The new digital commission project “Bare Screen” presents an artwork or a group of artworks created by leading artists including Tao Hui, Tianzhuo Chen, Liu Qinmin, Liu Chuang, Payne Zhu, Tan Jing & Zheng Ke, Zhang Wenxin, Tang Chao, Hu Wei, Liu Wa and other artists.
Inspired by Books of Mountains and Seas, the ancient Taoist classic of mythical geography, cosmology and ecology, Scripture is a book of speculative fiction that unfolds in two directions: Qinyuan, a diminutive bee-bird, who sexes and assassinates its way out of the mythological landscape. The son of a master potter from Jingdezhen wanders in New York and Antwerp as SHE, With insoluble mud on her hands.
As part of a special public program supported by Macalline Art Center and Gallery Weekend Beijing, we have invited Rania Ho to build a place where sundowners can stop, chat, and enjoy a snack as the suns sets. Amongst these spring hills, enjoy videos commissioned by the Center’s Bare Screen committee on an outdoor screen.
Tang Chao edited pixelated video game clips into a historical montage that leaves some things unsaid.
Zheng Ke and Tan Jing’s work so hum takes its name from Vedic philosophy. The phrase means “I am she/he/that” and indicates an identification with the universe.
Conversations with Art Writers is an interview podcast presented by Macalline Art Center and Heichi Magazine. Writers active in the art industry are invited to share their thoughts, questions, and experiences in an interview format.
Heichi is a Chinese-English bilingual online magazine dedicated to the writing and discussion of art criticism, emphasizing the independent and contemplative voices of its contributors. Heichi considers alternative perspectives on art’s relation to politics and society, spirituality and technology, the beautiful and the grotesque. We invite and commission writers, curators, scholars, and artists to engage with objects, spaces, and people to find the details—the black teeth—hidden within contemporary culture.
Commissioned by Macalline Art Center, Chen Zhou’s new work responds to the question: “How can I be plural?” The piece is a continuous questioning of the institution’s positioning of itself.
