randian | 燃点

Two of the art movement’s most important advocates can now be experienced—“seen” would not be the appropriate term—at the How Art Museum in Shanghai.

like an unabashed schoolmarm I will crisply demand that “no square pegs shall be placed in round holes.” I have applied this rather dogmatic metric to the Yokohama Triennale, and unlike many biennales and triennales, it received remarkably high marks.

Were it not for the list of artists and the brief introduction, “Pan Yuliang: A Journey to Silence” probably would have misled most into thinking it was a modern art show in a contemporary art institution.

Deutschland 8 is an exhibition project spanning seven locations in Beijing that—so the organizers claim—comprehensively presents the entire development of art in Germany from 1945 up to now. But which Germany?

As an annual exhibition featuring works by artists from Northeast Asia, “Asia Corridor” could have the potential to delve into some rather interesting and seldom-broached issues in this region.

For the duration of one of New York’s soupiest summer months, CONDO came to town bringing 20 non-New York galleries and a handful of artists with it. A project founded by the London dealer Vanessa Carlos, led in New York by Simone Subal and Nicole Russo, the CONDO mission is a noble one—to challenge existing models while “pooling resources and acting communally.”

A4 seems to grasp the concept of a museum in a holistic way. They see the museum not as merely an exhibition hall, a landing strip for some exhibition created elsewhere, shipped in like a travelling circus.

In the roots of Western culture, walking up a mountain begins with the Greek myth of Sisyphus, the King of Ephyra who, depending on the story, was condemned by the gods for overweening pride, wisdom, duplicity, and defiance—each shades of independence.