randian | 燃点

第一个展厅里有六个极富感染力的三联绘画。每个画里都有一个人物，每个人物出现两次。这些作品是平庸感与装饰性的奇异而有力的融合。第二个空间带来了不小的惊喜。 >> 更多

本文仅限英文阅读 >> 更多

男人们蹦跳呼喊，穿着满是织花的衣服从旁进过，他们的身体分化成飞舞的颜色。安迪愣了片刻才意识到，这些男人通红肿胀的脸和黑色空洞的眼睛是木质的面具。 >> 更多

任何一组随机数字脱离了上下文之后都充满含义。 >> 更多

正如格罗伊斯在他的文章《论新艺术》（On the New）的开头所提到的那样：“最初，我们认为艺术史就是博物馆里陈列的那些东西。”也许有人会突然像马克思那样补充道——为什么不呢——其次才是闹剧。 >> 更多

對陳浚豪而言，「似而不似，不似而似」反而才是他對媒材與形質之間交替混融的創改，以此讓乍看突兀的物象幻變，在其作品中得到了合情合理的解放。 >> 更多

(English) Ding Yi’s paintings refuse to answer, to limit or be limited. Whether small or vast, their multi-hued fields of crosses map and divide pictorial space, transparent and unguarded, beguiling with pattern. But this is no panacea for interpretation, for anything-goes opinion. Look closely at each painting and you can become familiar with them, with the individual character of the multitude of marks that compose their seeming and actual similarity, the repetitions, threads and permutations, and yet still not know them >> 更多

(English) The fastest, the highest, the strongest are the superlatives that came to describe the pace of development in modern China since the opening reforms. >> 更多

巴塞尔艺术展香港展会中广受赞誉的艺聚空间展区突破传统艺术展展位的形式，为大型雕塑装置作品提供独特的展览平台…… >> 更多

(English) In the new body of paintings by Mairead O’hEocha, Blackbirds in the Garden of Prisms2, or as Wallace Stevens determined, suggesting a contribution to something greater than its singular self >> 更多