randian | 燃点

…If we have to remain with Plato, it is evident that our world has become a giant “reversed cave” in which all images are in fact shadows of themselves⋯⋯ >> Read more

“Quasi-Objects” is a reincarnation and unification, indeed “liberation”, of a selection of Parreno’s works, all within the specific exhibition space at Esther Schipper gallery: creating new hybrids via environment and interbreeding of already-hybrid beasts. >> Read more

Abbas’s work does not always travel well, and one could hardly imagine inserting a piece like this one in a different context; he works to architecture and environment to a fault.
 
 
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More magic-diorama than tableaux, “The Chocolate Ruins” (2013), after which Rodel Tapaya’s solo-show at ARNDT Berlin this month is named, is a multidimensional statement. >> Read more

As a complex and prolific artist, Kusama marks her days plotting bold dots in the trajectory of Japanese contemporary art. Her installations of floating world constructed with flickering lights have few precedents in their lasting three dimensional transformation of space.
 
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Thomas Ruff’s virtual darkroom might be seen as a type of Platonic cave too. For Ruff, a photograph – as opposed to a mere print, like a monotype – must exist twice. For instance, at least one negative and one print. There must be multiples. >> Read more

On the occasion of the 50th anniversary of the Elysée Treaty, which ended a disastrous century of arch enmity between France and Germany, a very ambitious conference was held at the famous China Academy of Arts in Hangzhou... >> Read more

Please join us on April 25th for our 52nd exhibition at our m50 home for a multimedia delight exploring ideas of urban growth, biological design and metropolitan identity through a series of interactive artworks and installations. >> Read more

(中文) 邸晋军的《智者》系列，将镜头对准了几位在文学、哲学和艺术领域累足成步、造诣颇深的高士，其中亦有我个人十分敬重的先生，曾经听过先生的讲座，读过先生的文章，甚至是在形式上共过事。 >> Read more

Perhaps the most misunderstood work at dOCUMENTA (13) was Yan Lei’s “Limited Art Project,” the reaction founded on preconceptions and prejudices about Chinese art – particularly painting – lazily assuming it merely riffs on Western clichés, that it is derivative and repetitive. >> Read more