Elizabeth Neel, Traders and Trade Routes 2, 2016, Acrylic on canvas, 180.3 x 195.6 cm

Performing Time

April 23rd through July 20th, 2016
VIP reception Saturday April 23rd,6-8pm

Artists: Chris Huen Sin Kan, Li Qing, Elizabeth Neel, Ken Okiishi, Shahzia Sikander, Taocheng Wang
“Performing Time” is the second curatorial collaboration between Pilar Corrias Gallery (London) and Leo Xu Projects (Shanghai), following a critically acclaimed exhibition in Hong Kong “The Tell-Tale Heart” (2015) where the relationship between narrative and new media was addressed. The new group exhibition otherwise steers its focus to painting as a medium that has recently gained vigor and repertoire from new ways of image-making, data, and performative languages in a world constantly reshaped by digital media. A product of the galleries’ ongoing opinion exchange on the gestural and time-based nature of Chinese calligraphy and ink painting, the show evaluates the boundaries of painting by and through time: How the notion of time in its physical and metaphysical sense has influenced artist’s respective practices.

The exhibition commences with new works from New York-based abstract painter Elizabeth Neel whose manipulation of acrylic on canvas brings abstraction to traverse time and space. Highly dependent on both a substantial degree of chance and the insistence of direction and control, Neel’s paintings draw on techniques that can be linked to a history of gestural abstraction but also to much more ancient forms of calligraphic painting that constitute both image and language for the purposes of informational and emotional communication. The paintings on view summon up a notions of mapping, economy, social dynamics and relationships between intention and space, luck and design.

Immediately abstract, Ken Okiishi’s works bound together the painterly traces of a brushstroke on surfaces of flat-screen monitors to play mash-ups of 1990s VHS home recordings of sitcoms and advertisements partially recorded over with sequences from new, digitally broadcast television. Entitled “gesture/data (feedback)”, these glitchy image-objects on the one hand suggest connections between the physical traces of gestural painting and the swipes, taps, and pinches through which we now access digital images, subject to infinite redistribution, and on the other, highlight the fragility and absurdity of our attempts to document human presence—while at the same time affirming that presence. “The tensions between silence and sound, painterly and digital, flickering brushwork and flickering light parody the ideal of ‘presence’ of painting while providing a lively literal substitute. The eye is pulled back and forth between the layers of information and gesture, and among seeing, watching and looking,” – Roberta Smith commented (New York Times, March 14th, 2014).

Personal memories and traces of histories unfold on the dimension of time, measuring the velocity of brushwork and art of representation. Hangzhou and Shanghai-based Li Qing projects critical spirits of Chinese literati painting on his painted objects. Exquisitely painted landscapes and collaged prints inside time-worn window frames removed from average local houses, Li’s painting installations embody a time-based intensity in interweaving fictions and realities, sublimities and absurdities. Chris Huen Sin Kan, an emerging artist from Hong Kong, paints with austere color and simple yet determined brushworks on his yellow canvas, resembling the ancient line drawings on rice paper. In so doing, Huen introduces warmth, tranquility and subtlety to the everyday life fully detached from the urban hustle and bustle.

The show, as its title suggests, looks at the broadened horizon of paintings where paint, ink, time and performance come into play. Having been based in Amsterdam for years, young Chinese artist Taocheng Wang is known for her hand scroll and performance that tell stories set in various stages in the past and present, exploring the notions of sexuality, identity, ethnicity, and socioeconomic background. The video “Reflection Paper No. 1” is the first episode from the series and based on the personalities and writings from Eileen Chang, a legendary female writer from the 20th century Shanghai. It cuts and edits from footages of Wang’s performance and various filmed resources and materials, only to be dubbed by her uncanny whispering and reading of Chang’s bitter-sweet essays “Written on Water” and “The Gold Cangue”.

A critical figure in contemporary miniature painting Shahzia Sikander and her animation ‘The Last Post’ enquires into the concept of time as a mix of historic and political markers. Sikander’s practice itself is rooted in the hierarchy within the practice of labor and time, issues of scale, precision and gesture. Developed from hundreds of animated drawings, ’The Last Post’ animation explores the British colonialism of the subcontinent, the British opium trade with China, military rhetoric, news media, identity and other contemporary issues through an aesthetics that draws primarily from Indo-Persian miniature paintings. “I construct most of my work, including patterns of thinking, via drawing”, – Sikander’s ideas housed on paper are put into motion in the video animations and create a form of disruption as a means to engage.

