Li Ming, Rendering the Mind, 2017, video still
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Features

The process of urbanization and the expansion of cities have created economic and physical spaces where urban and rural characteristics mingle together. Various land uses and administrative systems come together at what is known as the urban-rural fringe. In fact, we (the Urban Rural Fringe Group) are not concerned with the aesthetic, political, and everyday…

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“Kunshan—Under Construction,” an intervention-style research project marrying art and society, began in 2010. The project observes and investigates China’s New Countryside program of rural construction. The specific locale of the project is Kunshan New Village in Chengdu’s Shuangliu county.1 The multidimensional, integrated art intervention project has included field research, on-site creative projects, short-term themed workshops,…

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As a rural reconstruction project, the “Bishan Project” has major problems accessing funding. As can be seen from our current resources, going through art projects seems to be the best way to alleviate this problem. I curated the 2011 Chengdu Biennale, and so the Bishan Harvestival joined as part of it, and this way I…

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My hometown is near Putian, Fujian. The village is a little bit like an island: past the Mulanxi river, in the hills, surrounded by mountains. Because the village is in the foothills, there are no fields for farming. It is over 30 kilometers from the sea, so fishing isn’t convenient either. The villagers live off…

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In the ink wash paintings of the American immigrant Yun-Fei Ji, the equivalent of nostalgia appears as the reflection and examination that follows the rejection of modernity, not as an aesthetic decision based on questions of cultural identity. His works bear the marks of his generation, as well as a critique of reality. Together, the…

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IT WAS WHEN we found ourselves tone-deaf and with two left feet that we fell in love with noise. Since his performance at The WALL in June 2011, “Blackwolf Nagashi” has made converts of music fans of all stripes in Taipei. With the release of his debut album Blackwolf Nagashi in Bedroom in May 2012,…

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In China, the development of sound art stretches back 15 years (from another perspective, we could perhaps adjust this figure to 12 years; see below). This, in spite of the fact that sound art still occupies a misunderstood and marginalized position (in this respect, media art isn’t much different). However, there are already enough people,…

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The Park Avenue Armory has been New York’s “secret art armory” for four or five years now. Every year there are a few unconventional programs of exceptional scale from art world heavy hitters. From Christian Boltanski’s gigantic installation No Man’s Land, to Ariane Mnouchkine’s marathon play Les Éphémères, to Peter Greenaway’s multimedia epic Leonardo’s Last…

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QIN QI HAS done fewer and fewer large-scale works over the past two years, essentially changing his form of practice since the art world first became familiar with him. Looking back to the start of 2005, Qin’s large-scale works appeared frequently in all sorts of contemporary art exhibitions. At that time, regardless of whether the…

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It would be easy to view the artistic practice of Lee Kit as a quaint celebration of the quotidian side of life, or perhaps as a pensive homage to the everyday carried out through a mute interplay of found objects placed within a space. In this sense it resembles so much global arte povera seen…

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The greatness of Edouard Manet’s The Execution of Maximilian, according to Georges Bataille, lies exactly in its relationship to the original— Francisco Goya’s El Tres de Mayo 1808— or its inheritance of resistance: the regard for and expression of indifference. “There is no essential difference between him painting the scene of an execution or painting…

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In 1957, the filmmaker Agnès Varda assumed the role of photographer during a two-month journey around both urban and rural China with a delegation of French dignitaries. Fifty-five years later, Varda resolved to display the photographs she took during that trip as part of the exhibition “The Beaches of Agnès Varda in China,” and in…

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The decision by Ma Qiusha to call her new solo exhibition “Static Electricity” was not one born of careful deliberation. It was made after accidentally coming across the term in a book during an anxious search for a title for her new exhibition. The objects and experiences implied by the term “static electricity” themselves bear…

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“2009-05-02” was the last series of work produced by Gu Dexin before he chose to retire from the art world completely. The title of the work came straight from the designated time frame for the exhibition at Galleria Continua Beijing— Gu frequently implements this policy, naming his works after simple external circumstances in order to…

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MU XIN, WHOM we had the good fortune of meeting and interviewing in December 2010, was one of the world’s greatest artists. He made a profound impact on anyone who had such good fortune. For many others, who knew him through his writings and art, his impact was equally as powerful. Throughout his creative life,…

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In Taiwan, clues to the Tehching Hsieh legend could originally only be found in fragments amongst brief, incomplete scatterings of text. As of 1986, after the artist’s year-long performance No Art Piece (or One Year Performance 1985-1986, New York, during which he made no art and abstained from discussing or viewing art of any kind),…

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IN ACCORDANCE WITH the auction house pattern of holding major sales in the spring and autumn, the Chinese art market saw a succession of major auctions throughout the fourth quarter of 2011. The crowded schedule spanned autumn and winter, and as the schedule progressed, the season seemed symbolic of the state of the art market,…

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FOR HER MOST recent work Charwei Tsai has amassed a large pile of white feathers. The pile is placed on a circular mirror and heaped up to about half a meter high and one meter across. Down is mixed with wing feathers to make the whole pile seem fluffy and insubstantial. Were this not inside…

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“It is the objective of the artist who is concerned with Conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry.” Sol LeWitt, Paragraphs on Conceptual Art, 1967 Life is full of endless anticipation. Except for blood and flesh, dreams and anticipation have…

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LEAP 47 | Spring/Summer 2018

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