<h3>[Shanghai].</h3>
<h3>Danqing Bao Raft: Dong Qichang Calligraphy and Painting Art Exhibition</h3>
Venue: Shanghai Museum
Date: December 7, 2018 - March 10, 2019
Ticket Price: Free
This exhibition is one of the most systematic exhibitions of Dong Qichang's calligraphy and paintings in history, the Shanghai Museum has borrowed exhibits from 15 important institutions such as the Palace Museum in Beijing and the Metropolitan Museum of Art in the United States, and 154 exhibits include not only Dong Qichang's own works, but also the famous monuments of the Jin, Tang, Song and Yuan dynasties who have influenced him, as well as the works of Ming and Qing painters influenced by him. Among the exhibits are the well-known "Fuchun Mountain Jutu" (Yushan Map), as well as Wang Xizhi's "Xingyong Ti" and "Han Cut Thesis Scroll", Song Huizong's "Bamboo Bird Picture Scroll", Yan Zhenqing's "Kai Shu Zi Shu Shu
Dong Qichang is a master of the field of calligraphy and painting, he made a sub-sectarian exposition of landscape painting "sublime south and debasement of north", art historian Gao Juhan believes that he "praised the tradition of literati painting, belittled the academy painting school and professional painters", Dong Qichang's theory profoundly influenced the practice of calligraphy and painting in later generations, and those who regarded themselves as literati painters also praised it as the theoretical peak in the history of calligraphy and painting. Some commentators also believe that although Dong Qichang takes the ancients as his teacher, he is not an ancient, and his calligraphy also has the beauty of "Yan Bone Zhao Zi".
Because Dong Qichang had a great influence on later generations of painters, what followed was the unprecedented proliferation of Dong Qichang's fakes, known as "rotten Dong", which is also an indispensable focus and difficulty in the identification of ancient calligraphy and painting. This exhibition does not shy away from the authenticity of some of the works passed down from generation to generation, and even displays two paintings with similar compositions, hoping to provide a platform for public display and open discussion.
It is also rumored that Dong Qichang himself is not very good, and the "Facts of the People Copying Dong Eunuchs" once recorded that he did many unbearable things, such as robbing the people's women, good house techniques, and adulterous wives and daughters, but the wild history is not fully trusted.
<h3>Searching for a Thousand Miles: Ten Heavens and Earth</h3>
Venue: Shanghai Center of Photography
Date: December 8, 2018 - February 19, 2019
Price: 40 rmb
We see countless video clips of the world every day through mobile phones, computers, TV screens, there are some young Chinese photographers, they are measuring the country we live in with their lenses and footsteps, this exhibition at the Shanghai Center of Photography, bringing together the works of 10 photographers, presents a journey of exploration about geography, about social anthropology, about historical fragments and personal narratives.
From 2009 to 2013, Zhang Xiao made a long journey along China's coastline; around the same time, Zhang Kechun was swimming along the Yellow River to photograph landscapes on both sides of the river; a little earlier than them, Luo Dan completed "318 National Highway" and "North, South", and he drew a huge "cross" on the map of China with wheels and footsteps. In 2015, Chen Ronghui photographed theme parks in China's southeastern provinces; Li Lang was focusing on his long-standing theme, Yi life in the Liangshan region of southwest China; and it was also during the same period that Wang Yingying returned to his birthplace of Hebei Guantao, a place that was not his father's or mother's hometown, but an indelible experience in their bumpy lives.
From the lenses of these photographers, we see a Chinese scene that is either absurd, poetic, or full of nostalgia, no matter how different the perspectives they pay attention to and the shooting location they choose, they all show a slice of the intersection of the photographer's true heart and the real China.
<h3>Thomas Herserhorn: Reinvention</h3>
Venue: Ming Museum of Contemporary Art
Date: November 24, 2018 - February 17, 2019
Since November, the 2,000-square-meter space of the Ming Contemporary Art Museum has become a ruin. As a temporary studio for artists, it was "reinvented" as a levelless, resistant space. In this precarious ruin, there are two "sanctuaries" that serve as workshop spaces for creation and production during the exhibition period, open to all the public.
"Ruins are my vision of the form of the exhibition," said thomas Hirschhorn, who, in his first solo exhibition in China, explains his exhibition philosophy, "the aesthetic of 'reinvention' shaped by images of destruction brought about by violence, war, accidents, nature, architectural failures, corruption or disasters." ”
In the artist's view, every ruin, from the ruins of ancient times to today's bankrupt commercial companies, tells us something, "A ruin represents a structural, economic, cultural, political, or human failure (such as the ruins of an ancient Greek theater in the small town of Taulmi in Sicily, the unfinished hospital project of Salvador Allende in Santiago, the ruins of a detroit factory, the ruins of a building bombed by the Israeli Air Force in the Gaza Strip, etc.). What interests the artist is that these ruins, which are in a state of "abandonment", "destruction", "abandonment", "not needed" or even "never completed", can resist their individuals themselves, transcending the connection with the times or identities.
