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第四届“艺术登陆新加坡”艺博会：画廊展位纵览
第四届“艺术登陆新加坡”艺术博览会画廊展位呈现。 >> 更多
缺失的快感：泰伦·西蒙
泰伦·西蒙保留一切个人情感，树立了一个极其详尽的舞台。这个尖锐的、经过深入调查并充满细节的空间里甚至包括了没出现的东西，其讽刺意味在于它定义了负空间。在这一未被限定的空间里，想象、共鸣、好奇、怀疑、宽慰、恐惧、敬畏——确是所有潜在的反应——一一展开。 >> 更多
李松松：我们曾经背叛了革命
李松松的绘画汇聚了多对明显矛盾：物体性与平面性、绘画性与雕塑性、抽象与叙事、现实与虚幻、审美化与去光晕的错位、大胆的设想与身体的局限等。从后现代转向来看，这些矛盾汇合在一起呈现出一种场所，回荡着差异与张力的不安咒语。 >> 更多
周俊輝 : 我有話說
《我有話說》將展出周俊輝的四組新作。首先是與已故香港詩人也斯先生的合作，是一個詩和畫互相演繹的計劃。也斯先生的詩信手拈來，從顯淺日常的語言中提煉出詩意，而周俊輝作回應的畫則進一步元素化，只餘下帶設計的電影題目、主 角背影和一句經典對白。 >> 更多
Beijing Voice
The coming December of 2012 will see PACE BEIJING holding its third annual event “BEIJING VOICE” with the exhibition of “BEIJING VOICE: Zhang Xiaogang” as its anchor program. >> 更多
Shadows / Highlights
In spite of all gloomy prophecies to the contrary, the medium of painting has survived. On the other hand, who can still recall Joseph Beuys’s claim that the error already begins the moment an artist sets out to buy stretchers and canvas? >> 更多
Andreas Gursky in a Chinese Context
One of the most important artists working in photography today, and a famously errant pupil of the Ernst and Hilla Becher school of German photography, Andreas Gursky’s subtly manipulated and densely rich images, often large scale, have helped transform photography into a highly synthetic and conceptual art form. >> 更多
