Li Ming, Rendering the Mind, 2017, video still
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Against all odds, the much-maligned genre of the China show seems to be making a comeback, some decade since it largely disappeared from major international museum programs. In addition to the Fondati…

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The LA Art Book Fair, a spinoff of the New York Art Book Fair founded and presided over by art book iconoclast Printed Matter, is a four-day event that crams the maximum number of international galleries, publishers, and independent zine-makers and paper pushers of all sorts into the Geffen MOCA in downtown Los Angeles. At…

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We often feel that we intimately know the places where we reside and work, yet, through different modes of engagement, “Urban Synesthesia” reveals the idiosyncratic elements and characters of cities that can otherwise go unnoticed. The offspring of the Benjaminian flâneur works spontaneously by means of field research, looking to unveil the façade. The exhibition tries to allow the visitor to become more sensitive, becoming aware that simple objects and landscapes are not always as they seem.

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In late 2015, Dajuin Yao brought the “Schizophonia” sound art exhibition to OCAT Shenzhen. The project was a spectacle of sound art in three parts: archival listening, an exhibition of sound installat…

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In the 1960s, German contemporary music master Karlheinz Stockhausen noted that “the distinction between sound and music disappears.” Perhaps we can open up a discussion of the subtle relationship between sound art and the plastic arts. For a long time, their differences have flaked away through level after level of conceptual framing. But the gap…

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Mika Rottenberg’s film No Nose Knows, a highlight of the Arsenale in OkwuiEnwezor’s 2015 Venice Biennale, returns to China (it was shot in the coastal areas of Zhejiang) in this small exhibition in Beijing. Touching on the pearl industry, empty housing developments, and the absurd gestures of the everyday, Rottenberg considers her piece a “diagram…

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LEAP 47 | Spring/Summer 2018

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