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.

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.

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.

“You Won’t Be Young Forever” serves as a distinct example of how to work collaboratively with youth. A small office building set to be demolished needs no renovations or any visual disguises, it simpl…

The first hint of something a little unusual afoot in this exhibition is the extrusion of a grid-like, metallic structure from the bounds of the gallery proper, an effect made doubly jarring in settin…

Consider the travelogue. Some sensitive soul alights in a part of the world somehow different from their home, and they enact a traversal of this space, accruing images and relating experiences in a r…

There are those who say that if an artist not of the ‘West’ engages with abstraction, conceptual practices, and other approaches generally perceived as descending from the European tradition, they are abandoning their cultural heritage, merely aping the ‘West’ in some sort of cultural cringe, or colonial hangover. Conversely, especially with regard to China, there…

It often feels like the 1990s are an undigested pellet in the gut of artistic culture. Presented with the aesthetics of that era, it’s still unclear quite how to deal with them. Appropriate and critique? Wax nostalgic? Gag? Since then, technology has become so frictionless that we often ignore it rather than revel in its…

Entering the former prison of Miguelete is like entering a temple. The striking exhibition “Teetering at the Edge of the World,” curated by Zandie Brockett and Uruguayan artist Sebastian Alonso, was unexpected for the Montevideo cultural world, pushing the audience immediately into the fast track of urbanization processes in China and elsewhere. The exhibition starts…

While it’s hard to imagine anything more idyllic than a clear, blue sky, the general willingness to accept that the sky could be either clear or blue—impressions caused by the scattering of the sun’s light by molecules in the atmosphere—is disturbing, in that it speaks to our compliance in accepting what we observe on a…

In Olafur Eliasson’s exhibition, a pyramid hangs down from a height of 20 meters. The Open Pyramid (2016), created to a scale almost as alarming as that of the Egyptian pyramids, fills a stretch of space from wall to wall. Propped up by walls on either side, the bottom four corners of the pyramid are…