Elizabeth Neel’s paintings and sculptures blur relationships between architecture and the body, memory and action. Drawn from specific, real world subject matter—from anonymous images sourced from the Internet to found objects—Neel’s ‘fictive situations’ trace excavations of life, along with its contamination through death and decay. While ostensibly abstract, Neel’s paintings have an uncanny insistence on the representational residue of mark making. Her smears and punctuations of tape hint towards the reconstructive narrative potential of abstraction. Her sculptural assemblages extend the sensibility of perspective and proximity between disparate gestures into three dimensions, using a diverse array of materials including clay, wood, wax, tape, inkjet prints and found objects. Through stimulating relationships between her paintings and sculptures Neel returns to architecture as a narrative tool for framing objects and images.

Born in 1975, Neel lives and works in New York. She graduated from Columbia University with an MFA in 2007. Recent solo exhibitions include: Lobster with Shell Game, Susanne Vielmetter, Los Angeles Projects, Los Angeles (2015); The People, the Park, the Ornament, Pilar Corrias, London (2014); 3 and 4 before 2 and 5, Sikkema Jenkins & Co, New York (2013); Routes and Pleasures, Susanne Vielmetter, Los Angeles (2012); Sphinx Ditch, Pilar Corrias, London (2011); Leopard Complex, Sikkema Jenkins & Co, New York (2011); Stick Season, curated by Fionn Meade at SculptureCenter, New York (2010). Recent group exhibitions include: Paradigm Store, Howick Place, London (2014); Speaking Through Paint, Lori Bookstein Fine Art, New York (2014); I Mean Orange, STUDIOLO, Zurich (2012); Modern Talking, curated by Nicola Trezzi, Cluj Museum, Cluji-Napoca (2012); Painting overall, Prague Biennale 5 (2011); Going Where the Weather Suits My Cloths – A fall of light on fabric, Mother’s Tank Station, Dublin (2011).

Chris Huen Sin Kan was born in 1991, Hong Kong. He obtained BA in Fine Arts at The Chinese University of Hong Kong in 2013. With an emphasis in painting, Huen’s practice explores the minute and exquisite experiences of everyday daily life. The artist believes that the essence of existence should not be constructed nor constricted by conventions that are the result of a collective cognition. Thus his works avoid grandiose topics of human constructs such as history, religion and politics. Instead, he believes that life should be informed by intuition on a personal level. He is particularly drawn to fanatical behaviours and trivial moments that carry immense vitality such
as a small dog or an ordinary lawn.
Huen’s art is the modern style of en plein air – hereto indoor. Each particular in an interior scene of a frozen moment is a unique object to the artist’s intuition. He demonstrates adroit sensitivity towards the indefinite and indistinct relationship between object and space in order to capture the specific physical aura hovering each particular interior scene.

