Li Ming, Rendering the Mind, 2017, video still
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Conceived as a response to changes to what might be called the unsympathetically hyper-kinetic city par excellence, the group show “Lost City 3” picks up some seven years after its previous edition, the series as a whole spanning just over ten years. During this period, Singapore’s built environment has seen startlingly rapid changes, with whole…

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A search for the conditions which construct our reality lies at the center of Alicja Kwade’s work as a sculptor. With consistency, yet a great variety of methods and often traditional materials such as metal, stone, wood, copper, aluminum, glass and everyday objects like clocks, mirrors, lamps, or doors she creates fascinating artworks about the…

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The thing about the denim painter’s universe is that, once you get sucked in, it’s hard to climb back out. Korakrit Arunanondchai imbues his work with a charisma that is massively seductive, and speaks directly to the viewer in a call and response of interpellation: “I am a machine / boosting energy into the universe…

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Artists Calla Henkel and Max Pitegoff’s New Theater originates from, amongst other things, the desire to reimagine relational art in the particular context of a niche American art world in Berlin, whose ecosystem is already under the gentrifying influence of the city’s increasing popularity as a destination for creative transplants. The twenty-something Cooper Union graduates’…

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October 31 through November 1, 2015 marked the beginning of the tenth annual New York Asian Contemporary Art Week. With it came the three-day “FIELD MEETING Take 3: Thinking Performance,” a series of performances, lecture-performance, artist talks, and symposia. Central to these meetings was an attempt to look at how artists in Asia have used…

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Blazin’ up in of the Seoul Museum of Art, the mammoth exhibition PEACEMINUSONE offers a glittering addition to the canon of swag-as-art. While the group exhibition features work by such international artists as James Clar and Fabien Verschare and a broad range of contemporary South Korean artists, PEACEMINUSONE is for, by, and about one man:…

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“Venice Dansaekhwa” (technically just “Dansaekhwa,” but there is a limit to the conveniences of minimalism) is a simple and beautifully hung exhibition in the Palazzo Contarini-Polignac along the Grand Canal. Organized by the Boghossian Foundation along with the galleries Kukje and Tina Kim, and curated by Yongwoo Lee of the Gwangju Biennial, it’s arguably one…

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Hu Weiyi is known for modularity and unpredictability, but this exhibition is well-planned and strategized. The idea of the convoy was decided on first, then the route from Shanghai to Beijing. Apparently unplanned experiences along this route become the focal point of the project. In the exhibition, however, it seems Hu had no plans to…

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Disappointment finally reaches a climax at the end of a journey through the eight cities—Dusseldorf, Duisburg, Essen, Gelsenkirchen, Hagen, Marl, Mülheim, Recklinghausen—participating in the exhibition “CHINA 8.” Rather than an in-depth overview into the diversity of contemporary art in China, it offers only quantitative superlatives. Among painting, photography, calligraphy, installation, sculpture, and video from established…

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“GENUINE FAKE” Hydra School Projects, Hydra, Greece This exhibition begins with a concise introduction to the theme at hand: the fake. It starts at the doorway to this former school on Hydra, taken over some 15 years ago by artist and curator Dimitrios Antonitsis, with a framed dinner receipt faxed to Antonitsis from Dash Snow…

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In the beginning of June in New York, one could see Austrian artist Maria Petschnig’s work screened twice: on one evening as part of Anthology Film Archive’s Show and Tell series, and on another at a release party at the gallery On Stellar Rays for her new career-surveying book, Maria Petschnig: Nineteen Videos 2002-2014. Large(ish)…

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Hong Kong artists Leung Chi Wo and Sara Wong’s “Museum of the Lost” features an ongoing archive of anonymous figures drawn from various mass media sources. Wong and Leung isolate individuals found in photographs with their backs turned or faces obscured and write stories about them, imagining what they might have been doing at the…

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  On Sunday the 26th, two solo exhibitions opened at White Space Beijing: “Xie Fan: Back to the Footlights Tomorrow” and “He Xiangyu: Dotted Line.” Although White Space’s double openings are intended as separate shows, it’s hard not to observe the moments where the two overlap. White Space tends to favor artists born after 1980…

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“Sue Williams” at James Cohan Gallery For decades, American painter Sue Williams (b. 1954) has been creating colorful, large-scale works that pose a dialogue between abstraction and the body. Her solo show at James Cohan Gallery in Shanghai is a miniature retrospective, beginning with her 1996 painting Darklight and culminating in a selection of her…

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  IN HIS ESSAY “From Image to Media File: Art in the Age of Digitalization,” art critic, media theorist, and philosopher Boris Groys describes the notion of “original” for digital photographs as no longer accurate.[1] In today’s world of digitized images and virtual means of distribution, digital pictures have rather become copies, often absorbed into…

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CAMILLE HENROT QUESTIONS where history begins, often incorporating indigenous cultures and anthropological research into her practice. Her most recent exhibition, “The Pale Fox” (2014), is an architectural display integrating found objects, sculpture, drawing, and digital images. The title is taken from a 1965 anthropological study of the West African Dogon people, whose mythology synthesizes the…

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IN AN ART WORLD that often seems to elevate style over substance and rewards gloss and flashiness, Kwok Mang-ho, a.k.a. “Frog King” (b.1947), is a welcome antidote. He is easy to place and hard to pigeon-hole, a persona that is a mixture of childish adornment, joy, and serious long-term commitment. Frog King, by his own…

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LIU WENTAO’S PAINTING may be consistently monochrome, but it’s anything but monotonous. For nearly a decade, the artist has resisted using color in his work, obsessively reusing two materi…

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LEAP 47 | Spring/Summer 2018

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