ArtSlant - Openings & events en-us 40 Xu Longsen - Hanart TZ Gallery - October 24th 6:00 PM - 8:00 PM Thu, 06 Oct 2016 13:39:25 +0000 Ye Hongxing - Art+ Shanghai Gallery - October 30th 10:00 AM - 7:00 PM <p>This new series by Ye Hongxing strikes the viewer through each piece and the exhibition as a whole, as well as the technique of intricate details and the questioning she raises. Reflecting upon a fast evolving society which seems to be running in the dark, the artist questions herself on the direction we are taking both as individuals and as a society &ndash; and invites us wanderers to acknowledge these issues and reflect upon them.</p> <p>Going back to an earlier material of predilection, she will be presenting during this solo exhibition at Art+ Shanghai a series of white marble sculptures, each modeled after an iconic bottle of perfume or alcohol, thereby creating a peculiar <em>cabinet de curiosit&eacute;</em>. These objects, familiar and known to all, nonetheless emit a sense of discomfort through a presence that feels like it should not be. And then the contradiction appears, between the shape of an object conceived to be ephemeral, and its representation using one of the most durable materials there is. The artist starts questioning the environment she was born within and how it evolves, and the blurring lines separating the long and short term.&nbsp;</p> <p>In her new series of sticker paintings, Ye Hongxing reinforces her use of symmetry and parallelism, merging further than ever before modern imagery, currency under several forms and the patterns from mantras and prayers. By her insisting use of bills as a medium, she here again pushes us to face the blurred line separating major aspects of our lives.</p> <p>Religion is money, money is a religion &ndash; from stock-listed temples to the disorientation of a society striving to reinvent itself, trying to create a common path leading to a strong future but on the basis of a complex past, the moral compass that should be guiding each of us seems to have lost its voice.</p> <p>Ye is also reinterpreting the Mani stones one can find in the greater Himalayan region, piled on top of each other or aligned to form sometimes kilometer-long walls, leave a testimony for generations to come of the wishes and prayers left by those who have preceded them. By cheekily switching the prayers atop with infamous logos, China mid-century imagery, pop culture symbols as well as the original mantras, Ye Hongxing questions us on what we are really wishing for in our everyday lives. In the troubled times we live in, we call for a better society, more human interaction, common core values as well as goods and services, but without ever truly prioritizing or giving a sense of hierarchy to define what we consider as most important and indispensible to obtain.