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.

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Human (un)limited_Beijing exhibition, jointly curated by Ars Electronica and the Central Academy of Fine Arts, will open to the public on November 19th at the Hyundai Motorstudio in 798. This year’s theme, Human (un)limited, follows the practice from last year in China, South Korea, and Russia, to show that the artists around the word are not only helping build a better life today, but also improving living conditions for tomorrow.

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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.

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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.

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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?

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  Inside a moon-like circle on the back cover of The Pillow Book is a list of things it is not: “Not a memoir. Not an epic. Not an essay. Not a spell. Not a shopping list. Not a nocturne. Not a dream book. Not a prayer. Not a novel. Not an apology. Not a…

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  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…

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LEAP S/S 2020 In the Field


    • LEAP S/S 2020 In the Field


    • LEAP 2019: History in Progress

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