randian | 燃点

LUXELAKES·A4 Art Museum is honoured to present “MARTIN BOYCE - HANGING GARDENS”, the first institutional presentation of Martin Boyce’s work (*1967, Hamilton UK) in China. >> Read more

Hauser & Wirth Hong Kong is pleased to present an exhibition of works by American artist Philip Guston, one of the great luminaries of twentieth-century art. Guston’s legendary career spanned a half century, from 1930 to 1980. >> Read more

Uzumaki is the name of a Japanese manga published from 1998 to 1999. Its author Junji Ito used the shape of a spiral as a form of horror. Spirals are generally regarded positively in Japanese society, so the challenge of Uzumaki was to take the mysterious pattern as larger than humanity’s capability for understanding and twist it into a terrible force. >> Read more

Writing from Paris in 1991 under the pseudonym “No Beard Fei,” Fei Dawei penned a letter to fellow art critic and curator “Scraggly Beard Grandpa,” the pen name of Li Xianting in Beijing. Fei’s letter was a response to Li’s concern that “if art leaves its cultural motherland, it necessarily withers.” >> Read more

AIKE is delighted to present Fang Wei’s solo show “Morningtide”. >> Read more

Amidst the proliferation of private art museums in Shanghai and around China, smaller collector spaces are also opening with more modest but also more focused ambitions. Influential Shanghai collectors, Andrew and Lingling Ruff, opened 166 Art Space in late 2017. Its third show, curated by Josef Ng, opens this month. Ran Dian: Andrew, what brought […] >> Read more

Tabula Rasa Gallery is pleased to present the solo exhibition of Ma Haijiao: Happy Valley on March 24th, 2018. This is Ma Haijiao’s first solo exhibition in China. >> Read more

Chambers Fine Art is pleased to announce the opening on March 10, 2018 of Cai Jin: Arcadia, her second exhibition at the gallery. >> Read more

In this inaugural symposium, we seek to critically examine the diverse museum practices in both official and private domains of the Greater China Region. We welcome papers that investigate how institutional frameworks are fostered by the unique social and cultural dynamics at play in China. >> Read more

As Groys notes in the opening passage of his essay, “On the New”, “We experience art history first of all as represented in our museums.” One might add, to be glib with Marx—and why not? —, secondly as farce. >> Read more