</p> <p>We strive for always more simplicity through design, task delegation to robots and algorithms, relying on apps and services to manage our lives - but no matter how hard we try, consumerism still places us back in a situation of constant accumulation, leading us to lock ourselves behind self-built walls of non-essentials. This concept of pointless accumulation is central to the work of Ye Hongxing, whether expressed through piles of stones, stickers or numerous small marble sculptures: accumulation can lead to discovery, as there will always be a detail that went unnoticed left to look for. But at the end of the day, aren&rsquo;t all these small things really just there to hide the bigger picture?</p> <p>By providing us with a mirror into our lives as individuals, and the direction we are taking as a society, Ye Hongxing makes us wonder if the path of consumption and interchangeable values we walk on will eventually lead us to illumination or absolutely nowhere.</p> <p>By the clarity of her message and the preciseness of her execution, the artist catches our attention and forces us to reflect upon the priorities we give to our lives and how they inset themselves into the greater whole of society. In these times where everything goes ever so faster, where immediacy supersedes longer-term and hushed reactions overtake pondering the right answer to a problem before acting upon it, Ye Hongxing helps us take a step back and reflect upon where we stand today, and most importantly where we truly want to be tomorrow.</p> Sat, 22 Oct 2016 08:26:56 +0000 Maria Taniguchi - Galerie Perrotin - November 3rd 6:00 PM - 8:00 PM Thu, 06 Oct 2016 13:23:18 +0000 Chung Chang-Sup - Galerie Perrotin - November 3rd 6:00 PM - 8:00 PM Thu, 06 Oct 2016 13:23:26 +0000 Li Gang - Galerie Urs Meile Beijing - November 5th 4:00 PM - 7:00 PM Thu, 06 Oct 2016 13:28:36 +0000 - CAFA Art Museum - November 9th 9:30 AM - 5:30 PM <p style="text-align: justify;">The &nbsp;CAFAM &nbsp;Biennial &nbsp;is &nbsp;organized &nbsp;by &nbsp;the &nbsp;CAFA &nbsp;Art &nbsp;Museum. &nbsp;With &nbsp;the &nbsp;support &nbsp;of &nbsp;this &nbsp;university &nbsp;art &nbsp;museum, &nbsp;&ldquo;Super-Organism: &nbsp;Research &nbsp;and &nbsp;Experiments &nbsp;from &nbsp;a &nbsp;Specific &nbsp;View&rdquo; &nbsp;and &nbsp;&ldquo;Invisible &nbsp;Hand: &nbsp;Curating &nbsp;as &nbsp;Gesture&rdquo; &nbsp;were &nbsp;held &nbsp;in &nbsp;2011 &nbsp;and &nbsp;2014 &nbsp;respectively.<br /> <br /> In &nbsp;recent &nbsp;years, &nbsp;the &nbsp;international &nbsp;art &nbsp;world &nbsp;has &nbsp;been &nbsp;discussing &nbsp;and &nbsp;reconsidering &nbsp;how &nbsp;a &nbsp;biennial &nbsp;should &nbsp;be &nbsp;organized, &nbsp;and &nbsp;doubts &nbsp;about &nbsp;the &nbsp;biennial &nbsp;mechanism &nbsp;have &nbsp;been &nbsp;voiced &nbsp;in &nbsp;recent &nbsp;years. &nbsp;The &nbsp;biennial &nbsp;mechanism &nbsp;has &nbsp;developed &nbsp;for &nbsp;nearly &nbsp;one &nbsp;hundred &nbsp;years, &nbsp;gradually &nbsp;creating &nbsp;a &nbsp;fixed &nbsp;model. &nbsp;Sometimes &nbsp;this &nbsp;model &nbsp;can &nbsp;neither &nbsp;quickly &nbsp;respond &nbsp;or &nbsp;react &nbsp;to &nbsp;the &nbsp;rapidly-changing &nbsp;sites &nbsp;and &nbsp;ecologies &nbsp;of &nbsp;art, &nbsp;nor &nbsp;reflect &nbsp;the &nbsp;immediate &nbsp;state &nbsp;of &nbsp;art. &nbsp;For &nbsp;this &nbsp;reason, &nbsp;in &nbsp;planning &nbsp;the &nbsp;Third &nbsp;CAFAM &nbsp;Biennial, &nbsp;the &nbsp;CAFA &nbsp;Art &nbsp;Museum &nbsp;reconsidered &nbsp;its &nbsp;model &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;experiment &nbsp;with &nbsp;organizational &nbsp;and &nbsp;operational &nbsp;modes, &nbsp;exemplifying &nbsp;the &nbsp;university &nbsp;art &nbsp;museum&rsquo;s &nbsp;function &nbsp;as &nbsp;an &nbsp;&ldquo;intellectual &nbsp;laboratory.