Hunter Braithwaite

  • Zhang Ding, Opening, 2011, mixed media, dimensions variable.
    picks June 08, 2011

    Zhang Ding

    With Opening, 2011, Zhang Ding comments on the paradox of the nightclub, particularly its porous boundaries as a site of leisure and display of power. On May 20, he turned ShanghART’s gaping H-Space into a seedy lounge, complete with red walls, a DJ booth, and dancing girls. That evening, the latter were perched on sleek pedestals that summoned both Minimalism and a gymnasium. When visitors began photographing them (unheard of in an actual girlie bar), Opening appeared not only a clever stunt but moreover a blurred spectacle of oscillating vacancy and presence—both of cultural signifiers and of

  • Jiang Pengyi, No. 8, 2010, color photograph, 37 1/2 x 49”. From the series “Unregistered Cities,” 2010.
    picks May 04, 2011

    “0° Space”

    Ideas of both physical and existential space—with spaces conceived as ambiguous vessels to be filled or emptied—are central to this group show. For this reason, almost all of the works on view deal with the rapidly changing city, the prime site of displacement and disorientation in China today. The real estate brochures that constantly clog mailboxes in China were one source of inspiration for Guo Hongwei’s watercolor on paper series “The Temporary Existence,” 2011. Here, Guo uses a dusty monochromatic palette to render bare rooms with dank walls and overexposed windows. These lodgings aspire