Freedom Farming presents how, after being given the right of farming, Li Binyuan began to re-dig his land. He attempted to physically open a space for conversation with the generation of his parents. On the second day, villagers that were gathering in the field, including his mother, started to watch a strange event: Li Binyuan’ s 2-hour long jumping and falling in his land until he finally stopped, exhausted. He jumped up to escape from the earth (his hometown), but being unable to overcome the gravity (his birth), heavily fell back onto the ground. This repetitive attempt to leave, and the invariant result of falling back every time, somehow gave him a kind of cardiac injury. And he suffered a physically heart-aching pain for some time. At this juncture, only by acting directly and painfully, he had finally accomplished his process of mourning of his father death, his hometown, and his farming situation.
Li Binyuan explores physicality, chance, play and social values through actions, film works and performances that intervene in the social fabric of everyday Chinese society. His experiments occupy urban spaces, from the very public arena of the street, to remote post-industrial sites. Using his body as a sculptural material to enact creative investigation, he uses ruptures and repetition to manifest how sculpture and performance can intertwine. Rearticulating social conduct while interrogating our experiences of the everyday, Li is sometimes running naked through the streets, crashing into trees and using hammers to destroy other hammers.These interventions disrupt existing societal conventions, interrupting both the spatial and social dynamics of contemporary life.
Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Uncomformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens...
Known But to God: The Dug Up, Dissected, and Disposed for the Sake of Medicine by Doreen Lynnette Garner is a small, suspended sculpture composed of glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, and whiskey...
¡Qué triste estoy! (I’m So Sad) is representative of Fernanda Laguna’s practice of the past twenty years...
In 2015, while in residence at the Jatiwangi Art Factory (JaF) located in the village of Jatisura in Jatiwangi, West Java, Indonesia, Togar initiated the Jatiwangi Cup in which the artist, together with communities in the area, established an annual bodybuilding contest...
In pictures: Art Basel in Miami Beach's Meridians section features big works tackling big topics Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Art Basel in Miami Beach 2023 feature In pictures: Art Basel in Miami Beach's Meridians section features big works tackling big topics Curator Magalí Arriola picks out some highlights from the fair's large-scale presentation Elena Goukassian 9 December 2023 Share Lee Mullican, Entrance of the Entertainers (1984-85) Liliana Mora Although this year’s Meridians section at Art Basel in Miami Beach lacks an official theme, many of its large-scale works reference some sort of metaphorical largeness—whether global connectivity, the environment or the universal language of music...
Josiah McElheny’s Glass Art Reflects the Human Condition Skip to content Josiah McElheny, "From the Library of Future Geometries I" (2023) (all images courtesy James Cohan Gallery) For decades, Josiah McElheny has created formally stunning and technically perfect artworks, mostly of glass, in a modernist style derived from mathematical ordering systems...
Exploring The End Of The Golden Era Of Singapore Cinema Thinking and Talking about Arts and Culture in Southeast Asia Film February 24, 2022 By ArtsEquator (1,001 words, 3-minute read) Films as a medium and art form have always possessed great potential to convey crucial messages and influence the cultural zeitgeist of their times...