randian | 燃点

In the first days of summer, Tianzhuo Chen came to Berlin to open up his hybrid universe, Zhuangzi’s dream of the butterfly.

“What’s wrong with it? I think it is cute, naive and totally harmless decoration bought by people who like just that. I think it is a case of very successful communication.”

On very rare occasions an artist has the pleasure of showing artworks in the perfect place for them. Early this year Yuan Yuan (b.1973) was invited to spend time at Palazzo Terzi, which has been in the same family for over 500 years.

(中文) 对我而言海是暴君。从小我就站在海边，望着这片狰狞。我终不能跳进大海，成为海，因此我诅咒大海的暴虐，深海龙王的臂弯，轻而易举的就能把幸存者的脊背折断。父亲的鱼塘是另一片浮动，没有风。

Bitzer combines painting and drawing – often a mix of portraiture and architectural scenes – with a precisely customized scenography for the exhibition location. Individual works interact with one another and their setting, playing on how when we move through exhibitions, walls and corners obscure and occlude views of different works.

During the week that Wang Dongling was in New York for the opening of the exhibition Wang Dongling: Poetry and Painting at Chambers Fine Art on February 28, 2018 he gave three public demonstrations of calligraphy that for those lucky enough to witness them revealed why calligraphy has long been revered above all other forms of visual art in China.

Uzumaki is the name of a Japanese manga published from 1998 to 1999. Its author Junji Ito used the shape of a spiral as a form of horror. Spirals are generally regarded positively in Japanese society, so the challenge of Uzumaki was to take the mysterious pattern as larger than humanity’s capability for understanding and twist it into a terrible force.

Amidst the proliferation of private art museums in Shanghai and around China, smaller collector spaces are also opening with more modest but also more focused ambitions. Influential Shanghai collectors, Andrew and Lingling Ruff, opened 166 Art Space in late 2017. Its third show, curated by Josef Ng, opens this month. Ran Dian: Andrew, what brought […]