布幔围住历史，成为了解过去之门。

通过假想一个同样拥有经济、政治和文化美学体系的“阴间”，艺术家所发出的“阴间应当突破人间的种种宰制”的吁求具有了迂回式的现实意义。

作者陈玺安将对中国当代艺术历史加以回望的展览称为“速溶回顾展”，借助“幽灵本体论”揭开过去发生之事和未来可能之物的种种置换关系，试图在当代艺术领域内部阐说对线性时间的反抗。

作为定义“本体”的“美学边界”，画框是艺术家的感知视像最终结晶并成立的关键，一如道家“无用之用”的器皿，一如等待书写的白纸。没有画框，我们无法创造图像；没有绘画，我们就无法思索我们的所见。

对隔离与孤立的思虑和体会，最终把我们带向了更少的自我和更多的他者。在如今人人都对纷至沓来的扰动深感疲惫之时，或许正是这种不可抗辩的相对距离，揭示着我们在貌似不断碎裂、又时时重新聚合的世界中所处的位置。

艺术家小组“地理电影”的工作凸显了政策与实践、整体与局部、当下与未来之间的张力。“地理电影”成员曲若汐与艾莎·巴兹列娃就地理电影小组的研究视野和工作方法与作者和策展人曾明俊（Billy Tang）进行了对话。

屏幕上的身体没有性别。屏幕上的身体不属于任何人。你可以对屏幕身体做任何事，这不是一宗罪。屏幕身体的存在只是为了被插入——是的，在当下，每个人都是女性了，也是为什么他们理所当然地应该害怕我们。

因受新冠疫情的困扰，Tabula Rasa画廊主刘亦嫄、艺术家aaajiao (徐文恺)分别被迫滞留在伦敦和柏……

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.

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”。

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。

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.

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。

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.

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.

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.

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。

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.

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?

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。