randian | 燃点

(English) Lu Yang’s ‘debut’ and Chen Tianzhou’s ‘Backstage Boys’ at BANK stimulate the senses to the point of overload. The gallery is a kitsch carnival where, for instance, the rock star Marilyn Manson is depicted as an ‘enchanting, vicious snake demon’ who resists the fiery attack launched by the Cabalesh Brothers >> 更多

陈天灼以行为艺术最为出名，自称为“后台男孩”，他从观者的角度审视自己的艺术，并“消失在自己的作品中”。 >> 更多

(English) To describe Ji Dachun as a post-internet artist, at first sight seems inadequate. His painting doesn’t appear as particularly technoid or media based. At the heart of his more recent work, however, is to create a possible syntax of his medium along the transmitted painterly forms, and so to speak “to write and continue to write” its CODE. >> 更多

(English) The exhibition’s title derives from British polymath and socialist activist, William Morris’ 1890 novel of the same name, in which he imagines a utopian future liberated from systems of capitalism. >> 更多

对不起，此内容只适用于English。 >> 更多

在社会意义上的艺术活动应该实现什么，如何与世界和人群保持足够强的联系，常常成为一种艺术家的创作迷惘 >> 更多

我简单写下我对本次台北艺术博览会的印象： “它既非常年轻，有着少年的不安感和乐观主义精神，也已苍老，透着饱经世故之后和人之老矣的一丝懈怠。 >> 更多

大皇宫（3 Avenue du Général Eisenhower, 75008 Paris），展期2019 […] >> 更多

(English) SGA Three on the Bund announces its new exhibition, Aftermath余波, a dramatic vision by Gao Weigang and Michael Joo of environmental uncertainty and a post-technological world. >> 更多

上海纽约大学当代艺术中心是一所非营利性的艺术馆和研究中心，致力于通过当代艺术来发展、呈现和交流不同的观点。我们 […] >> 更多