Ken Okiishi works in disparate media systems. His works hover over and within relationships between matter and memory, perception and action, image-networks and language-systems, often confronting our digitally and materially entwined culture with hesitation. Working through and with multiple mediums in fused simultaneity (video/painting, writing/video, object-circulation/image-circulation, currency/sculpture, etc.), he incites moments when the “real world” loses its material coherence and where languages and images fall apart. As Okiishi subverts the material claims of the media systems he works with, the glitches that occur illuminate spaces for the production of something other than what has already been.
Ken Okiishi lives and works in New York and Berlin. Recent solo exhibitions include: Porous Feedback, Arbeiterkammer Wien, Vienna (2015); Gestures, data, feedback, Take Ninagawa, Tokyo (2015); Screen Presence, Museum Ludwig, Cologne; Reena Spaulings, New York (2014); gesture/data, Pilar Corrias, London; (List Projects) Ken Okiishi, MIT List Visual Arts Center, Cambridge, Massachusetts (2013); The Very Quick of the Word, Hessel Museum of Art, Bard Center for Curatorial Studies (2013); Gino/Marcel Duchamp on, Mathew, Berlin (2012); (Goodbye to), Take Ninagawa, Tokyo (2012); (Goodbye to) Manhattan, Alex Zachary, New York (2010); and (Goodbye to) Manhattan, Mehringdamm 72, Berlin (2010). Recent group exhibitions include: MashUp: The Birth of Modern Culture, Vancouver Art Gallery, Vancouver (2016); Over you/you, 31st Biennial of Graphic Arts, Ljubljana (2015); Cut to Swipe, The Museum of Modern Art, New York (2015); Whitney Biennial 2014, Whitney Museum of American Art, New York (2014); Frieze Projects, Frieze Art Fair, London (2013); Speculations on Anonymous Materials, Kunsthalle Fridericianum, Kassel 2013); Version Control, Arnolfini, Bristol (2013); Frozen Lakes, Artists Space, New York (2013); Liebe ist Kälter als das Kapital [Love is Colder than Capital], Kunsthaus Bregenz (2013); Perfect Man II, White Columns, New York (2012); The Log-0-Rithmic, GAMeC, Bergamo (2012).

Major solo exhibitions of Sikander’s work include: Shahzia Sikander: Apparatus of Power, Chantal Miller Gallery, Asia Society Hong Kong Center, Hong Kong (2016);Parallax, Guggenheim Museum, Bilbao (2015); Parallax, Bildmuseet Umea, Sweden (2014); The Last Post, Linda Pace Foundation, San Antonio (2012-13); Kogod Courtyard at the Smithsonian American Art Museum, Washington DC (2012);Transformations, Museum of Contemporary Art, Tokyo (2010); Para/Site, Hong Kong (2009); Intimate Ambivalence, Ikon Gallery, Birmingham (2008); daadgalerie, Berlin (2008); Irish Museum of Modern Art, Dublin (2007); Shahzia Sikander,Museum of Contemporary Art, Sydney (2007); Miami Art Museum, Miami (2005); Aldrich Contemporary Art Museum, Ridgefield (2004); Flip Flop, The San Diego Museum of Art, San Diego (2004); Acts of Balance, Whitney Museum of American Art, New York (2000); Directions, Hirshhorn Museum and Sculpture Garden, Washington D.C (1999); and the Renaissance Society, Chicago (1998).

Major group exhibitions include: Our Land / Alien Territory (part of the special program of the 6th Moscow Biennale of Contemporary Art), Manege, Moscow (2015); Infinite Challenge, National Museum of Modern and Contemporary Art, Seoul (2014); Dhaka Art Summit (2014); Mom, Am I Barbarian?, The 13th Istanbul Biennial, Turkey (2013); If you were to live here…, The 5th Auckland Triennial, Auckland (2013); Sharjah Biennale 11, Sharjah Art Foundation, Sharjah (2013);Marking Language, Drawing Room, London (2013); Doris Duke’s Shangri La: Architecture, Landscape and Islamic Art, Museum of Art and Design, New York (2012-13); Guangzhou Triennial, Guangzhou (2012); Women In-Between: Asian Women Artists 1984-2012, Fukuoka Asian Art Museum, Fukuoka (2012); Patria o Libertad! On Patriotism, Immigration and Populism, Museum of Contemporary Canadian Art, Toronto (2011); Future Pass: From Asia to the World, 54th Venice Biennale, Venice (2011); Gifts of the Sultan: The Arts of Giving at the Islamic Courts, Los Angeles County Museum of Art, Los Angeles; Museum of Fine Arts, Houston (2011); Monumental ‘Miniatures’: Large-scale Paintings from India, Philadelphia Museum of Art, Philadelphia (2010); One Image May Hide Another: Arcimboldo-Dali-Raetz, Galeries Nationals du Grand Palais, Paris (2009); Order. Desire. Light. : An Exhibition of Contemporary Drawings, Irish Museum of Modern Art, Dublin (2008); Take 2: Women Revisiting Art History, SFMoMA, San Francisco (2007).

