Li Ming, Rendering the Mind, 2017, video still
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October 31 through November 1, 2015 marked the beginning of the tenth annual New York Asian Contemporary Art Week. With it came the three-day “FIELD MEETING Take 3: Thinking Performance,” a series of performances, lecture-performance, artist talks, and symposia. Central to these meetings was an attempt to look at how artists in Asia have used…

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The 2015 martial arts film The Assassin, by Taiwanese director Hou Hsiao-Hsien, has generated debate in China over how to reach a correct understanding of its plot, background, dialogue, costumes, pro…

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Singaporean curator Qinyi Lim’s exhibition “A Luxury We Cannot Afford” begins by citing the attitude of Lee Kuan Yew towards art and culture: a frivolous waste of energy and resources better spent on industrialization and militarization. If this approach persisted until the creative industries were recognized as a cornerstone of first-world status in the 1990s,…

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The title “Twin Tracks,” originating in a Chinese proverb, usually refers to the difficulty of reaching a goal when one is heading in the wrong direction. Yang Fudong’s exhibition guides the audience …

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Chen Tong’s practice is anti-realist in attitude. He believes that an artist should separate the making of art from considerations of personal livelihood. Under conditions of separation, the artist can then work on the basis of detachment from reality, even if he chooses to adopt representational or other apparently realist means of expression. Ideas of…

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Traditional Chinese painting, known colloquially as a “tasteful debt,” has become an increasingly important part of the economy of gifting. Its role as an unspoken tender allows ink to become a mirror that reflects the true complexities of the interpersonal relationships arising from man’s unquenchable thirst for power and ability or willingness to navigate this…

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LEAP 47 | Spring/Summer 2018

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