&rdquo;<br /> <br /> We &nbsp;have &nbsp;named &nbsp;the &nbsp;Third &nbsp;CAFAM &nbsp;Biennial &nbsp;&ldquo;Negotiating &nbsp;Space: &nbsp;I &nbsp;Never &nbsp;Thought &nbsp;You &nbsp;Were &nbsp;Like &nbsp;That,&rdquo; &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;provide &nbsp;a &nbsp;completely &nbsp;new &nbsp;model &nbsp;for &nbsp;experimental &nbsp;exhibitions. &nbsp;Here &nbsp;&ldquo;space&rdquo; &nbsp;does &nbsp;refer &nbsp;to &nbsp;physical &nbsp;spaces &nbsp;and &nbsp;architectural &nbsp;spaces, &nbsp;but &nbsp;it &nbsp;also &nbsp;points &nbsp;to &nbsp;social &nbsp;spaces, &nbsp;psychological &nbsp;spaces, &nbsp;cultural &nbsp;spaces, &nbsp;and &nbsp;public &nbsp;spaces. &nbsp;&ldquo;Negotiating &nbsp;Space&rdquo; &nbsp;implies &nbsp;a &nbsp;free &nbsp;and &nbsp;broad &nbsp;vision &nbsp;of &nbsp;these &nbsp;concepts &nbsp;through &nbsp;the &nbsp;innovative &nbsp;presentation &nbsp;of &nbsp;new &nbsp;ideas. &nbsp;Second, &nbsp;negotiation &nbsp;allows &nbsp;for &nbsp;a &nbsp;more &nbsp;democratic &nbsp;process &nbsp;of &nbsp;artwork &nbsp;creation &nbsp;and &nbsp;project &nbsp;implementation. &nbsp;In &nbsp;J&uuml;rgen &nbsp;Habermas&rsquo; &nbsp;theories &nbsp;of &nbsp;communication, &nbsp;interaction &nbsp;between &nbsp;a &nbsp;number &nbsp;of &nbsp;parties &nbsp;increases &nbsp;the &nbsp;understanding &nbsp;of &nbsp;a &nbsp;thing &nbsp;and &nbsp;coordinates &nbsp;action &nbsp;to &nbsp;arrive &nbsp;at &nbsp;a &nbsp;common &nbsp;understanding. &nbsp;In &nbsp;this &nbsp;process, &nbsp;individuals &nbsp;have &nbsp;the &nbsp;chance &nbsp;to &nbsp;improve &nbsp;themselves. &nbsp;Bringing &nbsp;&ldquo;negotiating &nbsp;space&rdquo; &nbsp;into &nbsp;the &nbsp;exhibition &nbsp;model &nbsp;implies &nbsp;the &nbsp;dissolution &nbsp;of &nbsp;monolithic &nbsp;curatorial &nbsp;power &nbsp;and &nbsp;a &nbsp;break &nbsp;from &nbsp;its &nbsp;control. &nbsp;The &nbsp;proposal&rsquo;s &nbsp;creators &nbsp;and &nbsp;negotiators &nbsp;will &nbsp;explore &nbsp;how &nbsp;visual &nbsp;presentation &nbsp;can &nbsp;produce &nbsp;a &nbsp;relationship &nbsp;with &nbsp;the &nbsp;space &nbsp;or &nbsp;break &nbsp;through &nbsp;spatial &nbsp;limitations, &nbsp;thereby &nbsp;sparking &nbsp;a &nbsp;discussion &nbsp;about &nbsp;the &nbsp;democratization &nbsp;of &nbsp;curatorship, &nbsp;the &nbsp;democratization &nbsp;of &nbsp;art, &nbsp;and &nbsp;the &nbsp;democratization &nbsp;of &nbsp;culture.<br /> <br /> As &nbsp;a &nbsp;result, &nbsp;there &nbsp;is &nbsp;no &nbsp;curator &nbsp;for &nbsp;this &nbsp;biennial, &nbsp;and &nbsp;the &nbsp;CAFAM &nbsp;team &nbsp;works &nbsp;as &nbsp;coordinators &nbsp;for &nbsp;the &nbsp;exhibition. &nbsp;The &nbsp;exhibited &nbsp;works &nbsp;are &nbsp;selected &nbsp;using &nbsp;an &nbsp;open &nbsp;call &nbsp;for &nbsp;artwork &nbsp;proposals, &nbsp;not &nbsp;a &nbsp;process &nbsp;of &nbsp;recommendation &nbsp;or &nbsp;nomination. &nbsp;Because &nbsp;&ldquo;everyone &nbsp;is &nbsp;an &nbsp;artist,&rdquo; &nbsp;any &nbsp;individual &nbsp;or &nbsp;group &nbsp;can, &nbsp;as &nbsp;an &nbsp;artist, &nbsp;submit &nbsp;a &nbsp;proposal &nbsp;for &nbsp;a &nbsp;project &nbsp;that &nbsp;has &nbsp;not &nbsp;been &nbsp;realized &nbsp;before, &nbsp;and &nbsp;all &nbsp;submitted &nbsp;proposals &nbsp;will &nbsp;be &nbsp;recorded &nbsp;in &nbsp;a &nbsp;directory. &nbsp;In &nbsp;the &nbsp;proposal &nbsp;collection &nbsp;process, &nbsp;we &nbsp;have &nbsp;invited &nbsp;people &nbsp;from &nbsp;all &nbsp;realms &nbsp;of &nbsp;society &nbsp;to &nbsp;participate &nbsp;as &nbsp;&ldquo;negotiators.&rdquo; &nbsp;Within &nbsp;an &nbsp;open &nbsp;context, &nbsp;the &nbsp;submitted &nbsp;proposals &nbsp;are &nbsp;publicly &nbsp;negotiated &nbsp;and &nbsp;discussed. &nbsp;Some &nbsp;of &nbsp;the &nbsp;works &nbsp;that &nbsp;have &nbsp;been &nbsp;discussed &nbsp;will &nbsp;be &nbsp;presented &nbsp;in &nbsp;the &nbsp;exhibition, &nbsp;and &nbsp;all &nbsp;proposals &nbsp;that &nbsp;entered &nbsp;the &nbsp;negotiation &nbsp;phase &nbsp;will &nbsp;be &nbsp;presented &nbsp;in &nbsp;the &nbsp;exhibition &nbsp;halls &nbsp;and &nbsp;the &nbsp;catalog. &nbsp;The &nbsp;negotiation, &nbsp;presentation, &nbsp;and &nbsp;implementation &nbsp;of &nbsp;these &nbsp;proposal &nbsp;texts &nbsp;collectively &nbsp;constitute &nbsp;the &nbsp;method &nbsp;of &nbsp;this &nbsp;biennial. &nbsp;In &nbsp;this &nbsp;process, &nbsp;the &nbsp;CAFAM &nbsp;Biennial &nbsp;team &nbsp;will &nbsp;accept &nbsp;questions &nbsp;and &nbsp;input &nbsp;from &nbsp;the &nbsp;public &nbsp;with &nbsp;an &nbsp;open &nbsp;attitude.<br /> <br /> The &nbsp;subtitle &nbsp;&ldquo;I &nbsp;Never &nbsp;Thought &nbsp;You &nbsp;Were &nbsp;Like &nbsp;That&rdquo; &nbsp;was &nbsp;inspired &nbsp;by &nbsp;a &nbsp;popular &nbsp;internet &nbsp;phrase, &nbsp;expressing &nbsp;amazement &nbsp;at &nbsp;surprising &nbsp;and &nbsp;unimaginable &nbsp;ways &nbsp;of &nbsp;doing &nbsp;conventional &nbsp;things. &nbsp;This &nbsp;subtitle &nbsp;provides &nbsp;a &nbsp;colloquial, &nbsp;popular, &nbsp;and &nbsp;web-based &nbsp;explanation &nbsp;of &nbsp;the &nbsp;new &nbsp;exhibition &nbsp;structures &nbsp;and &nbsp;methods &nbsp;for &nbsp;&ldquo;negotiating &nbsp;space,&rdquo; &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;break &nbsp;with &nbsp;conventional &nbsp;assumptions &nbsp;about &nbsp;and &nbsp;methods &nbsp;for &nbsp;choosing &nbsp;biennial &nbsp;names. &nbsp;However, &nbsp;guided &nbsp;by &nbsp;this &nbsp;subtitle, &nbsp;we &nbsp;hope &nbsp;that &nbsp;the &nbsp;proposal &nbsp;presenters &nbsp;will &nbsp;work &nbsp;creatively, &nbsp;break &nbsp;conventions, &nbsp;and &nbsp;communicate &nbsp;across &nbsp;disciplines &nbsp;and &nbsp;submit &nbsp;proposals &nbsp;that &nbsp;we &nbsp;&ldquo;never &nbsp;thought &nbsp;would &nbsp;be &nbsp;like &nbsp;that.&rdquo; &nbsp;<br /> <br /> The &nbsp;Third &nbsp;CAFAM &nbsp;Biennial &nbsp;will &nbsp;also &nbsp;present &nbsp;a &nbsp;series &nbsp;of &nbsp;academic &nbsp;and &nbsp;educational &nbsp;activities, &nbsp;including &nbsp;&ldquo;Public &nbsp;Space &nbsp;and &nbsp;Cultural &nbsp;Democracy&rdquo; &nbsp;seminars &nbsp;and &nbsp;lectures, &nbsp;&ldquo;Intellectual &nbsp;Laboratory&rdquo; &nbsp;dialogues, &nbsp;workshops &nbsp;and &nbsp;the &nbsp;Art &nbsp;Museum &nbsp;Night.