LAST MONTH, BEIJING-BASED artist Xu Qu (b. 1978) constructed his first large-scale outdoor installation: a tennis court on the terrace of Taikang Space in Do on funny free online sex games up amateur nude free amsterdame web cams on joe reichert adult friend finder have acne no. Beijing’s Caochangdi. Tennis Court, exactly 1/6 the size…

  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…

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…

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…

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…

WEB EXCLUSIVE Former punk musician Wendy Yao is the founder of Ooga Booga, an indie store in L.A.’s Chinatown that carries everything ranging from artist’s books to crochet platform sandals. Since Ooga Booga was founded in 2004, it has been a nexus of creativity in the Los Angeles area and beyond. Asia Art Achive’s Chantal…

GUO HONGWEI (b. 1982) moves beyond his signature watercolor paintings in his latest show at Chambers Fine Art Beijing, “The Great Metamorphist.” At first glance, you might question disbeli…

Joseph Beuys’ theory of social sculpture is a philosophical touchstone for Marko Daniel, curator of the 8th Shenzhen Sculpture Biennale. As he sees it, social sculpture expands the concept of sculpture beyond physical form and into the realm of social relations. It also anticipates the interactive, cooperative, and participatory paradigm in which“everyone is an artist.”…

The golden rule of communication studies is that new media is necessarily born of new culture. The artist may have no business in pre-empting these changes, but when it comes to new media in art in practice, the important question lies in the extent to which a work can alter modes of presenting art and…

“Film Directors in Correspondence” is a series of film-related exhibition events, each of which explores the work of an outstanding director from different perspectives, and also features the work of another in order to establish a dialogue. The solo exhibition of Chinese director Wang Bing is one of such exhibition, and Wang chose his longtime…

In trade and economics, the term “positive” is perhaps even more undesirable than its antonym—within the art industry, constantly high on “positivism” (which is essentially no different to fetishism),…

Light, sound, space, and time effectuate four dimensions inseparable from the fulfilled human sensory experience. The quotidian, however, tends to overlook their existence. Art tends to emphasize it; herein lies art’s ontological value. The more illuminating an artist’s delineations of the contours of these dimensions, the more lauded the artist. Zhang Peili is a very…

It is perhaps more appropriate to discuss Hao Liang’s practice within the context of traditional Chinese painting than within ink discourse. Of course, the term “traditional Chinese painting” suggests a national identity that itself originates in cultural anxiety. This anxiety, in both the present globalized context and the history of China’s modernist path as a nation-state, in fact exists…

Yang Fudong’s New Women premiered at a special exhibition during the 2013 Toronto International Film Festival. Shown in black and white on five screens arranged in a row on one gallery wall, New Women stood in contrast to its surroundings, an intense installation by Christopher Doyle called Away with Words. One of the most important…

The paintings of Zhang Hui offer neither fulfilling content nor aestheticism, and despite depicting concrete objects and scenes with clear brushstrokes, do not make reference to the real world in any clear way. Instead, his paintings move unhurriedly towards the image as the outcome of the duty stipulated by the act of painting, and stop…

At the opening of “Topophilia,” bottles of Taiwan Beer and cartons of Long Life cigarettes set on round tables at one end of the gallery gave viewers momentary pause. The scene, straight out of a home…

Bharti Kher’s first solo exhibition in China brings together her most representative works. The perplexing title of this exhibition is shared by an installation at the entrance, that of a hyena (more …

How do you pull off a solo exhibition with painting as its core in a 400-square-meter gallery with a ceiling that reaches 12 meters high at its peak? This space has previously hosted massive, visually aggressive, and spatially oppressive installations, such as Sun Yuan and Peng Yu’s contemporary spectacle Freedom, macro-narrative fabrications like Huang Yong…

The use of the term “digital art” in “The Wrong— New Digital Art Biennale” is intriguing. Evoking a medium specificity that recalls the often maligned, dated domain of new media art, but suggesting a …

For one artist to decide to create work in tandem with another always carries with it the risk of hit or miss. The meeting of uniquely subjective minds can be as dissonant and detrimental as it can harmonious and supplemental. Ideally, of course, the latter is achieved—two heads are better than one. In the case…