randian | 燃点

Row after row of sleek black telephones on white plinths, each one indistinguishable from the next; we are reminded at first of the cold, impersonal, mass-produced objects of a factory, devoid of human traces.

The subject of “Coloured Sky” is a young girl of indeterminate age, who we never see. She is imagining what it is like to be an adult woman, a glamorized “film” version of her future.

Jagrut’s project proposal was simple: to feed people – “not the ones who come to the gallery openings but the ones who are less fortunate…”

As such, the progress of Wang Jianwei’s work is not a development in the conventional sense; neither it is it a sequence of repetition. More accurately, it is a system of mutually reinforcing extensions of art propositions and their variations…

“Itching All Over” perhaps is the most fitting phrase Tang Dixin has found to describe his creative being or state of being (surviving). Itch is either a desire inside one’s body that is eager to be released but probably will never be satisfied, or an individual’s reaction towards circumstances imposed by the external environment…

Paiva’s work always begins with a search—beachcombing, hunting, gathering, sorting, collating, analyzing.

One only has to look up at the Shanghai “Boogie Woogie” that agitates in fits outside and in myriad renewed metropolises throughout China, as much as anywhere else. Cui’s response is not to compete but to measure, not to define but to explicate, to process, to seek a rebirth.

In contrast with the idea of a traditional studio, Sifang Studio was rather more flexible as an organization. Its relaxed and inclusive approach to form gave its members a greater sense of autonomy and independence…