</p> <hr /> <p style="text-align: justify;">CAFAM双年展由中央美术学院美术馆主办,它以大学美术馆为平台,首届展&ldquo;超有机:一个独特研究视角与实验&rdquo;和第二届&ldquo;无形的手:策展作为立场&rdquo;分别于2011年和2014年成功举办。<br /> <br /> 近年来,在国际范围内,艺术界与社会机构就&ldquo;如何举办双年展&rdquo;不断进行反思和讨论,对双年展展览机制本身也出现批判的声音,甚至怀疑的态 度。双年展机制经过近百年的发展,逐渐形成一套自我运行的固定模式,但这种模式有时不能迅速反应与反馈当下急剧变化的艺术现场和艺术生态,不能反映艺术主 体的直接状态。本此缘故,中央美术学院美术馆在策划第三届CAFAM双年展时重新构思,力图在组织模式、运行机制上进行新的实验和尝试,体现其作为大学美 术馆应具有的&ldquo;思想实验室&rdquo;功能。<br /> <br /> 我们以&ldquo;空间协商:没想到你是这样的&rdquo;来命名第三届CAFAM双年展,试图提供一种全新的展览实验模式。所谓&ldquo;空间&rdquo;,既指实际的物理空间和建筑空间,也 指向社会空间、心理空间、文化空间、公共空间等。&ldquo;空间协商&rdquo;,首先意味着对上述概念展开自由、宽广的想象,让不曾有过的构想出现在方案之中;其次,它也 指涉,通过协商,作品方案在创作和实施中呈现出民主化的过程。哈贝马斯交往理论指出,各方互相沟通,增进对某一事物的理解,协调彼此行动从而达成共识,个 人在此过程中也向更高级的阶段发展。将&ldquo;空间协商&rdquo;带入展览的操作中,意味着对单一策展权力的分化和对其控制的突破,方案提交人与协商员一起,探讨视觉呈 现如何与空间产生联动,如何打破空间限制等等的可能性;进而,引发对策展民主化、艺术民主化和文化民主化的讨论。<br /> <br /> 基于此,本届双年展不设策展人,工作组仅以协调员的名义来组织展览、协调事宜;不以推荐和提名的方式选定参展作品,代之以公开征集作品方案作为展览的机构 架构,在人人都是艺术家的背景下,任何个人、小组都可以艺术家的名义提交未在任何空间实现过的方案,所有提交的方案将以名录的形式收入;在征集方案的过程 中,我们邀请各方人士参与作为协商员,在开放的语境下对提交方案进行公开的协商、讨论,协商一致的部分作品将会在展览中实际展示出来,而进入协商环节的方 案都将呈现在展厅中并收入展览的画册,方案文本的讨论、展示与现场实施共同构成本届双年展的呈现方式。在整个执行过程中,CAFAM双年展工作组也将以开 放的态度接受公众的质询和交流。<br /> <br /> 副标题&ldquo;没想到你是这样的&rdquo;,句式源自网络流行语的启发,它表达对常规事物出其不意、意想不到的做法的惊讶。一方面,这一副标题是对&ldquo;空间协商&rdquo;这个可能 带来新的展览架构和展览方式的一种口语化、流行化和网络化的解释,试图打破公众对双年展标题取法和固定作法的惯常思维;另一方面,我们也希望在这个副标题 的引导下,方案提交人积极创想、打破常态、沟通跨界,提交的方案能够让我们&ldquo;没想到你是这样的方案&rdquo;。<br /> <br /> 第三届CAFAM双年展还将呈现一系列学术活动和公共教育活动,包括&ldquo;公共空间与文化民主&rdquo;研讨会和讲座、&ldquo;思想实验室&rdquo;自由对话、工作坊试验场和美术馆之夜等活动。</p> Fri, 09 Sep 2016 17:44:26 +0000 Group Show - Power Station of Art - November 12th 9:00 AM - 5:00 PM <div class="cms-item cms-item-text"> <p style="text-align: justify;">The 11th edition of the Shanghai event will emphasize the possibilities of South-South dialogue within the current scenario of a highly interconnected world. In doing so, it will seek to present artistic and discursive visions that go beyond and challenge the conventional division of the world between &lsquo;East&rsquo; and &lsquo;West&rsquo;. Raqs Media Collective, who straddle diverse roles in creative and curatorial work and research processes, envisage the forthcoming biennale to be a destination for many different kinds of exploration and investigation as well as a launching pad for new visions and ideas.</p> <p style="text-align: justify;">&ldquo;Why not ask again? Why not begin at the beginning, or the end, or the middle of a question, or a desire (because the task of &lsquo;asking&rsquo; can stand both for the posing of a question as well as for the awakening of a desire)?&rdquo;</p> <p style="text-align: justify;">This phrase, inspired by Raqs Media Collective&rsquo;s reading of the Indian New Cinema movement pioneer RitwikGhatak&rsquo;s film <em>Jukti, Takko Ar Gappo</em> (Maneuvers, Disputations and Stories) [1974] anchors the curatorial design of the forthcoming Shanghai Biennale. Towards the end of Ghatak&rsquo;s film, the protagonist, an alcoholic intellectual, falls in with a band of fugitive peasant and student rebels.