The framework of the fictional space encompassing Kafka, Natalia Goncharova, Mikhail Bulgakov and Marina Tsvetaeva among many others overlaps with the sphere of the canvas, which simultaneously tells a story without words.

A bit hard to imagine, but also oddly convincing—thinking through the state of quarantine and isolation ultimately brings us to fewer “selves” and more “others.” In a present moment where each of us is increasingly tired of the myriad disruptions to our ways of life, perhaps it is these relative distances, inexorable and inexplicable, that reveal the state of a world continuously splitting apart, and reforming itself.

Screen bodies exist only to be penetrated—yeah, that makes everyone female, and that’s why they are, and rightfully should be, fucking afraid of us.  

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.

The northeast is all too frequently portrayed as an area of economic ruin, rampant crime, and a decadent scrabble to live. Media and popular representations of the region are often abrasive and flattened. It’s a stereotype with which Ban Yu dissents.

In the new issue “In the Field,” critic Zoe Meng Jiang discusses the director Diao Yinan’s recent film The Wild Goose Lake, seeing it as an act of internal diaspora for Chinese art cinema.

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.

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.

Cui Jie, an artist who came of age in the 1980s and 90s, shows a keen grasp on the various architectural patterns that have had a profound effect on the rapid renewal and expansion process of Chinese cities, and is adept at selectively harking back to these precedents of modernization in her painting and sculptural practice, thus triggering a momentary sense of the immediate future.

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?

In an age of increasingly volatile political visions, “The Racing Will Continue, The Dancing Will Stay” may be regarded as a positive attempt to tease out and touch on issues that aren’t brought up all too often.

There is a wide diversity of practices—from video to sculpture to painting, from Asia and Europe and North America, with a wide variety of concern—in the encyclopedic show of contemporary art practices showcased now at Rockbund, but what seems to unify them is a simmering dissatisfaction with the world as it is.

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?

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.

  For his recent paintings, presented by Ota Fine Arts at Condo Shanghai, Singaporean painter Guo-Liang Tan chose an aeronautical fabric as his canvas. A bizarre choice, given that the fabric is water-resistant and would therefore not absorb paint. In order to even begin painting, Tan had to first seal the fabric with acrylic. In…

  Curators of contemporary Chinese art abroad often face many challenges. The third installment of the Robert H. N. Ho Family Foundation Chinese Art Initiative, the theme of One Hand Clapping is …

The figures and elements that populate Fu’s paintings are easily recognizable ones, but Fu renders them in a simplistic and at times unfinished manner—most are only silhouettes—which makes them nebulous and creates a dearth of information that can be gleaned.