Qu Chang

  • Shirley Tse, Negotiated Differences (detail), 2019–20, carved wood, 3D-printed filaments in wood, metal, plastic, dimensions variable.

    Shirley Tse

    Shirley Tse’s exhibition “Stakes and Holders” was reminiscent of an animal—one that has adapted and changed shape as it traveled from the plain-brick building near the Arsenale entrance, where it occupied the Hong Kong pavilion for the Fifty-Eighth Venice Biennale in 2019, to the sleek postmodern showroom of Hong Kong’s M+ Pavilion. This magnificent creature, its sprawling arms and tentacles extending onto the ceiling and the floor, greeted visitors with a voice intercepted from local amateur-radio broadcasts, filaments sprouting from her 3D-printed joints and watchful lenticels from her wooden

  • Hao Jingban, Forsaken Landscapes (still), 2018, HD two-channel video, color, sound, 33 minutes 21 seconds/18 minutes 50 seconds.
    picks January 07, 2019

    Hao Jingban

    Beginning with a melodic performance by a Japanese benshi (a live narrator for silent films) accompanying a video collage of landscapes in and around the formerly Japan-occupied Manchuria, Hao Jingban's latest exhibition presents itself as a “foreign object”-a term used by the benshi when describing his vocation. This object attempts to rediscover a piece of lost cultural memory, lest silence lower that past into the grave, as Hao says in one of her videos.

    As the first edition of Hao's ongoing research on the Manchukuo Film Association Ltd. (or Man'ei)-a Japanese propaganda-film company in

  • Geng Jianyi. Photo: Alessandro Wang.
    passages January 25, 2018

    Geng Jianyi (1962–2017)

    MELANCHOLIC WORDS ARE NOT FOR THIS OCCASION, as they seem too affected for his taste. Having started his artistic career in the mid ’80s with a series of unemotional, grave-looking oil paintings featuring faceless characters, Geng Jianyi, then a fresh graduate of Zhejiang Academy of Fine Arts, produced works considered cynically humorous, reflecting scenes from daily life in an eerie yet ceremonial fashion that, to a certain extent, echoes his most notorious quadriptych painting of hysterical laughing faces, The Second State, 1987. Although he was an artist known for his insatiable curiosity in

  • Wang Gongxin, Dialogue, 1995, metal, wood, ink, motor, lightbulbs. Installation view, 2017. Photo: Kit Min Lee.

    Wang Gongxin

    Now one of the most important video artists in China, Wang Gongxin was largely an outsider in relation to the country’s avant-garde movement in the mid-1980s. As an outstanding student in Soviet realism–style oil painting, in 1987 he was sent to New York—a space-time drastically different from China, culturally and aesthetically, and already deep in postmodernism—to further his art studies. At first shocked by the art practices on the other side of the earth, Wang slowly shifted his painting to a more minimal and conceptual mode in the late 1980s. In 1993, he combined his new works