艺术界 LEAP

Julie Mehretu’s works require space: large walls and a great distance for the eye to take in the entire picture that rises and stretches, up to several meters above the viewer, who is both dwarfed and dazzled by its dimensions.

As the Centre Pompidou visits Chengdu, proposing a “Cosmopolis,” it’s fair to ask: why do the people of Chengdu need to pay the Centre Pompidou in order to discover themselves?

In Wang Haiyang’s artworks, the erosion and mortality of the human form give rise to other versions of vibrant life and embodiment.

A documentary filmmaker turned artist, Mao Chenyu thrives on the contradictions between the white and black spaces. Strategies of resistance from both the white and black discourses are organized into an aesthetic experience of the “green.”

In an era where geopolitics is being renegotiated, Chihying asks if new relationships are really a break with the past, or if there are still uncomfortable continuities and tendencies.

Inside a moon-like circle on the back cover of T…

Objectophilia is an attraction to inanimate objects, so……

身体是由何构成的，这种构成怎样影响了它对外界的感知？身体的痕迹是否反映了它的组成？艺术家范加（J……

想象自己是一只鹰：你正站在驯鹰师主人的手臂上，眼睛被头上的鹰帽遮住了。此时此刻，你正身处一个名……

深入艺术家付经岩的世界好似窥探一个谜团。虽然迷幻，却也非完全坚不可摧——在一定程度上，这个陌生世……

海外中国当代艺术策展人时常面临着众多挑战。第三期何鸿毅家族基金会中国艺术计划与先前不同，以“单手……

作为今年夏天落地上海的Condo项目的展览之一，大田秀则画廊展出了新加坡画家陈国良近期的作品。艺……

“Wetland” exists in the ambiguity between wet and dry states. Within the designated five-hour duration of the exhibition, its temporary state mirrors a constantly changing wetland; it can disappear at any time but contains the possibility to exist in other forms.