At the exhibition site, two banners were also hung. One of the banners quoted Chairman Mao read: "We are not only good at destroying an old world, we will also be good at building a new one." Another banner quoted Antonio Gramsci: "Destruction is difficult, indeed, it is as difficult as creation." ”
<h3>Liu Ye solo exhibition: allegorical narrative</h3>
Location: Prada House
Date: November 10, 2018 - January 20, 2019
Price: 60 yuan
Since Prada took over the former residence of Rong Zongjing and reopened it after its restoration, it has become a new landmark for art exhibitions in Shanghai. Looking at the exhibitions presented in the past year, on the one hand, it reflects the Prada Foundation's vision in art, and on the other hand, it also shows the infinite possibilities of the old bungalow space in terms of exhibition. For example, in order to protect the walls, curators creatively used bamboo screens as hanging painting facades, which contrasted with the chinese and Western style of the entire space and became a common practice in many exhibitions.
Liu Ye is good at using elements from the East and the West to create, there is a fairy tale style in the picture, which is very compatible with the temperament of the Rong House itself, walking in the exhibition space, there is a sense of crossing beyond the ancient and modern China and foreign countries, as if these works have always belonged to the building itself. On the other hand, because the cultural and artistic connotation of the Rongzhai building itself is strong and condensed - there are still a large number of exhibitions in the building to introduce the process and history of its restoration - plus Liu Ye's works are mostly relatively small in size and conceptual, so in the contrast between works and spaces, the artist's light is often covered up.
"Fable Narrative" shows 30 paintings by artist Liu Ye since 1992. Audiences who are interested in both artists and Vinh House are suitable for visiting.
<h3>Ink Experience II</h3>
Venue: Shanghai Duolun Museum of Modern Art
Date: November 10, 2018 - February 10, 2019
This exhibition features paintings, photographs, videos and installations by 12 artists. In the artistic practice of contemporary artists, ink painting has changed from a traditional art category to a cultural experience that can be used by me at any time, not only in different media, but also in different cultural issues.
In the exhibition, artists such as Zhang Jianjun, Zeng Han, Tang Nannan, ni Xiaozhou and other artists extracted the core symbol of "ink painting", "Landscape and Bamboo Stone", and interpreted it in other art forms. Among them, Tang Nannan's video work "Casting Waves for Mountains" was also unveiled at the Chinese Pavilion of the Venice Biennale in 2017.
The second part, "Multidimensional Horizons," showcases a variety of explorations by more artists. As the academic education of ink painting became more popular, young artists began to use skillful ink painting techniques to reflect contemporary life experiences, personal inner emotions, or poetic themes.
<h3>[Beijing].</h3>
<h3>"Koikuma Kamimai"</h3>
Venue: Taikang Space (B2, Red No. 1 Courtyard, CuiGezhuang Caochang Art District, Chaoyang District, Beijing)
Date: December 13, 2018 - March 2, 2019
In Jia Zhangke's latest film "Mountains and Rivers of the Past", the dance hall plays an important role. In "Daytime Fireworks", Liao Fan's solo dance can also be regarded as the body monologue of Zhang Zili, played by him. With those dance steps that now seem a bit outdated, as well as Deng Hong's "Platform" and Ouyang Feifei's "Yearning", we return to the turbulent eighties.
Taikang Space's upcoming new exhibition "Love Music Divine Dance" takes us back to the era when dance music was popular. The dance music of the 1980s was dominated by electronic synthesizers and drum machines, and this non-human, non-artificial rhythm and timbre meant that the advanced nature towards the future eventually captured human beings. It liberated people from the zhongzi dance and revolutionary ballet that were popular during the Cultural Revolution, which emphasized the discipline and control of the body and muscles of the collective, and let people enter a new, individual, and free muscle group relationship. In this way, physically and psychologically, people are finally ready to enter a new era.
Therefore, the return visit to the dance music of the 1980s and 1990s is actually a glimpse into the spirit and social conditions of that era. From what political state of disbandment will people emerge from, and how will they meet the coming wave of consumerism and capitalism? The work of nine artists may provide us with some answers. Li Xiaobin recorded the dance music frenzy in the form of photography. In a photograph he took in the Summer Palace's Zhichun Pavilion restaurant in Beijing in the winter of 1982, two women in conversation are in the lower right corner of the picture, and above their heads hangs a plaque that reads: "No punching, ordering, playing music, dancing." In 1993, the painter Chen Xi created an oil painting called "Dance Hall", in the lively midnight field, a uniformed security guard with a baton appeared on the right side of the picture, alertly staring at the crowd on the dance floor swinging to the music - a strong tension of order and indulgence. Artist Hao Jingban has conducted an archaeological study of Beijing dance halls in her video works, which she traces back to the ballroom dance trend in the 1950s and even the late 1970s. Now, with the development of Internet space and the popularization of new media, the bodies of the dancers of the past have been activated, and they appear in squares, construction sites, and live screens, continuing to dance happily or sadly.
