As institutions shutter in response to the epidemic and Art Basel Hong Kong weighs its options, the CAFA Museum’s Techne Triennial exhibition of media art has been postponed.
A month ahead of its opening in Beijing, an exhibition by Chinese-American artist Hung Liu was canceled after local authorities objected to some of the works and refused to issue import permits for others.
If there is a folly to what Zhang Wei has done, there is also a defiance of the commercial aspect of the art world.
“Farewell,” Ai wrote on Instagram. “Today, they started to demolish my studio ‘Zuo You’ in Beijing with no precaution. Which I have as my main studio since 2006. It is a[n] East German style socialist factory building.”
The municipal government is carrying out mass evictions as it prepares to level some 430 million square feet of illegal housing.
When China’s last emperor departed Beijing’s Forbidden City in 1924, the imperial palace was shuttered, and along with it, an 18th-century garden.
BEIJING — Between two Beijing galleries, Ai Weiwei has divided a 400-year-old temple’s 1,500 worn, wooden pieces.
On this week’s art crime blotter: Colorado cops target artist who stacks stones, Chinese authorities not pleased about Forbidden City nude photo shoot, and murder weapon turns up in London museum.
OAKLAND, Calif. — Stare up at the ceiling of any bar or night club that’s been around since before indoor smoking was banned and you’ll doubtless see traces of smoke on the ceiling. Though a symbol of the ephemeral, smoke leaves lasting marks over time, whether that be buildings or lungs or anything else it comes in contact with.
Matt Hope, a Beijing-based artist, is taking his adopted city’s problems head on. Instead of hiding in his apartment and dealing with Beijing’s extreme pollution crisis with the help of air filters and masks, Hope is hitting the streets with a bicycle-cum-sculpture that actively filters the air around it.
BEIJING — “BEIJING AUTUMN: OFF THE RADAR ART RESISTANCE IN CAOCHANGDI —CCD300” is the SMS that was sent to advertise an exhibition project called Manmade and Natural Disasters, started by a group of artists living and working in the Caochangdi art village to the northeast of Beijing. A similar notice was posted on Weibo, China’s version of Twitter. There were no other forms of advertising: Everybody knew in advance that the topic of the show and some of the artworks and the names involved would attract the attention of government censors.
LOS ANGELES — The image of the Chinese manufacturing plant is quickly becoming a 21st century icon of production, just as the car plants of Fordism were in the 20th century and Victorian coal mines were during the Industrial Revolution. They’re frequently portrayed as sites of high efficiency, but rarely as spaces for art, humanity and wonder.