Amongst her many awards is the Medal of Art by the US Secretary of State, Hilary Rodham Clinton (2012), John D. and Catherine T MacArthur Foundation Achievement ‘Genius’ award (2006-11), SCMP Art Futures Award, Hong Kong International Art Fair (2010); The Inaugural Rockefeller Foundation Bellagio Center Creative Arts Fellowship, Italy (2009), Performing and Visual Arts Achiever of the Year Award presented by the South Asian Excellence Awards, New York City (2008), Tamgha-e-Imtiaz, the National Pride of Honor by the Pakistani Government (2005), Louis Comfort Tiffany award (1997), Shakir Ali award (1992), and Haji Sharif award (1992).

Shahzia Sikander lives and works in multiple locations across the US, Europe, and Asia

Li Qing graduated from Oil Painting Department of China Academy of Art in 2007. His art practices embrace various media from oil on canvas in the early time to installation, photography and video etc. later on. The subjects his works deal with also develop in depth. Standing in front of his works, audiences would be led into a visual game, conversing with them and reflecting upon them. The imagery created by Li Qing is no more just a means of representing reality. As a pioneer of “Intellectual Painting”, he presents his audience a familiar context and let concepts tell the story on its own.

He held solo shows at Shanghai Biennale, Shanghai, China; Tomás y Valiente Art Centre, Madrid, Spain; Duolun Museum Of Modern Art, Shanghai, China and Iberia Center for Contemporary Art, Beijing, China, etc. A number of prestigious art institutes also include his works for group shows, such as 55th Biennale Di Venezia Special Invitation Exhibition, Arsenale di Venezia, Italy; National Gallery of Indonesia, Jakarta, Indonesia; Fukuoka Asian Art Museum, Fukuoka, Japan; ART COLOGNE 2013, Cologne, Germany; São Paulo Museum of Contemporary Art, São Paulo, Brasil, Asian Art Museum of San Francisco, San Francisco, USA and Square Gallery of Contemporary Art etc.

His works are collected by many art institutes and foundations, such as M+ Art Museum, Hong Kong, China; Deutsche Bank, Germany; Institut Valencia d’Art Modern, Valencia, Spain; Art & Culture Foundation (IAC) of Spain, Madrid, Spain; Logan Foundation, San Francisco, USA; Zendai Museum of Modern Art, Shanghai, China; Long Museum, Shanghai, China; Yuz Foundation; Budi Tek Collection, Shanghai, China; Square Gallery of Contemporary Art, Nanjing, China; China Academy of Art, Hangzhou, China, etc.

Taocheng Wang’s art practice derives from painting, which she had done for over 10 years while in China. She continued her education in Germany (Städelschule) and the Netherlands (De Ateliers). During this time, Wang started experimenting with video, film, and performance, which resulted in work that combines a straightforward, at times confrontational, tone with highly emotional, poetic, and uncanny undercurrents. Wang is interested in how ostensibly fixed notions of sexuality, identity, ethnicity, and socioeconomic background constitute our behavior, social class, and interpersonal relations. Her work is best considered as a collage, showing a mirror of intimate images, trying to make explicit what otherwise remains lurking in the shadows.

Taocheng Wang (1981, Chengdu, China) lives and works in Amsterdam. She has been exhibited in ‘Up Close and Personal’ at De Hallen Haarlem (2014-2015); ‘Off Spring’, De Ateliers, Amsterdam (2014); Johan Berggren Gallery, Malmo; ‘I love you, Me either’, Project Native Informant, London, UK (2013); ‘Reading’, Leo Xu Projects, Shanghai, CN (2014); Living Room, Shanghai Goethe Institute, Shanghai, CN (2012) AMNUA Drawing Show Series, Art Museum of Nanjing University of the Arts, Nanjing, CN; How are you otherwise, Rongwrong, Amsterdam, NL (2013); Reactivation – The 9th Shanghai Biennale, Shanghai, CN (2012).

Wang has recently performed at Stedelijk Museum Amsterdam and her new work will be featured in Manifesta Biennale 2016.