</p> <p style="text-align: justify;">To their proposals and counter-proposals, their arguments and counter-arguments, the protagonist offers his stories, his reminders, and his incandescent confusions.</p> <p style="text-align: justify;">The artist who Raqs imagine as a protagonist for the forthcoming Shanghai Biennale islike a figure in a fable who transforms the telling of the story he is in by presenting riddles and engines, by asking necessary, difficult and engaging questions.</p> <p style="text-align: justify;">Thetriad &ndash; Maneuvers, Disputations and Stories &ndash; is like the three-body problem in physics. Two bodies in space interact in a manner that is predictable, with the dynamics of their mutual gravitational forces governing how they rotate around each other - &ldquo;the moment a third body is introduced things get complicated and unpredictable. Suddenly, it appears as if everything can change&rdquo;.</p> <p style="text-align: justify;">A biennale inspired bythis vision promisespleasurable surprises inherent in fables and story-telling and a playful deployment of questions and argumentsa matrix of heterodox and non-doctrinaire connections between images, ideas and expressions &ndash; between art, literature and philosophy.artistic and discursive visions that go beyond and challenge the conventional divisions of the world.</p> <p style="text-align: justify;">The Biennale will be realized through a series of intersecting orbital paths.</p> <div class="cms-item cms-item-text"> <p style="text-align: justify;"><strong>Terminals</strong> &ndash; staging posts, launching pads, or connecting hubs &ndash; where an artist&rsquo;s practice is invited to develop a constellation of questions, propositions and narratives through a consolidated, evolving body of work.</p> <p style="text-align: justify;"><strong>Infra &ndash; Curatorial Platform</strong> &ndash; exploration of the different curatorial vantage points that draw upon new questions around network and knowledge, upon archives, upon the stressed image, and how the new generation has its own way of thinking the curatorial.</p> <p style="text-align: justify;"><strong>Theory Opera</strong> &ndash; An orchestration of major and minor modes in thought and speculation, voiced in ways that marry the heft of philosophy to the cadence of opera.</p> <p style="text-align: justify;"><strong>51 Personae</strong> &ndash;A programme of exciting actions that celebrate the city of Shanghai, celebrate life, dreams, friendship and conversations in the form of&nbsp; visionary proposals for re-imagining urban life animated by the energy and electricity of polemics, solidarities and arguments.&shy;&shy;&shy;</p> <p style="text-align: justify;">Raqs Media Collective</p> <div class="cms-item cms-item-text" style="text-align: justify;"> <p>Raqs Media Collective was founded in 1992 by JeebeshBagchi (New Delhi, 1965), Monica Narula (New Delhi, 1969) and ShuddhabrataSengupta (New Delhi, 1968). Raqs is a word in Persian, Arabic and Urdu and means the state that &ldquo;whirling dervishes&rdquo; enter into when they whirl. Raqs follows itself declared imperative of &ldquo;kinetic contemplation&rdquo;, and enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, have made films, curated exhibitions, edited books, staged events, collaborated with architects, computer programmers, writers and theatre directors, and have founded processes that have left deep impacts on contemporary culture in the world with their originality and scope.