of the major forces driving modernization of Australia’s visual arts scene. >> Read more

A prize is always as much about the giver as the receiver. This year’s inaugural Sigg Prize, successor to the esteemed Chinese Contemporary Art Award (CCAA), was as much about M+ as it was about the winner, Hong Kong’s own Samson Yung. >> Read more

Chen Tianzhou, best known for his performance works, has dubbed himself a ‘backstage boy’ – one who spectates his art separately from the audience and ‘disappears into his own work’. >> Read more