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The current exchange project will make use of related materials to trigger artistic dialogues and inspire creative ideas. Besides bringing participating art practitioners to different historical sites in Hong Kong, the project also involves public talks, sharing sessions and a Documentation & Response Exhibition in order to engage the public in this creative journey about myths. >> Read more

Lehmann Maupin is pleased to announce the gallery’s first exhibition with Wangechi Mutu in Hong Kong. >> Read more

From the very first moment that a “cave man” picked up a piece of flint to carve and cut meat 3.6 million years ago humans have become reliant on a growing number of tools >> Read more

Credit must be given to the Met, as the exhibition’s wide selection of works allows many unfamiliar Chinese names exposure on an institutional level in the West. Nonetheless, this raises a side issue as well—some of the works exhibited have little relevance to the themes they serve and thus the exhibition sometimes wanders off topic. >> Read more

Broad beyond belief, in cultural terms, in comparison with the millennia-spanning survey “China: 5,000 Years” or the more standard national survey shows still favored by mid-sized institutions today, the exhibition's remit is both ambitious and impossible. >> Read more

(中文) “后疫情”正在变成陈词滥调，新常态才是人们不知不觉中沉浸的现实，而当时过境迁之后，这些项目及个中“碎片”所蕴含的密码也就容易提取了。到那个时候，到底“艺术项目”是不是艺术的问题就不重要了。 >> Read more

From June 20th to September 7th, 2021, Wind H Art Center will present the exhibition “To Be the Better One —The Methodology of the New Generation New Work, New Identity, New Life, New Direction”. This exhibition will shed light on the novel artistic phenomena presented by the most representative new generation of artists in the […] >> Read more

Exhibitions of Chinese art outside China tend to confirm certain assumptions about the country's history, culture, politics, and people. At first, ‘XU ZHEN®: Eternity Vs Evolution’ at the National Gallery of Australia (NGA), Canberra, seems no exception to this rule, promising viewers a proven combination of two enduring preconceptions about China’s past and present. >> Read more

一楼展示的米利亚姆·卡恩 (Miriam Cahn) 作品犹如神典的开篇，创作者在雾中迷失、低吟高唱，在她以感官展开的画卷里，山体长着血脉，表现在痛苦中挣扎的情感；房屋是毕露的线条，释放出包裹或缠绕的明亮；动物们目光空洞、身体脆弱，多半没有耳朵。同样，她以缤纷的色块和线条声张她简明而灿烂的直觉领域，然而她情感的世界却深沉而阴郁，与身体的感官联系深刻，不能轻易的揣度。 >> Read more

The recent sculptures nuns + monks by Ugo Rondinone take their rightful place in the continuity of a narrative introduced by the artist thirty-two years ago. A narrative composed of chapters that would never cease to interact with one another throughout a trajectory made up of intertextual questions, back-and-forths, survivals, displacements and reinventions of shapes and attitudes, or of interrogations that are constantly being renegotiated. >> Read more