Philip Tinari

“M+ Sigg Collection: Four Decades of Chinese Contemporary Art”

June 2016

WHEN SWISS COLLECTOR Uli Sigg donated the bulk of his holdings of contemporary Chinese art to the fledgling M+ in Hong Kong in June 2012, it was more than just another gift by a leading collector to his or her favored museum. Sigg’s largesse—he… READ ON

IN PRINT Summer 2016 [TOC]

the Gwangju Biennale and the Taipei Biennial

January 2015

IT HAS BECOME A COMMONPLACE to note that the fundamental tension of the biennial is between the local and the global, perhaps nowhere more than in the democratized reaches of East Asia, where such exhibitions were introduced in the 1990s, … READ ON

IN PRINT January 2015 [TOC]

“Thirty Years of Chinese Contemporary Art: The Moving Image in China 1988–2011”

September 2011

When the Minsheng Art Museum opened in April 2010, it offered viewers an authoritative thirty-year survey of contemporary Chinese painting (as one might expect to find on permanent display in a national museum here, but never does). … READ ON


Namoc International Media Art Triennial 2011

May 2011

Ever since Jiang Zemin’s “Theory of the Three Represents” enshrined the pursuit of “advanced culture” as official dogma back in 2002, Chinese authorities have had a thing for media art. … READ ON


10,000 Maniacs

The opening of the eighth Gwangju Biennale

September 2010 GWANGJU

IN THE GROUND-FLOOR CAFÉ of Gwangju’s Biennale Hall one afternoon last week, a cipher lurked. Approaching the caffeine seekers, he waved the front page from a morning paper showing the opening of the dismal Art Gwangju fair the night before.… READ ON


Opening Salvo

ShContemporary and openings in Shanghai

September 2009 SHANGHAI

ONE OF THE GREAT HISTORICAL CLICHÉS of roaring Shanghai has to do with the Japanese intrusion of the 1930s, when, as the story goes, the dance halls and jazz clubs of the Bund remained open even as the gunships launched rounds from the river… READ ON


Haegue Yang

September 2009

Haegue Yang’s slatted shades are central to a distinctive sculptural vocabulary the artist has been tweaking for nearly two years.… READ ON


Eye for an Ai

Ai Weiwei at the Mori Art Museum

August 2009 TOKYO

POSTERS PRONOUNCING AI WEIWEI THE MOST EVOCATIVE CREATOR IN CONTEMPORARY CHINA greeted me as I alighted through the Roppongi subway station last Friday at the end of a long journey from New York, having arrived in Tokyo just in time for the… READ ON


Shanghaila Shanghailorum

A Yang Fudong opening at Zendai MoMA


PERHAPS BECAUSE DANIEL BIRNBAUM’S VENICE looms just around the corner, the pithy first sentence (borrowed from Borges) of his Chronology tended to linger over a weekend of openings in Shanghai: “I tend to return—eternally—to the Eternal … READ ON


Yan Pei-Ming

May 2009

Yan Pei-Ming’s clarion portraits of political and cultural celebrities have always fit awkwardly into the narrative of contemporary art in China. Subtitled “Nature and Innocents,” the exhibition will offer more than 150 new works by Yan (none… READ ON