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.

These frontiers are critically investigated and presented in their complexity, and these aesthetic forms refuse to subjugate to existing and dominant apparatus of the sensible. It exemplifies what Vivian Ziherl raised as a frontier formalism: “frontier formalism is strongly invested in aesthetic tactics of representation through rebellious images; images that chafe against existing arrangements and that posit undeniable demands for another shape and sound of the global symphony.”

“Wetland” exists in the ambiguity between wet and dry states. Within the designated five-hour duration of the exhibition, its temporary state mirrors a constantly changing wetland; it can disappear at any time but contains the possibility to exist in other forms.

Jes Fan, Mother Is A Woman, 2018, video, sound, color, 4 min 44 sec. Videographer: Asa Westcott.   What is a body made of, and how does that impact the way it is perceived? Does an impression of a body reflect its constitution? Artist Jes Fan posits these queries by investigating how the material science of…

Wong Kit Yi, Uploading Consciousness to a Lotus Root, 2018, single channel HD Video, 20 min. I made a promise that expires in 99 years [1]. At the Golden Computer Centre [2], I transferred my body’s lease on life to the Emperor. Filled out the form: red hair, pale skin, female. Couldn’t remember my birthdate….

The original story of Yugongyishan (Moving Moutains), the legend of the old man who moved the mountain, is actually a rather romantic one. The story goes that an elderly man of over seventy, driven by…

“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…

There seems to be a certain fetishization surrounding the concept of experimentation. Maybe the idea of experimentation is linked to the idea of creating something “alternative”—another deeply fetishi…

DADA CANNOT BE EASILY ACCEPTED, NOR EASILY REJECTED. IT RECALLS THE WORDS OF THE “DADA MANIFESTO”: “… THAT’S IT. BUT OF COURSE… IT’S A QUESTION OF CONNECTIONS, AND OF LOOSENING THEM UP A B…

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…

The opening of “Ink Art: Past as Present in Contemporary China” at New York’s Metropolitan Museum of Art in December, 2013, was met with both cheers and disgust by the Chinese ink painting community. …

Dada is not at all modern; it is rather a return to a quasi-Buddhist religion of indifference. —Tristan Tzara Conference in Weimar, Germany, 1922 As often pointed out by modern art historians, notably…

Without the aid of mirrors, artists seem to be incapable of self-reflection. Their images and works are constructed and processed in the face of the many peers surrounding them, one orbiting another l…

In the past few years, there has been a move towards art and writing that abandons irony completely in favor of sincerity. “New sincerity” has been a buzzword for the art and literary world since the mid-1990s. It was the name of a literary movement sparked by David Foster Wallace’s essay “E Unibus Pluram,” where…

I fell in love with the idea of Jaakko Pallasvuo after watching Vanilla (2011) on Vimeo. The shaky forty-second clip features the artist rubbing ice cream onto his face, hair, and body at an exhibition opening. Dancing erratically to “Drop It Like It’s Hot,” onlookers clap and cheer the artist on in the background. This…

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…

“You know the way animals are… They’re run by instincts. You can’t expect them to behave morally. It likes to eat, it likes to have sex… Don’t expect too much from a thing like that. Just take it for what it is.” —Scarlet Droppings (1990), George Kuchar Cinema has historically been a fecund site of…

To invoke the notion of the muse around Juliana Huxtable seems out of fashion. After all, the title was tirelessly anointed to the 28-year-old artist, poet, and DJ as she gradually emerged from various sites across New York’s cultural landscape. The most recent case-in-point: the 2015 New Museum Triennial, in which the audience was confronted with Juliana, a life-size sculpture of Huxtable’s naked body by Frank Benson, exhibited alongside Huxtable’s own poetry and photographic portraiture. Media sensationalism sugarcoated her with the muse appellation and infected almost all of the popular websites and magazines.

The basic premise of the Lovelace test, created to determine intelligence within the cognitive sciences, is that a machine must originate an idea on its own. Ada Lovelace, for whom the test is named, argued that this was the marker of true intelligence. In distinction to the Turing test—which tests the ability of a machine…