<h3>12 12 People: Diplomatic Apartment Triennial</h3>
Venue: No. 12, Diplomatic Apartment, Chaoyang District, Beijing
Time: December 7, 2018 - February 17, 2019
Ticket Price: The exhibition is a private form, and the daily visit adopts an invitation system (Contact number: 139011897311)
People who have been in the Beijing art circle in the 1980s must be familiar with the "diplomatic apartment". The Diplomatic Apartment outside the Jianguomen of Beijing was the secret base for many of Beijing's "amateur" modern artists at the time. Many of the "illegal" exhibitions that could not be made public were held here. It provided a physical place for the "wandering", marginal, and non-institutionalized artists in Beijing at the time to gather and communicate, where many discussions of avant-garde art arose and grew. In the 1990s, after the large-scale marketization of Chinese modern and contemporary art began, this location was gradually forgotten. In 2016, Peng Xiaoyang leased Diplomatic Apartment No. 12 and restored it as an exhibition space. Today, space 12 of the Diplomatic Apartment has ushered in the special project "12 People no. 12: Diplomatic Apartment Triennial" for the third anniversary of its establishment. The exhibition brings together 12 artists who have exhibited in the space over the past three years – Feng Guodong, Zhang Wei, Wang Luyan, Wang Youshen, Gu Dexin, Li Yongbin, Ni Haifeng, Zhu Jia, Zhao Liang, Yan Lei, Liu Zhan, Yang Zhenzhong. It is worth noting that the works on display themselves do not seem to be the focus of this exhibition, and it is more concerned about how the exhibition stimulates the artist's discussion and new creation.
<h3>Worlds and Images: 19th Century China in the Rowan Hill Photography Collection</h3>
Venue: Tsinghua University Art Museum (Tsinghua University Campus, No. 1 Tsinghua Garden, Haidian District, Beijing)
Time: November 27, 2018 - March 31, 2019
Soon after the invention of photography, it came to China with the pace of the colonists. As a kind of alert peeping eye from an exotic land, the camera not only captures the soul", but also truthfully records many portraits, scenery, city life and urban architecture at that time, providing valuable visual materials for today's research and looking back at the Chinese social landscape in the second half of the 19th century.
The Tsinghua University Art Museum's exhibition "19th Century China in the Loren Hill Photography Collection,' which opened on November 27, featured 120 photographs by 21 photographers, marking the first photography exhibition since the opening of the Tsinghua University Art Museum. In the exhibition hall, visitors can see the portraits of Cixi, Prince Gong, Li Hongzhang and Yulu, as well as the Cage of the Yuanmingyuan and the magnificent Badaling Great Wall before being torched by the fire. The photographers of these 120 photographs were all the top photographers who were active in China at that time, including both foreign photographers who were the first to come to China and Chinese photographers who saw business opportunities from photography under the stimulation and promotion of foreigners. Together, they promoted the development of Chinese photography in the second half of the 19th century, preserving a series of extremely valuable images.
<h3>Nikki St. Fallow: The most legendary female artist of the twentieth century and her garden wonderland</h3>
Venue: Today Art Museum (Apple Community, No. 32 Baiziwan Road, Chaoyang District, Beijing)
Date: November 23, 2018 - March 10, 2019
Price: 120 rmb
Nikki Saint-Faller was born on October 29, 1930, on the banks of the Seine, France, to a wealthy family whose father ran the family banking business. As a young woman, Nikki debuted as a fashion model, taking photos for more than one big-name fashion magazine. She then devoted herself to the study of theatre and acting. By chance, Nikki discovered that painting helped overcome her mental stress, so she gave up acting and began her own career as an artist. Nikki's work is bright and bold, unrestrained. Her most iconic sculptures are the "Women in Her Eyes" series. Inspired by her pregnant female friends, she created a series of colorful and full-bodied sculptures to subvert the slim, gazed and disciplined female figures of orthodox art history and advocate for the liberation of women.
In this exhibition of today Art Museum, the audience can get a glimpse of the true appearance of the above statue. The exhibition, which lasted three years of planning and communication, culminated in nearly 100 works worth a total of about $20 million, which were shipped from Belgium, the United States and France.
<h3>"Me" view</h3>
Venue: Evergreen Gallery (798 Art Park, Chaoyang District, Beijing)
Date: December 8, 2018 - March 3, 2019
Evergreen Gallery's latest exhibition, "Landscapes of 'Me'", presents the latest works of five cutting-edge contemporary Chinese women artists and the creative paths or inspirations behind these works. Some of them pay attention to the perception and experience brought about by natural or artificial daily phenomena, some pay attention to the things, feelings and emotions that are easily overlooked by the subtleties of daily life, and some focus on more ambitious themes, such as the great social changes in the past forty years of reform and opening up and the collective anxiety, confusion and uneasiness of a generation that has grown up under this change, and some try to explore the wonderful state of the natural environment through different forms of material. Through videos, installations, mixed media and many other forms, the five artists showed the topics that have long stimulated their interest and creative inspiration. Evergreen Gallery's unique spatial attributes are maximized in this exhibition. One of the giant site-specific murals is hung on one of the gallery's largest walls for viewers to see up close.
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