Modern Weekly
No. 1426, 18 April, 2026
(Article & interview, only Chinese Version)
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Mire Lee｜Confronting the Unhealable Wound
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势不可遏的李美来
Emily McDermott，Translated in Chinese by He Peilian，艺术世界 ArtReview
CN31-1128，2025 Spring
(Article, English version: The Uncontainable Mire Lee, ArtReview, 27 September, 2024)
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Mire Lee｜The Uncontainable Mire Lee
Emily McDermott, ArtReview
27 September, 2024
(Article, chinese version:”势不可遏的李美来”，艺术世界ArtReview，2025春季刊)
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Stanislava Kovalčíková｜Rubigo
April 16, 2026
(Curatorial Essay, english version only)
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Liu Chuang｜Press Clipping
updated from March, 2025
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Xinyi Cheng｜Polar Vortex: On Mi You’s Art in a Multipolar World
Diedrich Diederichsen, Artforum
No. 10, Summer 2025, pp. 150–153
(Article, english version only)
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Owen Fu：无处不在的陌生感 | SuperELLE
16 November 2024
Owen的作品源于他对世界的观察，在流动的视觉状态中带着真诚、幽默、古怪和诗意。如今，Owen Fu已从艺术市场上的一个名字，变成一个真实而鲜活的个体， 一个在创作中不断探索的艺术家。借由本次艺术刊第五期“艺术穿越 Art Across”的契机，SuperELLE将我们所认识的Owen Fu缓缓道来。(only Chinese version)
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À Paris, l’artiste Alexandra Noel réinvente la miniature pour l’ère digitale | Text: Par Julie Ackermann
23 April 2025
Rappelant l’étrangeté hypnotique des films de David Lynch, les mini-toiles d’Alexandra Noel révèlent une imbrication subtile entre mémoire et imagerie numérique. (only French version)
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Up Close: Shuang Li | Art Asia Pacific – Text: Louis Lu
May/Jun 2025
Li’s work speaks to a specifically Chinese context, the one- child-policy generation’s complex relationship with family, amplified by the recent pandemic’s enforced separations.
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Artforum｜Zhou Siwei – Critics’ Picks｜Fiona He
(Chinese version only)
9-7-2025
Fiona He’s critics’ picks is a review and critical text on the exhibition I Am Your Car, I’m Thinking About You, featuring artist Zhou Siwei at Antenna Space.
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Exhibition Talk Highlights：Evelyn Taocheng Wang, Xinyi Cheng, Christina Li and Fiona He
(Chinese version only)
10-5-2025
Exhibition Talk Highlights is a review of opening talk as a part of exhibition “Evelyn Taocheng Wang & Xinyi Cheng: Between the Shadow and the Highlight“.
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Art-Ba-Ba｜李泳翔“锈色”：一场地理与创作的双重“黑色旅行” | Sun Jialing
(Chinese version only)
25-9-2025
The editor mainly discusses Li Yong Xiang’s Rust exhibition, which reinterprets colonial-era religious murals through contemporary painting-sculpture hybrids and immersive sound installations. By transforming the gallery into a pseudo-sacred space with stained-glass effects and Georgian polyphonic soundscapes, Li critiques historical narratives and art’s political roles. The analysis highlights how Li deconstructs Orthodox imagery and employs ‘quotation’ to question memory’s reliability, particularly through his reworking of Mikhail Nesterov’s controversial murals. The show balances refined aesthetics with raw materiality, reflecting Georgia’s cultural duality while exposing history’s artificial construction. Ultimately, it presents a sophisticated meditation on how both art and collective memory are curated fictions.
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Ocula｜Cosmopolitan Orthodoxy: Li Yong Xiang on His Larger-than-Life Tableaux | Zian chen
2025-4-17
Following the exhibition’s opening, Li sat down with Ocula to discuss his time in Georgia, where he visited one of Nesterov’s murals, as well as the intersection of his painting practice with sound and other performative mediums. The conversation reflects on themes of identity, alienation, and the artist’s evolving sense of home.