Please fasten your seat belt as we are experiencing some turbulence

March 18th through April 30th, 2017
Opening reception: Friday, March 17th, 6-8pm

David Kordansky Gallery and Leo Xu Projects are pleased to present “Please fasten your seat belt as we are experiencing some turbulence”, a collaborative group exhibition held at Leo Xu Projects, Lane 49, Building 3, Fuxing Xi Road, Xuhui District, Shanghai. The show will be on view from March 18 until April 30, 2017. An opening reception will take place on Friday, March 17 from 6:00pm until 8:00pm.

Featuring artists from both of the galleries’ programs, Please fasten your seat belt as we are experiencing some turbulence will examine how a wide and heterogeneous array of aesthetic positions can reflect, refract, and bear witness to an uncertain state of global affairs. The exhibition will include work by Kathryn Andrews, Andrea Büttner, Chen Wei, Heman Chong, Sam Gilliam, Zach Harris, Evan Holloway, Rashid Johnson, Gabriel Lester, Li Qing, Liu Shiyuan, Pixy Liao, Jonas Lund, Tala Madani, Chris Martin, Torbjørn Rødland, Sissel Tolaas, Tom of Finland, Wei Jia, Ming Wong, and Betty Woodman.

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CHEN WEI: The Club
March 24 – May 7, 2017
Opening: Thursday 23 March, 6–8pm
Centre for Contemporary Photography
404 George St, Fitzroy
Melbourne, Victoria 3065

Titled “The Club”, Chen Wei’s first institutional solo exhibition in Australia is to open on March 23, 2017 and runs until May 7 at Centre for Contemporary Photography, Melbourne.

Beijing-based artist Chen Wei’s practice actively blurs the boundaries between reality and fiction through the construction of carefully staged scenes and handcrafted objects. The Club – his first solo exhibition in a public institution in Australia – comprises a series of photographs and installations that fabricate a visual archive of Chinese club culture. Chen has meticulously recreated the architecture, interiors and culture of nightclubs to celebrate this previously undocumented subculture and to provide a commentary on wider social changes that have been taking place in China.

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The New Normal:Art and China in 2017
March 19–July 9, 2017 
Ullens Center for Contemporary Art (UCCA) 
798 Art District
No. 4 Jiuxianqiao Road, Chaoyang District
100015 BeijingChina 

What is the place of art in China today? Or rather, in a world where the underpinnings of the post-World War II consensus have come suddenly loose, a world whose most prosperous corners find themselves in thrall to sectarian populism, a world increasingly unable to deny the changes wrought to its ecosystem by the last hundred years of human emissions, and a world in which, despite it all, China continues to grow in output and influence, what is to be done?

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Gabriel Lester, Dwelling Kappiri Spirits, 2016

Kochi-Muziris Biennale:
Forming in the Pupil of an Eye
December 12th, 2016 through March 29th, 2017 


Gabriel Lester is featured among 97 artists who have been invited to create new works in this year’s Kochi-Muziris Biennale, the largest contemporary art biennial in South Asia. Curated by the eminent Indian artist Sudarshan Shetty, the third edition of the Biennale is titled Forming in the Pupil of an Eye. The Biennale will run from December 12, 2016 until March 29, 2017.
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He An:
Do You Think That You Can Help Her Brother?
February 11th, 2017 through April 23rd, 2017 
Australian Centre for Contemporary Art (ACCA)
111 Sturt Street, Southbank VIC 3006, Australia


He An’s neon light installation, Do You Think You Can Help Her Brother?, will be presented on the northern façade of ACCA’s iconic architecture as a keynote public project for Asia TOPA, comprised of Chinese characters gleaned from shopfronts and various sites throughout the city of Beijing, telling a dark story about love, desire and power in.

Drawn from popular news stories and online social media, Do You Think You Can Help Her Brother? combines found texts to create a narrative poem that relays the experience of marginalized labour workers, popular Chinese novels, the sex industry and criminal underground networks in Chinese society.
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Nina Canell: Reflexology

November 9th, 2016 through January 15th, 2017
Opening reception: Wednesday, November 9th, 5-8pm

Nina Canell: “Reflexology” is the first solo exhibition of Berlin-based artist Nina Canell (b.1979, Sweden) to take place in China. Set across all three floors of the gallery space, Canell’s characteristically concise sculptural works of found and functional objects explore the often-overlapping networks and natural phenomena that surround us, probing the connections between material objects and immaterial forces. For this exhibition, Canell presents a series of new and recent works, incorporating site-specific elements and objects that have been sourced locally in Shanghai.

