The title “Already I Know the Storms” comes from Rainer Maria Rilke’s poem “Premonition”. For Jiang Zhi, “premonition” is also the primary motive catalyzing his art practices. Alike his own contemplation, always sprung from the inner, Jiang Zhi’s art is marked by arrest and suspension in-between the rising and the falling power.
The exhibition demonstrates just how powerful abstraction in painting can still be as artistic practice under the premise of globalization and digitalization and how painterly rhetoric can still be extremely inventive as artistic language.
As you wander through the exhibition hall, across the fragmented floor, every turn of your body or focus of your gaze makes the scene change in a way that cannot be replicated. Light, perspective, time, distance, and different emotions imply that you have waited for centuries, but you can’t sense death in the next instant....
Through systematically displaying its literary value, social account, historical perspective as embodied in the Sumerian literature, Professor Gong provided some new insights into the “Sumerian Problem” that has been debated in academia for a long time.
The exhibition will present Liu’s latest series “The Flow of Nature”, which displays archival prints, temperature-and-humidity-sensitive prints on paper, and computer-generated animation series based on the 24 Solar Terms.
This exhibition specifically examines Nature’s relationship to human minds and human societies as embodied in two distinctly Chinese modes of signification: the pictorial character of Chinese writing and the language-like nature of Chinese painting.
With Pang Tao’s new works on paper as a prologue, this exhibition explores the artistic issues embedded in these works and traces them back to major works in every stage of her practice since the late 1970s.
Lee actively partook in ‘Space and Time (ST)’ and ‘Avant-Garde (AG)’ Groups, which based on his criticism towards the tendency of 1960’s art world, the emergence of new Western art forms and paradigms.
With 123 bark paintings created between 1948 and 1985, 18 carvings, 10 painting tools and 3 log coffins, this exhibition in China highlights the works by master painters...
For the last ten years, mapping has served multiple functions in Qiu’s artistic practice: as self-conscious gesture, workflow chart, exhibition plan, intellectual exchange, political topology, and cultural research programme.
The show offers a focussed survey of major works from the artist’s entire career, including Personage sculptures from the late 1940s, Cell installations from the 1990s, the fabric works of her final decade, and the monumental spider sculpture Maman.
The exhibition is a pilot project that in exemplary ways introduces the state-of-the-art in German post-painting developments to the museum’s audience...