Artist, educator, writer, activist, and co-founder of Black Lives Matter Patrisse Cullors discusses the history of BLM, the prejudice against the movement, the deep trauma wound represented by the Trump regime, and how these issues are embedded in her artistic and pedagogic practices.
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当历史钩沉回到个体的复杂经验时，东北常常被抹平为一种近似的描述：经济凋敝、罪恶横行、颓废的小人物挣扎着寻找出路。媒体新闻与影视作品为大众生成出了一个生猛而扁平化的东北，作家班宇反对这种东北叙述的“共识”。
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在探讨地方性的最新一期LEAP“在希望的田野上”之中，影评人江萌分析了取景于武汉的电影《南方车站的聚会》中的“南方”——既是北方的缺席，是拍摄过华北和东北之后的刁亦男向中心的偏离，也是中国艺术电影的一次离散行为。
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Some works seem to have suffered from permanent amnesia after their trip leaving the Earth and forgotten what it felt like to be human on Earth, while others seem to have never left.
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一个普通人的身体能做什么？疫情促使着人们思考如何解构既有权力结构强加于身体的知识框架。
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What is China’s “ecological civilization,” and what are its ideological origins? Understanding how the ideas and history of Marxism in China interlock with ecological thought, as Long March Project has set out to do, is crucial.
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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.
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Human (un)limited_Beijing exhibition, jointly curated by Ars Electronica and the Central Academy of Fine Arts, will open to the public on November 19th at the Hyundai Motorstudio in 798. This year’s theme, Human (un)limited, follows the practice from last year in China, South Korea, and Russia, to show that the artists around the word are not only helping build a better life today, but also improving living conditions for tomorrow.
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中国艺术界全年热度最高的11月上海艺术季期间，现代传播携手梅赛德斯－奔驰（Mercedes-Benz）推出了亚洲先锋艺术盛典──「当代艺术能量 POWER OF ART」，展开一系列艺术展览及论坛活动，多维度地拓展当代艺术的可能性与开放性对话，促进亚洲艺术交流与创新实践及其国际对话。
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Founded in 2012 when its three members reunited in Saigon, Art Labor was borne of a shared interest in interdisciplinary collaborations that experimentally and exigently test the social parameters of art. As Art Labor works with and through communities, their artistic practice is not characterized by creative ownership over self-made art objects, but rather by long-term social engagement and intangible, interpersonal bonds.
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When images enter the virtual world, all physicality is left behind, their weight eliminated, their size adjustable, and only a virtual shadowing resurrected. One day, when we have nothing left of ourselves but images, will they too have shadows?
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成长于八零、九零年代的艺术家崔洁敏感地把握到对中国城市加速更新与扩张进程产生了深刻影响的各类建筑式样，并深谙如何在自己的绘画与雕塑实践中对这些现代化先例进行选择性的回归，从而触发即刻的近未来体验。
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在一个政治愿景处于动态的时代，本展览不失为一次积极的尝试，它梳理和碰触了一些虽然日常可感却不被经常提起的议题。
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此刻，我们对于上海，香港以及更宽泛的中国现代性的当下与未来都充满疑问。当答案在别处无迹可寻时，我们一如既往地在艺术的空间中寻找启示，在这里，鲜活的生命和希望仍在野蛮生长。
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在这篇对话中，LEAP与“禹步——第12届上海双年展”的主策展人夸特莫克·梅迪纳（Cuauhtémoc Medina）深入探讨了他的策展和研究工作中复杂的脉络。
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当蓬皮杜艺术中心的负责人为成都定制“全球都市”的提案时，难免会有这样的问题浮现：为何成都人民需要给蓬皮杜支付学费来发觉自己的文化？究竟什么才是有价值的“全球都市”？
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In Wang Haiyang’s artworks, the erosion and mortality of the human form give rise to other versions of vibrant life and embodiment.
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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.”
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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.
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Inside a moon-like circle on the back cover of T…
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