randian | 燃点

乌戈·罗迪纳最近的雕塑作品 "修女+僧侣 "在艺术家三十二年前引入的叙事中占据了应有的位置。一个由永远不会停止与其他篇章互动的篇章所组成的叙事，其所穿越的轨迹中充满了互文性的疑问、往复、求生、位移和造型与态度的重塑，抑或是不断被重新交涉的审问。 >> 更多

《表现形式（Manifestations）》是菲利普·帕雷诺（Philippe Parreno）在施博尔画廊的第八次个展。其包括跨越多种媒介的作品：微粒合成的背景音乐、电脑三维动画电影、大气传感器、机械系统、计算机代码、冰和水。 >> 更多

天津是中国最“沉默”的直辖市，是现代性在中国命运的一个缩影。其现代艺术也是如此：不同于北京的激进和前卫，而是保持着那种“温情脉脉”，又不失生活情调的不合作姿态。当年天津第一个前卫艺术运动“鸣社”的成员，批评家、“实验水墨”理论家，天津美术学院教授郭雅希也是这样一个沉默的人。 >> 更多

(English) Simon Mordant is one of Australia’s most prolific art collectors and philanthropists. As chair of Australia’s Museum of Contemporary Art and as Australia’s past Venice Biennale Pavilion Commissioner, Mordant has been one of the major forces driving modernization of Australia’s visual arts scene. >> 更多

(English) A prize is always as much about the giver as the receiver. This year’s inaugural Sigg Prize, successor to the esteemed Chinese Contemporary Art Award (CCAA), was as much about M+ as it was about the winner, Hong Kong’s own Samson Yung. >> 更多

(English) Lu Yang’s ‘debut’ and Chen Tianzhou’s ‘Backstage Boys’ at BANK stimulate the senses to the point of overload. The gallery is a kitsch carnival where, for instance, the rock star Marilyn Manson is depicted as an ‘enchanting, vicious snake demon’ who resists the fiery attack launched by the Cabalesh Brothers >> 更多

(English) Travelling from the corners of East Java to a 19th century church in Islington, Edouard Malingue Gallery (Hong Kong, Shanghai) is thrilled to present ‘Madakaripura’ the first solo presentation in London of the Indonesian collective Tromarama (est. 2006, Bandung). Marking the last exhibition in the gallery’s temporary project space, Tromarama transport us to a historical waterfall, which is believed to be the last place where Gajah Mada (c. 1290 - c. 1364) - a central figure in Indonesian culture who used to be a Mahapatih or Prime Minister in the Majapahit empire - meditated before he reached Moksa, a term for various forms of emancipation and enlightenment >> 更多

(English) To describe Ji Dachun as a post-internet artist, at first sight seems inadequate. His painting doesn’t appear as particularly technoid or media based. At the heart of his more recent work, however, is to create a possible syntax of his medium along the transmitted painterly forms, and so to speak “to write and continue to write” its CODE. >> 更多

广东时代美术馆荣幸地宣布 “一路向南”驻地研究将与位于越南胡志明市的The Factory当代艺术中心进行交换，现公开招募一位中国艺术家前往The Factory当代艺术中心进行驻地研究。与此同时，时代美术馆也将邀请一位越南艺术家来访广州进行一个月的驻地。交换结束后，两位艺术家需各自提交一份详细的创作计划以回应广州及胡志明市这两个选定的地理坐标及其跨本土的地缘政治共鸣，时代美术馆将选择其中一个优胜方案并提供5万元（人民币或等值外币）的委任创作基金。 >> 更多

对不起，此内容只适用于English。 >> 更多