自在——娄申义项目
“自在是一种无拘无束的逍遥境界，既可指身体的不受羁绊束缚，又可指心灵的自由放逸。佛教则以心离烦恼之系缚，通达无碍为自在。” >> 更多
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为什么要关注上海双年展？
一所上海的机构如何在20世纪90年代中期帮助先锋艺术的实践 >> 更多
(English) Rui Matsunaga and the Myth of Survival
– an interview with Alice Gee
对不起，此内容只适用于English。 >> 更多
摄影之“空”：“摄-影”的诗哲学反思：卡别耶拉·莫拉维茨与李圭的圆桌对话
《消失的解构》 See+画廊, 北京, 中国 2015年12月5日—2016年1月30日 组织者：画儿，see […] >> 更多
(English) Lindy Lee at MCA Australia, Sydney
Replicas, postmodernism and ‘bad copies’
(English) Grainy, velvety black photocopies of famous faces – portraits by Jan Van Eyck, Rembrandt, Ingres, Artemisia Gentileschi and others from the western art historical canon – were arranged in rows or grids. They gazed out from behind layers of acrylic paint, or wax that had been partially scraped back. >> 更多
(English) Ashley Bickerton
Seascapes At The End Of History
(English) 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. >> 更多
“徐震：永恒Vs. 进化论”展评
海外的中国艺术展倾向于肯定我们对这个国家历史、文化、政治和人民的假设。从表面来看，目前在澳大利亚国家美术馆（NGA）的展览《徐震®：永恒Vs. 进化论》（XU ZHEN®: Eternity Vs Evolution）亦然：观众看到的，是关于中国过去和当下的两种成见的结合。 >> 更多
(English) Võ An Khánh – When Documentary Photographs Are No Longer Mementos
(English) Whereas abundant journalistic snapshots tend to collect spectacles of ghastly pain and fortify demarcations between utterly simplified factions, Võ’s most haunting pictures unveil encounters, precarious and transient. >> 更多