</p> <p>As artists, Raqs has presented works at most of the major international shows, including Documenta (2002), the Venice Biennale (2003,2005 &amp; 2015), and the Shanghai Biennale (2010). The members of Raqs were co-curators of Manifesta 7 - the European Biennial of Contemporary Art (2008) in Bolzano and INSERT2014 in Delhi.</p> </div> <p style="text-align: justify;">Thematic exhibition Artists</p> <div class="cms-item cms-item-text"> <p style="text-align: justify;">Agan Harahap, Aki Sasamoto, Anawana Haloba, Ayesha Jatoi, Ayodamola Tanimowo Okunseinde&amp; Salome Asega, Azadeh Akhlaghi, Bahar Behbahani, Bianca Baldi, Cell Art Group, Chen Zhe, Christian Thompson, Christine Sun Kim, Desire Machine Collective, Etel Adnan, Fabrice Monteiro, Farzana Ahmed Urmi, Forensic Oceanography, Gagandeep Singh, Georges Ad&eacute;agbo, Graham Harwood/YoHa, Ha Bik Chuen, HaoJingban, Heidi Voet, Hu Xiangqian, Istv&aacute;nZs&iacute;ros, Jagdeep Raina, Jefferson Pinder, John Gerrard, Karl Max, Kendell Geers, Khaled Barakeh, LantianXie, Lee Mingwei, Lena Zubtsova, Liao Fei, CANTONBON, Lin Ke, Phuong Linh Nguyen, Lisa Tan, Liu Wei, Liu Yujia, Lu Pingyuan, Ma Haijiao, Mao Chenyu, Marina Androsovich, Matts Leiderstam, Moinak Biswas, M&uuml;ge Yilmaz, Nabuqi, Navjot Altaf, Nicholas Wells, Nikolaus Hirsch/Michel M&uuml;ller, Olivier de Sagazan, Olu Oguibe, Patty Chang, Peter Piller, Rabin Mondal, Radical Space, Rafiqul Shuvo, Rheim Alkadhi, Robin Meier, Ross Manning, Sammy Baloji, Sener &Ouml;zmen, Simone Fattal, Sofya Staune, Sohrab Hura, Sun Yuan &amp; Peng Yu, SUPERFLEX, Surabhi Sharma &amp;Tejaswini Niranjana, Susanne Kriemann, Takashi Arai, Tao Hui, Taus Makhacheva, Theo Eshetu, Tom&aacute;s Saraceno, Verina Gfader, Vinu V.V., Vishal K. Dar, Wang Gongxin, Wang Haichuan, Yang Zhenzhong, Yazan Khalili, Yin Yi, Yu Ji, Zheng Bo, Zheng Chongbin, Zhou Zixi.</p> <p style="text-align: justify;">About ShanghaiBiennale</p> <div class="cms-item cms-item-text"> <p style="text-align: justify;">With its first edition launched in 1996, the Shanghai Biennale was the first international biennale dedicated to contemporary art in mainland China. Over the past 19 years, it has held highly its mission to support academic and creative innovation, and with an open perspective has been concerned with cultural change and the direction of innovation in the context of globalization, evolving into a significant platform for international art exchange and presentation. In the current global circumstance of strong interconnection, the 11th Shanghai Biennale attaches itself to exploring possibility for &ldquo;south-south cooperation,&rdquo; and by such exploration seeks to present an art world that traverses the dividing boundary between the East and the West and embraces radiating variety.</p> </div> </div> </div> </div> Thu, 06 Oct 2016 13:52:13 +0000