Taking the practice of reflexology as her starting point, Canell uses the exhibition format to investigate how the varying meanings of the term might be interpreted through the relationship between the work and its viewer.
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Gabriel Lester: The Nine Day Week
November 25th, 2016 through January 15th, 2017
Opening November 25th, 6pm

Contemporary Art Centre, Vilnius
Vokiečių 2
LT-01130 Vilnius

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Take Me (I’m Yours)

September 16th, 2016 through February 5th, 2017

Jewish Museum
1109 5th Ave at 92nd St, New York, NY 10128

Aaajiao presents a new installation in “Take Me (I’m Yours)” at the Jewish Museum. “Take Me (I’m Yours)” was originally conceived by Christian Boltanski and Hans Ulrich Obrist in 1995. The New York show is curated by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, the Jewish Museum; Hans Ulrich Obrist; and Kelly Taxter, Assistant Curator, the Jewish Museum.
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Times Heterotopia Trilogy III:
The Man Who Never Threw Anything Away
Guangdong Times Museum
January 8th through February 19th, 2017
Opening: January 7th, 2017


Liu Chuang is featured in the group exhibition “The Man Who Never Threw Anything Away” at Guangdong Times Museum. The exhibition is curated by Nikita Yingqian Cai and will run from January 8th through February 19th, 2017.

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Cheng Ran: Diary of a Madman

October 19th 2016 through January 15th 2017
New Museum, New York

Curated by Helga Christoffersen and Massimiliano Gioni.



September 4th, 2016 through January 15th, 2017

Yuz Museum
No.35 Fenggu Road, Shanghai

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Vitamin P3 – New Perspectives in Painting

Publisher: Phaidon Press, 2016
Hardcover: 352 pages
550 color illustrations
11.38 x 9.88 in
28.9 x 25.1 cm

Since the publication of the first Vitamin P in 2002, painting has continued to evolve and excite, with new generations responding to its historic importance and taking it in unexpected directions. A central pillar of artistic practice, painting also has enduring appeal, dominating the art market. Vitamin P3 takes the conversation forward, spotlighting more than 100 outstanding artists who are engaging with – and pushing the boundaries of – the medium of paint.

For the full article on Cui Jie, please [download pdf]


Art Basel Miami Beach
Stand N13
Miami Beach Convention Center
December 1st through 4th, 2016
Preview Wednesday, November 30th

LEO XU PROJECTS is pleased to announce its participation for the first time at Art Basel | Miami Beach. Located at stand N13, the gallery brings a group presentation of three artists; aaajiao, Cui Jie and Liu Shiyuan, each articulating a different vision of their experiences living, working and exhibiting in the city of Shanghai.
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fair | ART021 Shanghai Contemporary Art Fair 2016

ART021 Shanghai Contemporary Art Fair
Stand W28
Shanghai Exhibition Center, 1376 West Nanjing Road, Jing’an District, Shanghai 

November 10th through 13th, 2016
Preview Thursday, November 9th

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fair | WEST BUND ART & DESIGN 2016

West Bund Art & Design
Stand C2
West Bund Art Center, 2555 Longteng Avenue, Xuhui District, Shanghai

November 9th through 13th, 2016
Preview Tuesday, November 8th

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Cui Jie, Building of Cranes #1, 2014. Oil on canvas. 150 x 110 cm.


November 9th, 2016 through December 8th, 2016
Opening: November 8th, 2016 | 5pm

chi K11 art museum, Shanghai
Level B3, K11 Art Mall, 300 Middle Huaihai Road, Huangpu District, Shanghai

Aaajiao and Cui Jie are included in the new edition of the group exhibition “Hack Space” in chi K11 art museum in Shanghai, co-curated by Amira Gad and Hans Ulrich Obrist. The K11 Art Foundation (KAF) and the Serpentine Galleries are pleased to continue their collaboration, which begun with the presentation of the group exhibition HACK SPACE during Art Basel Hong Kong 2016, by presenting a new edition of the HACK SPACE exhibition at the chi K11 art museum in Shanghai. The exhibition runs from 9 November to 8 December 2016.

