CIMAM offers 24 grants to support the attendance of modern and contemporary art curators and museum or collection directors to CIMAM’s 2015 Annual Conference, How Global can Museums be? >> Read more
More than 140 works of diversified cultural backgrounds, made by over 80 artists from 23 countries including Greece, France, South Korea, Cameroon, USA, Japan, Thailand, Venezuela, Singapore, Iran, Italy, India, UK, Vietnam, and China, will be displayed during the exhibition. >> Read more
Manifestations is Philippe Parreno’s eighth solo exhibition with Esther Schipper. It includes works spanning various media: a granular soundtrack, a CGI film, atmospheric sensors, robotic systems, computer code, ice and water. >> Read more
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. >> Read more
Simon Mordant is one of Australia’s most prolific art collectors and philanthropists. As chair of Australia’s Museum of Contemporary Art and as Australia’s past Venice Biennale Pavilion Commissioner, Mordant has been one of the major forces driving modernization of Australia’s visual arts scene. >> Read more
Interviews, 2020.01.13 Mon, by
Travelling from the corners of East Java to a 19th century church in Islington, Edouard Malingue Gallery (Hong Kong, Shanghai) is thrilled to present ‘Madakaripura’ the first solo presentation in London of the Indonesian collective Tromarama (est. 2006, Bandung). Marking the last exhibition in the gallery’s temporary project space, Tromarama transport us to a historical waterfall, which is believed to be the last place where Gajah Mada (c. 1290 - c. 1364) - a central figure in Indonesian culture who used to be a Mahapatih or Prime Minister in the Majapahit empire - meditated before he reached Moksa, a term for various forms of emancipation and enlightenment >> Read more
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. >> Read more