Li Ming, Rendering the Mind, 2017, video still
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LEAP 16

Born in France in 1974, the sound artist Yannick Dauby initially began his research and creative work in music, which have substantially expanded into improvisation, electro-acoustic composition, and ethnomusicology. He continues to engage with natural, urban, and industrial environments in an on-going series of sound recordings that find their way into his music arrangements, CD…

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Dino is the stage name of Liao Ming-He, born in Taipei in 1976. He was active in the rock and roll scene by the time he was in middle school, and played bass for the band The Clippers in his later youth. He is also considered a pioneer in his use of primal analog electronics…

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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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If the title “Interweaving” is intended to convey a state of intermingling, then that is approximately the feeling that Li Qing’s solo exhibition ultimately gives the viewer: an encounter with intricate and gentle obscurities. At the very least, I am not able to use clear or precise words to summarize my sensations and feelings. To…

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New York is one of those places that are meant for the birth of legendary art moments. “Taiping Tianguo” exhibits the artistic creations— all produced in New York in the 1980s— of four Chinese artists of different backgrounds. The show takes its name from the title of one of artist Martin Wong’s paintings (itself based…

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Luxury Logico was formed in early 2010 by two artist collectives: Chang Keng-hau and Chang Geng-hwa’s Luxury and Ken Chen and Llunc Lin’s Logico. These four men, all barely in their 30s, together created the group’s foundation, utilizing their own respective specialties in terms of concepts and execution, ultimately orchestrating high-tech machine-software interactions to produce…

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“Unclaimed Objects” features just that: a random assortment of bric-a-brac the young Fujianese artist Yang Jian found on the street, and then brought into the gallery to form this solo exhibition at Where Where Art Space. The modest collection of items in the show was collected between 2005 and the present. They range from the…

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In line with the sculptor and installation artist Yang Xinguang’s predilection for referencing classical Chinese, the title of his third solo exhibition at Boers-Li originates in an excerpt from Journey to the West: “As the saying goes, the warrior avoids unnecessary combat; but once I start there’ll be no mercy.” Indeed, the works scattered throughout…

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Liu Xinyi’s work is instantly recognizable from within the art environment of China today: an adeptness and integrity of the expression of form, subjects with a high degree of political sensitivity, and a (so far) clear continuity of a personal logic, with touches of obvious yet tempered slyness and dry humor. Liu’s first solo exhibition…

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“Share, But It’s Not Fair” is Paola Pivi’s first solo exhibition in China. Her works focus on the power of images themselves, often emphasizing factors like number and size. Because of this, some media coverage employed terms such as “gimmicky” and “wasteful.” Though such skepticism may be simplistic and crude, it also reflects how contemporary…

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From 2008 onward, Song Kun began building a new internal reality, related to life but existing through images. This “realism” is alive in the world of her works. In contrast to real life, she weeds out the underbrush and preserves only what is real and essential, allowing the images to emerge transcendent and clear. Her…

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The most eye-catching spectacle of Zhang Ding’s “Buddha Jumps over the Wall” can be found atop two monumental metal columns; a lean man, holding a knife and a gun, on a ritualistic platform such that to see him we have no choice but to look up. The subjects of video-looped “sacrifice” must either directly face…

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The word “more” is a word full of hunger. It is also a word many Chinese people associate with the American cigarette brand “More”— or “Mó’ěr,” its transliteration in Chinese. In the 1980s and 90s, these slim cigarettes were all the rage in China. A large contingent of teenage boys became fond of collecting the…

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Zhao Yao’s latest solo exhibition, “You Can’t See Me, You Can’t See Me,” is an almost total replication of last year’s “I Am Your Night.” It would be easy to take this exhibition as one-time-only event, a disposable strategy; such an opinion would not be baseless. “You Can’t See Me” is a direct attack on…

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The title of this year’s Manifesta, “The Deep of the Modern,” has three meanings. The first is related to the setting of the exhibition: the André Dumont coal mining complex in Waterschei, Genk, Belgi…

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THE PERFORMANCE ARTIST Hu Xiangqian (b. 1983) is quick to point out that he does not agree with that classification. More appropriate, he claims, would be “performer” or “actor.” For one, his work is rarely prepared for a live audience, and furthermore, although he readily admits to have never studied, say, Jacques Lecoq or Jerzy…

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Seen at the studio or displayed inside a gallery, Zhang Hui’s works always possess the quality of connectivity; each artwork is a branch rooted in and growing from others. A section from one painting becomes the central image for another canvas; one square of color could determine the palette for the next work. These root-and-branch…

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First, let us reproduce a scene from the eve of this exhibition, fleshed out, perhaps, with a bit of imagination. It is around midnight and you, an anonymous observer, have just checked into your hotel room, but are too impatient to wait until tomorrow to see the exhibition. So you decide to grant yourself a…

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Once known as La Force de l’Art, the Paris Triennale was founded in 2006 by the Ministry of Culture as a showcase for French contemporary art. The previous two editions paraded a dependably bland selection of local wares through the center of the Grand Palais, but the anticipated international acclaim never materialized and La Force…

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In 2011, Hans Ulrich Obrist, Shumon Basar, and Joseph Grima together proclaimed the establishment of “Posthastism.” In June 2012, their movement arrived to The Pavilion in Beiing in the form of a one-day exhibition titled “Beijing Posthastism.” Alongside film screenings and live performance, the three curators laid out the terms of “The Posthastist Manifesto,” calling…

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LEAP 47 | Spring/Summer 2018

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