Contemporary Art Museum Boom in China
OCAT Contemporary Art Terminal Xi’an takes on the task of shaping the contemporary landscape of this history-heavy former Chinese capital. Pictured here is Li Shurui’s installation An Invited View, site specific mural painting with household paint. 
Contemporary art has a contentious history in China, and depending on how you define it, wasn’t really practiced until after the death of Mao Zedong in the late 1970s. These artists worked under newly liberal conditions but were always outliers, eschewing and sometimes violently opposing state ideas, rhetoric and bureaucracy.
As a result, no complete public collection of contemporary art exists in China. There are public museums which display censor approved contemporary work. They can be run by progressive and gifted individuals, but who always operate under strict limitations. Read more

Group exhibition Anatomy of Anxieties at Edouard Malingue Gallery, Hong Kong
10 September 2014 - 06 October 2014

The experience of trauma, whether actual or imagined, can lead to a variety of peculiar and unexpected outcomes. The distorting effect on body image, defined as a person’s feelings of the aesthetics and sexual attractiveness of their own body that may be forced by culture or their surroundings, can be particularly strong. In Anatomy of Anxieties, the body however is conceived not only in terms of human flesh and bone, but metaphorically. It can be seen to encompass the steel and glass structure of a building, or the landscape as living organism, both forms of bodily representation are equally subject to being the site of fantasy, trauma and perversion.

Taken as a departure point for this exhibition, these phenomena are explored through the works of a broad generation of artists including Hans Bellmer, Nicolas Ceccaldi, Beth Collar, Patrizio Di Massimo, Laurent Grasso, Andy Holden, Tetsumi Kudo, Rachel Maclean, Superflex, Cindy Sherman and Cui Ximing.

More info here


Alexander Gronsky, The Edge, Northern Portll, Moscow, C-print, (C) Alexander Gronsky / Courtesy of Yuka Tsuruno Gallery
Hamish Carr at Anna Pappas GallerySynthetic Base for a Communicative Monument 1 and 2, 2012 - 2013Concrete and glass tile

Read ArtReview Asia's cover feature on artist Lee Bul, recipient of the Gwangju Biennale’s Noon Award: 
"Lee attempts to salvage her own history from the ruins of the past. Similarly, her work encourages the viewer to forge critical links between the fallen societies of recent history and the precarity of the present, to question our own grandiose constructions and assume personal responsibility for a shared future we can only ever imagine."
Lee Bul's first UK solo exhibition runs at Ikon in Birmingham, September 10th – November 9th, with an accompanying exhibition at the Korean Cultural Centre in London, September 12th – November 1st:

Group Show featuring Cheng Ran, Xu Zhen, Chen Wei and many other influential Chinese contemporary artists, titled Silence_ The Nineteen Nineties at Leo Xu Projects, Shanghai


The Power Station of Art in Shanghai joins China’s endlessly photogenic family of re-purposed & built new museums, here with Tokujin Yoshioka’s installation as part of the Cartier Time Art exhibition. 
As of 2014, China has close to 5,000 museums. This is a staggering number by anyone’s account, especially considering the majority have been built or renovated in the past five years. It also presents a considerable challenge. Build them, but to what end? Read more
Ryuichi Ohira, Pretending Untitled, 2014, Record Player, Plywood, 35 x 36 x 10 cm
Julia Steiner Deep Voice - Clear Sky at Galerie Urs Meile, Beijing06 September 2014 - 19 October 2014

For her exhibition Julia Steiner has brought 3500 kg of wet clay to the gallery space and worked on them for seven days on a wooden base, built especially to hoist this sculptural being. She also made a wall painting in the same exhibition space, framing the sculptural work. This new direction of working with clay does offer a more corporal feeling, the experience of the density and the energy of the artist’s movement in full dimensions and from all angels. Furthermore new works on paper will be shown.

More info here. 

Sotheby’s S|2, a new contemporary art gallery that represents the private sale and gallery arm of the auction house’s global contemporary art department, will host a selling exhibition of works by the Japanese artist Yoshitomo Nara from September 6 through 24. “The World According to Nara,” which showcases 15 works spanning painting, sculptures, and drawings from the period 1988-2010, will be the first solo selling show of Nara in Hong Kong. Known for an idiosyncratic and distinctive idiom that seeks legitimacy and vindication for the slacker pop culture and music that the artist was weaned on, Nara captures a certain adolescent angst that translates equally to the adult world.

Read more here. 
Rachel Maclean, Massacre of the Innocents Reduced, 2011, Digital print
Saana Wang at x-istHujialou #67, 2009Photography, pigment print
Ocula Report: Tokyo Focus
"Bye-Bye Kitty!!! at the Japan Society in New York in 2011 put a stop forever to the idea that Japanese art was just about the cute helplessness of “kawaii”: a pre-conception that was driven mainly by the super flat motifs of Murakami Takashi’s collaboration with Louis Vuitton where he re-worked the brand’s signature print into rainbow-hued variations with sunflowers and cherries.” Read more
Photo: KIOKU Keizo Artwork: MINAMIKAWA Shimon

group show The Art of Line: Contemporary Chinese Ink & Brush at Pearl Lam Galleries, Singapore
10 August 2014 - 21 September 2014

Singapore—Pearl Lam Galleries is pleased to present The Art of Line: Contemporary Chinese Ink and Brush, a group exhibition which looks at line as an aesthetic preoccupation in Chinese art, and explores how China’s ancient pattern of seeking cultural renewal, through the reinterpretation of past models, remains a viable creative path.

The exhibition showcases works by six Chinese contemporary artists: Lan Zhenghui, Qin Yufen, Qiu Deshu, Wang Dongling, Wang Tiande, and Zhang Wei. Although each of these artists have transformed their sources through new modes of expression, visitors will recognise thematic, aesthetic, or technical attributes in their creations that have meaningful links to the centrality of line that has persisted from ancient to contemporary times in Chinese art.

Showcasing works by six artists who reinvent sources drawn from the fertile landscape of China’s artistic development, be it the lines in decorative motifs of coloured pottery, bronzes and jades, or in the later calligraphy, painting and Buddhist sculpture, this exhibition explores the ways in which Chinese art can be viewed as an art of line.

More info here



Labyrinths and mazes embody an age-old paradox. On entering their twisting forms, you’re compelled to lose yourself inside them only to find yourself once more. The two may be inherently different - a maze is a complex, branching puzzle with choices of path and direction, while a labyrinth is a universal design with only a single, unambiguous route leading to its centre - yet the conclusion is always the same. And for artists and architects, their creative possibilities are infinite.

Read more here