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fair | ASIA NOW 2016

PIXY LIAO, "A Collection of Penises", 2013-present

Asia Now
Stand A207
9 Avenue Hoche, Paris

October 19th through 23th, 2016
Preview Wednesday, October 19th

LEO XU PROJECTS is pleased to present “Girls: Portraits, Fantasies and Troubles”, a group exhibition curated for gallery’s second-year participation in Asia Now. The booth includes a selection of photographs, installations, sculptures and videos created by Chen Wei, Cheng Ran, Guo Hongwei, Pixy Liao, Liu Chuang, Liu Shiyuan, and others, which carefully study individual and collective emotions, experiences and expressions of young female Chinese in their everyday and professional life.

New to the gallery stable, Shanghai-born Brooklyn-based young female artist Pixy Liao attempts to smash the stereotypes of hierarchies in relationship and gender roles by presenting a body of bold and experimental works — “A Collection of Penises” (2013-present) shows a collection of nineteen pink soft fabric models of male genitals in various possible shapes created by the artist’s partner; “Start your day with a good breakfast” (2009) is a selfie of the artist and her partner interacting in explicit and provocative manners. Having studied and lived in Beijing and New York, Copenhagen-based Liu Shiyuan presents a playful sculpture “But My Apple…” (2015) that captures a subtle second-thought on female’s sensibility.
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September 24th through October 25th, 2016
Opening reception: Saturday, September 24th, 6-8pm.

“Pixy Liao: Venus As A Boy” marks the first solo exhibition of Shanghai-born Brooklyn-based young female artist Pixy Yijun Liao with the gallery, running from September 24th through October 25th, 2016. Having studied photography at University of Memphis and lived in the States for over a decade, Liao is highly influenced by the style of New American Color Photography in her practices, yet spinning off from the critique of “the American dream” to focus on the contemporary lives of Asian immigrants in the western society, presenting portraits and relationship hierarchies of the youth and the minorities with a rare observational wit.

The title of the exhibition is taken from one of the greatest hits of Icelandic musician, singer, and actress Björk Gumundsdottir, in which she questions masculine and feminine gender identities as socially constructed and breaks down the popular conceptions of gender binaries. Sharing a similar objection against the conventional assumptions of gender roles, Pixy Liao uses language of contemporary American photography of deadpan portraits, seemingly unmemorable objects, and staged scenes in her photographic practices to challenge the preconceived notions about characteristics and behaviors of different genders in heterosexual relationships in the Asian American society, throwing tradition out the window in an often humorous effect.
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fair | FRIEZE LONDON 2016

Frieze London
Stand H20
Regent’s Park, London

October 6th through 9th, 2016
Preview Wednesday, October 6th

Titled after Arthur Rimbaud’s eponymous poem, “Le Bateau Ivre (Drunken Boat)” is young Chinese artist Chen Wei’s solo project that features his photographs of various formats and installations across multiple media. A time capsule on China’s disco and relevant youth cultures since the early 1990s onwards, the project outlines the growth of Chen’s generation through artist’s fabricated visual and literal materials which are informed by then British publications like i-D and the Face (once circulated underground in Beijing and Shanghai). Chen explores the mystery of Chinese disco, an apparition in most celebrated films by Jia Zhangke and Lou Ye, but barely made to the discourse of Chinese visual art. An unlicensed institution of Chinese youth cultures and generational concerns, Chen commented.
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Museum of Contemporary Art Yinchuan

Yinchuan Biennale
For an Image, Faster Than Light

September 9th through December 18th, 2016

Museum of Contemporary Art Yinchuan
No.12, HeLe Road, Xingqing District, 750101 Yinchuan, China

The first edition of the Yinchuan Biennale which will open on September 9, 2016 with the participation of 74 artists from 33 countries including China and will culminate on December 18, 2016. The YC Biennale 2016 is contextualizing some of the most important issues confronting the world from the scientific to the spiritual, from the psychic to the philosophical, from the catastrophic to the celebratory.
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