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Blau｜Joseph Yaeger: A Mirror to the outside | Benjamin Barlow
JOSEPH YAEGER has answered the call. Once a cheesemon- ger and aspiring writer, the young American picked up a method usually reserved for the Sunday painter: the art of watercolor. Applied to thickly gessoed canvases, his “dispatches from nowhere” have made quite the splash or two. BLAU meets a man whose discern- ing eye for the iconic and sure hand for the wet produce the most unexpected of objects. How can painting that’s so feverishly light be- come so sculpturally sound?
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CURA Magazine｜Zhou Siwei: I Sold What I Grow | Giulia Colletti
In the context of the exhibition I Sold What I Grow at the Vienna Secession, Zhou Siwei translates the complexities and contradictions of contemporary life, particularly in China, into whimsical and fragmented artworks. These pieces delve into the ambivalence of the digital age, the rampant flow of trade, and the relentless pace of late capitalism. Zhou’s works merge together visual and cultural references, making everyday objects and symbols appear both familiar and uncanny, thus inviting diverse interpretations.
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Rodrigo Hernández: A Lyriform Organ | João Laia
Rodrigo Hernandez’s work inhabits and projects a magical territory embedded in our world but not confined to it. Recognizing our human limitations to understand and engage with reality, he puts forth speculative positions, at once surprising and plausible, to test the limits of our shared assumptions and knowledge, leading us in a marvellous dive into the forgotten and the unknown.
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李爽：回不去的“无域之所”，无法抵达的“月球的距离” | The Art Journal: 何佩莲
26 December 2024
正如卡尔维诺的“月球的距离”在李爽滞留欧洲期间带给她的很多安慰，此次荣宅的个展也为它的观众们带来慰藉，在无声的情动时刻，轻抚那些难以言说的裂痕。(only chinese version)
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CRITICS’ PICKS：Shuang Li – Distance of the Moon | Art Forum: 钱梦妮
27 November 2024
正如卡尔维诺的“月球的距离”在李爽滞留欧洲期间带给她的很多安慰，此次荣宅的个展也为它的观众们带来慰藉，在无声的情动时刻，轻抚那些难以言说的裂痕。(only chinese version)
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展评：钟笛鸣 – “凹 DENT” | 艺术论坛 ARTFORUM – 文：钱梦妮
2024-10-22 钟笛鸣的装置作品具有简洁规整的几何造型，封闭、平滑、低饱和色的外表让人感觉仿佛某个重要功能等待着被启动。而在不起眼的孔洞、凹槽里总是出人意料地隐藏着另一个微缩版的装置、一个更小的几何体或一丛细碎的颗粒。它们令我不断想到智利作家本哈明·拉巴图特（Benjamín Labatut）通过文学虚构扎入物理学家、数学家意识空间的小说《当我们不再理解世界》。钟笛鸣借由这些具有强烈模型感的作品试图再现的，其实也正是科学家撞到知识壁垒时的壮观场面，好奇心与被撼动的意识界限… -
Mire Lee: Mortal Machines | Louisa Elderton
2024-10-08
This autumn, Lee will take over the vast space of Tate Modern’s Turbine Hall, having been awarded the prestigious Tate Hyundai Commission. She tells me the work evokes miners’ changing rooms and is “really for people — for people to enjoy and just be around.” Lee’s been reading Michael Taussig’s My Cocaine Museum (2004) while preparing the exhibition, which is about the lure of the forbidden and how we make sense of the world. Modeled on the Gold Museum in Colombia’s central bank, it is a parody aimed at the museum’s failure to acknowledge the enslaved Africans who mined the country’s wealth for almost four hundred years, engaging with the essence and inner life of heat, rain, stone, and swamp, as well as with the sublime fetishes of evil beauty. Li — who is Tate’s curator of international art — underlines that Lee’s work “invites disorientation,” which then “slowly dissipates into a sense of intimacy, empathy, belonging, and hope… without following a fixed script.” As the youngest artist to ever be awarded the Commission, not only does Lee’s daring work flip the script, it rearranges letters, rips up the page, and it’s not hard to imagine the artist then unashamedly feeding it to the dog bit by bit.
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Liu Chuang｜Enjoy the Silence
Mark Rappolt, ArtReview
2024-05-20
(Article, english version only)
