randian | 燃点

Side-by-side but dispersed seems a good description of young Chinese artists’ practices. It is up to others—critics, say, or viewers, curators, art historians—to make connections, to identify themes in artists’ practices, but it is worth noting how little their preoccupations, at least in this small sample, are in dialogue with each other... >> Read more

In the press release for this recent exhibition, Qiu Xiaofei is quoted as saying “If painting is an object coated in color, then all colored objects can be called paintings”; it is something Rauschenberg, or his Combines, might have remarked. >> Read more

I happened to overhear him speaking to someone nearby, saying “all of the burnt books upstairs were once banned.” It turns out I was right—all of Qiu Zhijie’s work and every aspect of his work have always come about with such exquisite reasons. >> Read more

In this show we undertake an exploration of virtual worlds and exploration of time, in the form of sequences of images moving on the screen. Animation is also one of the directest ways for artists to explore their collectively inbuilt visual culture(s). >> Read more

“Experiencing Simplicity — Realistic Paintings from Long Collection” is a brand-new exhibition after Long Museum’s opening debut based on Long Museum’s abundant collection of Chinese realistic paintings. >> Read more

Picasso, Duchamp, Pollock, Warhol and Hirst at one time or other have been reviled in both the popular and academic press. Pause. This list summarizes the greatest achievements in art of the last 100 years. One could add others to the list too — Matisse, Barnett Newman, Beuys, >> Read more

Zhai Zhenming in Conversation with Paul Gladston. >> Read more

(中文) 葛思谛的评论 >> Read more

Part I – A Thousand Smiles Now for a few necessary words about a smile, specifically a man’s smile...the smile of the scholars who had accepted Diotima’s invitation and were listening to the famous artists. Although they were smiling, they were absolutely not to be suspected of doing so ironically. (The Man without Qualities by Robert Musil) >> Read more

Since the late 1980s, contemporary Chinese art has gained an increasingly high profile within the international art world. This profile has accrued for four substantive reasons: first, because of the sometimes highly innovative way in which producers of contemporary Chinese art have sought to combine/hybridize attitudes, >> Read more