4月16日, 2026

(策展文章，英文版本)

更新至2025年3月

Diedrich Diederichsen, Artforum艺术论坛

No. 10, 夏季刊 2025, pp. 150–153

(文章，英文版本)

2025-4-23

Rappelant l’étrangeté hypnotique des films de David Lynch, les mini-toiles d’Alexandra Noel révèlent une imbrication subtile entre mémoire et imagerie numérique. （仅限于法文版本）

2025-05

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. (only English Version)

2024-12-26

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。

2024-11-27

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。

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.

Mark Rappolt, ArtReview 艺术观察

2024-05-20

（文章，英文版本）