b. 1970, Chongqing, lives and works in Beijing and Chengdu. He has been widely exhibited since 1999. Selected solo exhibitions include “untitled: 3 ×” (Galerie Urs Meile, Beijing, 2016); and “Xie Nanxing Paintings” (Kunstverein Harburger Bahnhof, Hamburg, 2005). Group exhibitions include: “The Latch” (C-Space+Local, Beijing, 2017); “China 8” (Kunsthalle Recklinghausen, 2015); “New Works #1” (OCT Contemporary Art Terminal, Shenzhen, 2014); and “Our Future: The Guy & Myriam Ullens Foundation Collection” (UCCA, Beijing, 2008). Xie’s work has also been shown in major periodic exhibitions including Documenta XII (Kassel, 2007); and the 48th Venice Biennale (1999).
Trained as a visual artist and art historian, Ruth Noack has worked as author, art critic, university lecturer and curator since the 1990s. She curated Documenta XII (2007). Her exhibitions include Scenes of a Theory (1995), Things We Don’t Understand (2000), The Government (2005) and Not Dressed for Conquering – Ines Doujak‘s Loomshuttles/Warpaths (2012). Notes on Crisis, Currency and Consumption (2015) was the first of a series of ten essay-exhibitions on issues of contemporary life. The next installment in the series series will be Sleeping with a Vengeance – Dreaming of a Life and Fragments and Compounds.
Head of the Curating Contemporary Art Program, Royal College of Art, London (2012-13), she acted as Research Leader for the EU-project MeLa - European Museums in an age of migrations. Noack was Šaloun professor at the Academy of Fine Arts, Prague (2013-14) and taught the Gwangju Biennale International Curator Course in 2014. Since 2015, she has been responsible for one of the DAI Roaming Academy trajectories. In addition to contributing articles and scholarly essays to international publications, she has written Sanja Ivekovic: Triangle for Afterall Books and Agency, Ambivalence, Analysis. Approaching the Museum with Migration in Mind (both in 2013).