REVIEWS

/ Beijing
Liu Wei’s “Shadows”

LONG MARCH SPACE, Beijing

View of Liu Wei’s “Shadows” at Long March Space, Beijing, 2018. Left: Cave No. 1, 2018. Right: Cave No. 2, 2018.
by

Ming Lin

Liu Wei’s “Shadows” is a rigorous exercise in time-space travel. A series of heavily pigmented, depthless shapes hang on the walls of the gallery’s foyer (“Caves,” 2018) serving as oblique entry points into the main exhibition space, where the viewer encounters a cluster of studded and welded metallic structures (Shadows,... continue reading
“Unlived by What is Seen”

GALLERIA CONTINUA/PACE GALLERY/TANG CONTEMPORARY ART CENTER, Beijing

View of “Unlived by What is Seen,” Pace Gallery, Beijing, 2015.
by

Venus Lau

“Unlived by What is Seen” showcases the work of 34 artists, collectives, and organizations, spanning across three galleries (Galleria Continua, Pace Beijing and Tang Contemporary) located in Beijing’s 798 Art district. In contrast to its elusive English version, the show title reads straightforwardly in Chinese: Bu Zai Tu Xiang Zhong... continue reading
“The Un-Officials | Art Before 85”

BOERS-LI GALLERY, Beijing

View of “The Un-Officials | Art Before 85,” Boers-Li Gallery, Beijing, 2014.
by

Karen Archey

When was the last time you walked into a painting exhibition at a commercial gallery and saw something truly politically radical? The answer for many in the West is likely “rarely, if ever,” especially if we’re referring to West Chelsea or London’s Mayfair. “The Un-Officials | Art Before 85” highlights... continue reading
View of “I’m Not Involved In Aesthetic Progress: A Rethinking of Performance,” Star Gallery, Beijing, 2013.
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Edward Sanderson

In this inaugural exhibition in Star Gallery’s new Beijing space, curator Su Wei addresses certain perceived limitations in the discourse surrounding Chinese performance art. Drawing on the work of eight artists, the presentation avoids “formulated mechanisms,” Su writes, to specifically address works “irreducible to any classification within... continue reading
View of Brendan Earley’s “In the Midnight City,” Galerie Urs Meile, Beijing, 2013.
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Iona Whittaker

It is an inexorable fact that every work of art is a response in some form. Irish artist Brendan Earley has created works in response to Beijing, where he was an artist-in-residence at Galerie Urs Meile last year. One might hazard the suggestion that Beijing is a city that is... continue reading
Yang Fudong’s “Close to the Sea & the Revival of the Snake”

SHANGHART BEIJING / ARTMIA GALLERY, Beijing

Yang Fudong, The Revival of the Snake, 2005.
by

David Spalding

In the mannered world evoked in the best-known films and video installations of Yang Fudong, people don’t speak much, perhaps because they have nothing to say. Instead, they preen and posture, as if posing for the still photographs they also appear in. A moody, attractive bunch, they tend to dress... continue reading

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Blum&Poe
Brooklyn Rail
Xavier Hufkens
Marion
Vitamin creative space
Afterimage
Spike
MIA Art Fair
sp-arte
galeria nara roesler
Kaleidoscope
Tulips & Roses
X-TRA