2019.2.17 Sunday
  • Admission Hours
  • 10:00 – 19:00
  • Monday to Sunday
  • 2018.10.13 - 2019.4.7

    From October 13, 2018 to April 4, 2019, UCCA presents “After Nature,” the inaugural exhibition at the UCCA Dune Art Museum, the newest addition to UCCA’s growing portfolio of projects. Included are works by nine Chinese artists who span a range of generations, born between 1942 and 1988. The works on display, by Li Shan, Liang Shaoji, Liu Yujia, Nabuqi, Yang Xinguang, Trevor Yeung, Yu Ji, Zheng Bo, and Zhuang Hui & Dan’er, engage with the question of how humanity discovered—and in some ways invented—the natural world, a question given increased urgency by the release of a United Nations Intergovernmental Panel on Climate Change report this week forecasting climate-induced crises before 2040 if carbon emissions continue at current levels. The exhibition is specifically devised for the singular spaces of UCCA Dune Art Museum, a subterranean building designed by Li Hu and Huang Wenqing of OPEN Architecture, located under a sand dune on a beach in the Aranya Gold Coast Community, 300 kilometers from Beijing. Organized by UCCA curator Luan Shixuan, the exhibition creates a dialogue among the works, the cell-like galleries that house them, the surrounding sand, and the rising sea just beyond.

    The title “After Nature” denotes changes in both the physical environment and human conceptions of it. Sustained human encroachment has permanently transformed the environment, leading many scholars to declare an entirely new geological era, the Anthropocene. The Romantic idea of nature as unspoiled wilderness—always ideologically fraught, even spurious—is no longer tenable. With this comes the realization that nature is not a holistic entity, or some secular providence, but simply the multiple, overlapping worlds fashioned by the billions of beings—living and non-living, organic and non-organic—that reside on this earth. Works in the exhibition testify to this strange insight. They evoke received notions of nature such as scenic mountains, green plants, and flowing rivers, only to have them morph seamlessly into “artificial” elements like liquid crystal, plastic, and inkjet printing. Taken together, the artists and works ask viewers to rethink nature, rather than to do away with it; to imagine a new ecology that sees humans and objects in close proximity, mutually influencing and influenced, ineluctably entangled.

  • 2019.1.19 - 2019.4.14

    Yu Honglei’s art delimits an arena in which trust can be established. He attempts to infuse his sculptural language with his connection to the viewer. Then, through his control of sculptural language, he issues to his audience a tender command to look–directing their vision and movement, and even joining them in defining the object that is beheld. The sculptures themselves, however, remain in silent, almost classical repose. Only the most essential visual elements are ultimately preserved and displayed, the result of layers upon layers of evolution and refinement that leaves them full of static energy, brimming with their own historical and archival value.

  • 2019.1.19 - 2019.5.5

    Nearly a decade ago, in the catalogues for his exhibitions, Qiu Zhijie began to plot out intricate maps of the relationships among his various artworks. It was from this synthesis of research, writing, imagination, and action that the “Mapping the World Project” was born. In the hundreds of maps that have followed, the ink and brushwork of landscape painting outlines a coordinate system which condenses ideas, individuals, objects, incidents, and situations, weaving them together, and offering a possibility for understanding them in relation to each other. The intelligently schematic nature of these maps has allowed them to serve as blueprints for various exhibitions, notably the 9th Shanghai Biennale, which Qiu curated in 2012 on the theme of urban regeneration, and the recent Guggenheim survey “Art and China after 1989: Theater of the World” (2017-2018) for which he created a monumental map that connected the works, artists, and historical milestones covered therein. Qiu’s maps also exist as discrete artworks, created in series including the “All of the Objects Series,” “All Living Things Series,” “Autobiography Series,” “Narrative Map Series,” “Spatial Map Series,” and “Action Map Series,” always keenly aware of their subjective, constructed nature. For the last ten years, mapping has served multiple functions in Qiu’s artistic practice: as self-conscious gesture, workflow chart, exhibition plan, intellectual exchange, political topology, and cultural research programme. These maps ultimately reflect the myriad identities of their author: artist, educator, curator, theorist, and eclectic cartographer.

Special Events
  • 2019.1.19 - 2019.3.8


    798 Art District, No.4 Jiuxianqiao Lu, Chaoyang District, Beijing

    T +86 10 5780 0200


    Opening Times

    Tuesday to Sunday


    Last Entry at 18:30

    * Children who are shorter than 1.2 meters may enter the exhibition for free, provided they are accompanied by an adult. Entry is free for UCCA Members and ICOM Members.


    UCCA Dune

    Aranya Gold Coast, Beidaihe

    T +86 0335 7522652


    Opening Times

    May to October

    Tuesday to Sunday 10:00-19:00

    Last entry at 18:30


    November to April

    Tuesday to Sunday 10:30-17:00

    Last entry at 16:30