randian | 燃点

Much has happened in Beijing a few months back, but looking over shows large and small there hasn’t been much to show for, other than “social shows” that you can’t really make head or tail out of, shows that lack daring. Ran Dian invited Bian Ka to talk about his ideas in his own show, “A Chemical Love Story”… >> Read more

Marlborough Galleries, founded in London in 1946, was the first modern International gallery, opening in Rome in 1962 and in New York in 1963, followed by other cities around the world, becoming the prototype for all subsequent International galleries. Ran Dian spoke with Gilbert Lloyd, son of founder Frank Lloyd and Managing Director of Marlborough from 1972 until 1991. >> Read more

(中文) 在学术界，革命和激进的思想是通过与学者和学术传统的某种约定（engagement）实现的，而这些学者和传统则来自于受到册封的过去。当代人阅读、或者更为通常的情形是重读旧文，从而产生了无法落入这些文本之主流被接受情形的“新”解读。 >> Read more

Insects are more than creepy-crawly bugs; they are also a central reference point of so much of network culture, from talk of hive minds and distributed networks to algorithms that function like ant colonies; some refer to our cognitive capitalist practices as “pollen society”. >> Read more

Renowned German journalist, author, curator and art critic, Heinz-Norbert Jocks, met with Yang Jiechang to discuss Yang's his self-portraiture and calligraphy, empathy and the artist, Hitler, copying and becoming human. >> Read more

Xu Longsen has recently been experimenting with the concept of the semi-private exhibition as a contemporary mode of literati gathering. >> Read more

I took a long while writing this letter. I have been making changes to it, and it has been making changes to me. Meeting up with a few friends yesterday, the words I uttered gradually became the words I wrote to you in this letter. Sometimes I don’t know who is really in charge, my words or me. >> Read more

London, July 25, 2017: PHOTOFAIRS, international art fairs dedicated to photography, >> Read more

It is too early to decide if I am destroying the tradition of ink painting. —Zheng Chongbin >> Read more

for Chen Chun-Hao, his innovation in media, form, and texture through substitution and amalgamation is informed by “unlikeness in likeness; likeness in unlikeness,” so that the visually unexpected sculptural qualities and the optical illusion they render, together achieve a reasoned liberation in his work. >> Read more