randian | 燃点

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.

(中文) Yonemoto兄弟的录像《好莱坞制造》是展览“制作中”最漫长的一件。

While the COVID-19 pandemic continued extending its reach across the globe, the month of May in Beijing, with the return of Gallery Weekend Beijing and two new museums opening, seemingly saw the Beijing art world bouncing back to a steady drum of exhibitions. Yet the emergence of new cases of COVID-19 in early June (at Xinfadi Market, Beijing) put Beijing on edge once more.

This exhibition puts the artist on display, literally. From the inside out. You may never again have an opportunity to see so much of one individual laid bare before your eyes all at one time.

I stood at the entrance to Jakarta’s Museum of Fine Arts and Ceramics one fine day, and instantly I was transported to another time in a past every born-and-bred Jakartan of a certain age would remember.

Chen Tianzhou, best known for his performance works, has dubbed himself a ‘backstage boy’ – one who spectates his art separately from the audience and ‘disappears into his own work’.

If we really need to find it out, we may best say that as long as there is the individual, oppressed by reality and the difficulty in expressing their emotions, this passive way of resistance will inevitably reappear.

The HdM gallery is currently hosting an exhibition of French artist Martial Raysses’s works on paper. Born in 1936 in a ceramicist family, Raysse is perhaps one of the most important and well-known artist of the contemporary art French scene.