- Admission Hours
- 10:00 – 19:00
- Monday to Sunday
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.
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.
Civilization: The Way We Live Nowpresents nearly 300 works by more than 130 of the world’s most renowned photographic artists, offering a complex and sprawling vision of contemporary life. The images gathered here, produced in the past 25 years, speak to the changes brought about by globalization, and draw attention both to the increasing amount of complexity and conflict, and to the unprecedented degree of interdependence, that characterize life today. They attest, as well, to the development of the medium of photography, and its ability to document these sweeping changes. Organized in collaboration between UCCA and the Foundation for the Exhibition of Photography, the Beijing presentation of Civilization is curated by William A. Ewing and Holly Roussell.
For the premier digital artwork commissioned for Spectacle at MGM COTAI, MGM Resorts Art & Culture proudly presents Zhu Changquan’s “The History of an Action”in collaboration with UCCA Center for Contemporary Art and MGM Cotai Arts & Culture. The Spectacle is an innovative, multi-dimensional sensory experience comprised of 25 various sized LED screens, which makes up the world’s largest area of permanent LED screens. The Spectacle is an immersive artistic environment that redefines the idea of public art as a shared digital experience.
Zhu Changquan (b. 1989, Shandong province) observes the visible world with meticulous attention to detail, then uses “optical substitutes”—photography, moving image, or virtual technology—to rebuild the fragments that have left the deepest impression on him. In his work, the technical mediums are like shadows of the material world, creating a dyad of real and virtual, which the artist adapts to other binary relations between the physical and nonmaterial worlds: original structures and architectural copies, signs and referents, living spaces and artificially designed landscapes, forgotten histories and blissful presents. The first term in each of these couplets is an absent presence, providing viewers a thematic context for Zhu’s work.
In the present era, only after we perceive the mediated information that constantly washes over us, do we begin to concern ourselves with the reality behind it. At all times we are faced with the choice between the real and the fictive. Zhu Changquan’scommission for The Spectacle at MGM Cotai attempts to awaken this paradoxical experience in viewers, thereby showing them how surrogates and substitutes have permeated day-to-day life. The exhibition is curated by Yang Zi.
The summer exhibition at UCCA’s seaside venue in Beidaihe, “Land of the Lustrous” aims to reignite viewers’ dormant cultural memories. The most ordinary of objects, stone has nevertheless enjoyed pride of place in the founding myths of numerous civilizations. In subsequent folklore, its roles have continuously changed, adapting to the particular cultural and social realities of each era. Stone can serve as a tablet for scripture, the birthplace of a deity, a protective talisman for the body, and a site for the gaze to fix itself. Each artwork in this exhibition relates—materially or formally—to the figure of the stone, approaching this age-old object with fresh perspectives. The exhibition, curated by Yang Zi, gives artists the chance to add new chapters to an old parable, contributing to a story both rich and fascinating.
Lu Pingyuan, Li Weiyi, Lin Xue, Timur Si-Qin, Wang Sishun, Wang Xiaoqu, Su-Mei Tse, Yan Xing, Zhao Yao
798 Art District, No.4 Jiuxianqiao Lu, Chaoyang District, Beijing
T +86 10 5780 0200
Monday 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.