randian | 燃点

比特币美丽的泡沫貌似终于破裂，区块链加密技术则刚刚起步。 >> 更多

史蒂芬·斯姆肖维茨那颇具争议的商业模式、顽固的个性、社交媒体上无处不在的身影、放言无忌的大嘴，总是在热烈而两极分化的争论中为他赢得一席之地：争辩的焦点，莫过于他对于新兴艺术家的作品采取囤积居奇的策略，以此同美术馆及其他艺术经销商竞争市场份额。 >> 更多

(English) The 9th Berlin Biennale for Contemporary Art seeks to materialize the digital condition and the paradoxes that increasingly make up the world in 2016 >> 更多

(English) Ota Fine Arts is pleased to announce to open a new gallery space at Gillman Barracks in Singapore in September, 2012. >> 更多

藝術門将参展 Art14 London 呈现 Jenny Holzer、崔正化、李华生、李晓静、周英华、朱金石、苏笑柏和孙钧钧的作品 >> 更多

墨虎恺（Chris Moore）采访Josh Baer，讨论了后者的工作及工作方式，并就VIP艺博会（VIP virtual art fair）、艺术基金、画廊与藏家的“赊账”及难以言说的艺术市场透明度等问题征求他的意见。 >> 更多

(English) Reports on the art market are suddenly very hip. The art market is still such a tiny little thing compared with other markets, like pork bellies or copper, but a sufficient number of investment bank clients are involved in it to make the analysis worthwhile. The trouble is that most reports are rubbish, with a few exceptions. >> 更多

(English) Steyerl's work is so cogent because, as a provocateur, she is able to coherently foreground the mechanisms of art that have long been buried and ignored. As Steyerl herself says: Too Much World. >> 更多

“艺术巴塞尔”是一场展览，而非艺博会。这两者之间的区别。第三年的香港艺术巴塞尔是一次成功——正如所预测、所组织、所执行和所报道的那样...... 
 
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旨在邀请公共参与的展览使用到的最关键的艺术种类，当然是，参与艺术。《充气！》明智地远离了模棱两可以及关系艺术，而是选择了一种观众与作品互动更为平实的形式，观众间非传统的新关系也在此形成。
 
 
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