Cristina Sanchez-Kozyreva

  • picks July 09, 2014

    Michael Williams

    A never-declining artistic medium—painting—is granted yet another harlequin incarnation in Michael Williams’s latest exhibition, where his compositions bring together large-format ink-jet, airbrush, and acrylic on canvas, as well as smaller collages and pen-on-paper works.

    DAD (all works cited, 2014) depicts a jolly character in suspenders set against a bright green field and a pink-clouds sunset. On top of his forehead, mistaking the canvas for a monitor, is a pop-up window asking for decisions: DON’T SAVE, CANCEL, SAVE, prompts that arise when one closes a document on a computer. In turn, New

  • picks July 03, 2014

    “Ten Million Rooms of Yearning. Sex in Hong Kong”

    Sex is messy. Establishing a correlation between high population density and a diversity of carnal urges, “Ten Million Rooms of Yearning. Sex in Hong Kong” is a five-venue show spread across town that addresses an arguably decreasing local libido, through the aesthetics of the crowded and the homoerotic. More generally, it open-mindedly speaks to the nonmainstream practices of BDSM, Internet sex, and paid sex. Works by thirty-nine artists in media including painting, drawing, photography, digital animation, video, sculpture, print, and installation—mostly overtly phallic—give the exhibition a

  • picks June 26, 2014

    Shao Yinong and Muchen

    Banknotes are memories. In “Spring and Autumn,” Shao Yinong and Muchen present part of their embroidered replicas of obsolete banknotes on large-scale transparent black silk that suggest the fleeting nature of power and its effect on collective memories. Varying only in size and color, favoring the golden palette of traditional Suzhou silk weaving (it took nearly ten years to complete the whole series, not entirely on show here), these diaphanous veils are suspended in rows in the gallery, inviting keen observers to study their fine details and ponder the idealized territorial claims and national

  • picks March 25, 2014

    Xu Bing

    Xu Bing left China in the wake of the 1989 Tiananmen Square protests and moved to the United States, where he infused themes of cultural transference into his linguistically sensitive work. Weeks before his relocation, however, he initiated a large-scale stone rubbing of part of a Great Wall bell tower, Ghost Pounding the Wall, 1990–91, as a personal memento and a critique of the monolithic isolationism of the Chinese state. For his current retrospective, the Taipei Fine Arts Museum is presenting this immersive 104-foot-long installation—part appropriation, part relief print—in its lobby, and