Saturday, June 25
John Gerrard brings his virtual simulations of real sites across the globe to his first solo show in China. Three videos—depicting a Mojave Desert solar plant, a server center in Oklahoma, and a network of roads in the Gobi Desert—are cinematic portraits of overlooked sites that drive post–Big Data networks and infrastructures around the world.
John Gerrard John Gerrard
Li Jin eschews his earlier use of riotous color for monochrome in this show of large-scale works, curated by Britta Erickson, showcasing large brush techniques. There are portraits of legendary icons but also renderings of meat and produce, extending the narrative levity that runs through his work.
Li Jin Being
A nine-inch-deep mucky mix of sediment and brackish water submerges Galleria Continua, as Host, which marks Antony Gormley’s second show at the venue, draws its materials from local sites—here, Tianjin Coast seawater and red clay taken from a suburb of Beijing. Along with Gormley’s signature figures and a series of additional steel sculptures, the exhibition represents what the artist calls a “primal soup brought within the frame of a museum as a changing painting that you can sense, as well as see.”
Antony Gormley Host
“Rauschenberg in China”: The show’s title refers to not just the temporary location of his artworks but also the erstwhile itinerary of the artist himself. Among the works exhibited? The 1/4 Mile or 2 Furlong Piece, an epic, complex composition that took Rauschenberg nearly two decades to complete. Other artworks on view include photographs from his “Studies for Chinese Summerhall” series, taken during Rauschenberg’s travels to China in 1982. In this context, it’s natural to seek glimpses of the ’85 New Wave Movement, and vice versa.
Robert Rauschenberg Robert Rauschenberg