She might be the best-kept secret of the Netherlands. Having barely ever shown in the country that has been her home for about two decades, Ellen Gallagher is now presenting Liquid Intelligence, her first solo exhibition in the Low Countries, at WIELS, Brussels—about two hours south of Gallagher’s home in the Dutch harbor city Rotterdam. The show includes an overview of her more recent works and insights into her broader interests and practice, as well as her collaborations with Dutch artist Edgar Cleijne.
Shuang Li grew up with a host of “underground” media, from knockoff Nintendo to dakou CDs.1 She was practically raised by the Myspace and YouTube culture of the pre-Great Firewall Chinese internet in the early 2000s, learning English through My Chemical Romance songs, geography through Uncharted Waters,2 and gender from Star Dream.3 This digital life led her to pursue an MA in media studies in New York, where she developed a unique perspective on these technologies through the lens of shifting transnational processes, observing how intersecting vectors of identity—from gender to race to citizenship—are mobilized and managed in the service of a new world economy.
It must have looked so preliminary, so unfinished, so much like a product display at first. What happened to color at the advent of Modernism, when artist colors were replaced by paint from the can?
The coordinated opening of the Beijing galleries—now in its third and largest edition to date—takes place, traditionally, in the 798 Art Zone district, located in the Dashanzi area, in the northwest sector of the Chinese capital, surrounded by modernist international architecture and by urban development particularly favorable to car drivers (surely more than in the first and second rings of the enormously spread-out urban area), in stark contrast to the characteristic and Instagrammable little hutong alleys that attract hordes of backpackers from the areas surrounding the Drum and Bell Tower south to the Forbidden City.
Several factors underlie the recent reevaluation of British painter Adrian Morris. Exploring the aesthetic conundrums of abstraction and representation, his work also speaks presciently of the state of the planet—ecology, politics, and our hopes and fears for life on Earth (and even beyond). At the same time, Morris’s paintings operate at more intimate registers. Surface and depth, contact and separation, desolation and regeneration, empathy and alienation: all these binaries resonate in the personal psychology of the artist—and the viewer.