randian | 燃点

Minimalist, conceptual, and deliberately provocative, Cao’s work reflects upon and exploits the physicality of her materials, from the conventional – marble, stretched linen and canvas – to unexpected, even transgressive, substances including the artist’s own hair, breastmilk and urine, and their various significations. >> Read more

Lê Lan Anh, also known as Lananh Le, one of the most vivid young artists in the Ho Chi Minh City art scene, died on April 19. She had been suffering from depression and it seems this was exacerbated by the social restrictions introduced to control the pandemic. >> Read more

Will any large exhibition or art fair take place in September. Even if they do, will anyone go? Will US collectors fly to Basel? Will they risk a sudden 2-week quarantine? Even if they do, will they still feel like spending? Will they still have anything to spend even? >> Read more

Following a successful exhibition, ‘Human/Non Human/Broken/Non Broken,’ at collector David Chau’s Cc Foundation in 2017, this is Ryan Gander’s second solo show in Shanghai and features work in a variety of media, from time-based animation and a holographic piece, to free-standing sculptures and portrait paintings created since 2016. >> Read more

Don’t be taken in by the fancy terms though. Rehberger always wants you to look for the errors and the dissonances that allow us to ‘hack’ the system, to get inside. The glitches are revealing, if only you look. >> Read more

Schneemann was one of the most significant artists of the postwar period. Her work forever redefined our understanding of the body, desire, violence, sexuality, and gender, and remains of crucial importance for the study of feminist art histories. >> Read more

The first appearance of the ouroboros—the mythological snake that eats its own tail—appears in an ancient funerary text discovered in the tomb of Tutankhamen in 14th century BC. Across cultures, this act of autophagy has symbolized the cyclical processes of life and death, whose union can be seen formulating pre-modern conceptions of eternity. >> Read more

In Slapstick, Todd Bienvenu’s new show at Almine Rech, comedy springs from the physical world failing human ambition. His scenes teem with raucous energy, feeding off the kind of ugly emotions usually swept under the carpet by art world good manners. Humiliation, embarrassment and loss crash-land into his canvases like uninvited guests. Bienvenu’s eye is compulsively […] >> Read more

Titled As We May Think, Feedforward, extending this seminal text’s far-reaching ramifications into the artistic domain as a way to reflect on the trajectories of technological advances and their reverberations throughout the social sphere over the past decades, the 6th edition of Guangzhou Triennial seeks to address the multiple implications engendered by such a technologically constructed time-space - in the real and through the virtual - by examining creative endeavors both from geographical purviews and from cosmic prospects in responding to the challenges and opportunities at stake and to think, once again, through a new alliance of visions by humans and nonhumans alike, machines and flesh with equal footing, organic and inorganic hand in hand, an alternative outlook for a new possibility of ecology whereby a retooled humanism may thrive in a Parliament of Things (to borrow a term from Bruno Latour) in symbiosis and reciprocity. >> Read more

In Slapstick, Todd Bienvenu’s new show at Almine Rech, comedy springs from the physical world failing human ambition. His scenes teem with raucous energy, feeding off the kind of ugly emotions usually swept under the carpet by art world good manners. Humiliation, embarrassment and loss crash-land into his canvases like uninvited guests. >> Read more