• Olafur Eliasson, The open pyramid, 2016, steel, aluminum, mirror foil, wood, paint, spotlight. Installation view. Photo: Anders Sune Berg.

    Olafur Eliasson

    Long Museum, West Bund | 龍美术馆 西岸馆

    THE TITLE OF Olafur Eliasson’s exhibition at the Long Museum West Bund, “Nothingness is not nothing at all,” was cleverly translated as “Wu Xiang Wan Xiang,” a riff on Chinese philosophical perspectives on nature and the universe. Uniting two homophonic versions of xiang, the former referring to appearance or form and the latter to a manifestation of nature, the Chinese version thus read: “Assuming no appearance is (to embrace) every manifestation of nature”—ironic, given that there was nothing natural in this exhibition, which marked the artist’s most comprehensive presentation in China

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  • Li Ran, Same Old Crowd, 2016, four-channel synchronized HD video, black-and-white, sound, 15 minutes. Installation view. Photo: Justin Hei.

    Li Ran

    AIKE 艾可

    In Li Ran’s new exhibition “Same Old Crowd,” the city of Singapore has been rendered almost entirely abstract. The Beijing-based artist, who spent three months in residence last year at Singapore’s Nanyang Technological University Centre for Contemporary Art, takes a “participant observer” approach—using the tourist map as a starting point to craft a dehistoricized, flattened visual model of his subject. The two-channel video It Is Not Complicated, A Guidebook (all work, 2016) presents footage Li shot during a preplanned route through the city’s Gardens by the Bay while accompanied by an

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