While most painters create their art using pen or brush, the avant-garde artist He Ling (@何玲Heling) uses medical syringes to bring his wild imaginings to life.
At his recent exhibition in Songzhuang Art District, the young artist displayed a series of mutant birds and beasts he created by injecting acrylic paints and dyes made from Chinese herbs into his canvas. The process resembles traditional embroidery in its delicacy.
It’s hard to find anyone without an opinion about this city, be it a fear of pollution, heavy traffic or some other widely reported negative attribute.
But Beijing isn’t all bad.
Tasty snacks, magnificent architecture and a comparatively cosmopolitan environment are among the city’s selling points, which is what artist Tian Li attempts to capture in his work.
Most people might not give Chinese posters a second thought, but Wang Yuqing has dedicated himself to collecting and studying them as historical records.
Often dismissed as propaganda, the posters reveal much about the social culture, economy and politics of modern Chinese history.
Artists and writers seeking the pinnacle of Chinese civilization often turn to the Tang Dynasty, an era of openness and innovation credited with fostering some of the finest art and poetry in the history of Han civilization.
It’s no surprise that such an amazing era would provide similar inspiration to Xu Songbo, a professor at the Tianjin Academy of Fine Arts, who attempts to capture the Tang spirit in his breathtaking oil compositions. They are collected in Tang Feng, his exhibition open until this Thursday at New Millennium Gallery in 798 Art District.
The new documentary film Diamond in the Dunes, directed by Christopher Rufo, tells the coming-of-age story of a Uyghur man named Parhat as he finds his way through college. It shows us how he and his Uyghur and Han classmates at Xinjiang University develop a passion for a game, for abilities and skills that don’t rely on ethnicity or Chinese business connections. It shows us how the citywide riots of 2009 shaped their life-paths and how they found ways to move forward despite the difficulties of their circumstances.
Chairman Mao once said, "Without destruction there is not construction. The destruction is the criticism, the revolution. The destruction comes first, it of course brings the construction.” In recent years this quote has been taken literally, and the character 拆 (chāi), which means to "tear down," adorns the entrances of many-a-doomed domiciles. The phenomenon has evolved so that the Chinese have nicknamed their country 拆那 (chāinà - get it?), referring to the daily razings that make way for growth.
It's been two weeks since the Uyghur rock star Perhat Khaliq took on The Voice of China, and the Uyghur Internet is still buzzing about the way he delivered his songs of loss and longing to a national audience.
Perhat surprised everyone with the painful tension in his voice. Strumming an acoustic guitar, he started his song in a low, almost spoken-word register that slowly evolved into a full roar.
On Friday, the first of August, we woke up to the sound of an explosion in the alley. It was a deep resonate boom: not a firecracker, not a gunshot. It was a window-rattling explosion. We knew immediately what it meant: mangled bodies, screaming women, terrified children, a suicide bomber. But when I leaned out the window, I saw a young man with a fire extinguisher putting out a few small fires next to a mangled three-wheel cart.
The giant 41-meter Buddha faces due west. It seems to embrace the construction on the other side of Bright Red Mountain on the northeast periphery of Ürümchi. Behind him, the constant ring of hammers and the roar of Bingtuan Construction Engineering Company trucks rise from the still-unfinished wing of the new Hilton hotel and the alien-looking international expo center. Every few minutes the low industrial roar is punctuated by the “dong” of a giant bell. Chants of A-mi-tuo-fo are carried intermittently on the breeze.
Han Han, the poster child of 90s youth, is feeling his age. The 31-year-old calls his debut film effort, The Continent, a “road comedy,” but it has little in common with The Hangover, unless Han thought up the plot while suffering one.
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