randian | 燃点

Much as the Beijing winter has been very mild this year, overall, the art of the past year has also felt rather milder and more sentimental from previous years. Let us then explore the production and exhibition of this “old” contemporary art in the contemporary Chinese art world. >> Read more

Paul Gladston charts the trajectory of Yu Youhan’s practice from his literati inspired abstract works, to his political pop paintings to his fusion inspired landscapes — revealing new meanings behind his worth through in-depth interviews with the artist. >> Read more

Beijing Editors Iona Whittaker and Liang Shuhan examine the value, in hindsight, of Wang Guangyi's activities and first paintings in the 80s, at the juncture of art, politics, and philosophy.

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Paul Gladston speaks with critic Ge Sin Di about the photographic duo "Birdhead," who they are, their politics, and their latest work. >> Read more

Like Cubism, Pop Art relied on two great talents who defined the movement for everyone else, contemporaries and followers alike. Roy Lichtenstein played Braque to Andy Warhol’s Picasso. Of the two, Lichtenstein was the quieter, more studious, and more conservative... >> Read more

Review of Ji Wenyu & Zhu Weibing’s exhibition at ShanghART >> 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

Born in Barbados in 1959, Ashley Bickerton had a peripatetic childhood across four continents, from Guyana to Ghana, on to the Balearic Islands and England, then finally Hawaii. His upbringing followed the career of his Anglo-American father, the eminent linguist Derek Bickerton, who researched creole languages and theorised on the formation of human language. >> Read more

Exhibitions of Chinese art outside China tend to confirm certain assumptions about the country's history, culture, politics, and people. At first, ‘XU ZHEN®: Eternity Vs Evolution’ at the National Gallery of Australia (NGA), Canberra, seems no exception to this rule, promising viewers a proven combination of two enduring preconceptions about China’s past and present. >> Read more

So I am walking in, wandering through this dimly lit, shack-like choral site, a sort of khôrā (χώρα), the territory outside the polis also rooted in it as an invisible receptacle, a housing house. >> Read more