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Tanya Leighton and White Space are delighted to present a joint open studio with Shen Han (@shenhan_studio) and Ce Jian (@cejiance) during @berlinartweek. Public reception Friday, 11 September 6–9 pm The studio will also be open by appointment, 9–13 September. Kurfürstenstraße 15/16, 10785 Berlin First courtyard, right-hand entrance Shen Han’s work blends fragmented landscapes, abstract forms, and intuitive gestures, evoking a delicate interplay between memory, emotion, and perception. Working on unprimed canvases, he explores the relationship between instinct, body, and material, allowing his gestures to guide the creation of fluid, dreamlike pictorial planes. His technique connects abstract shapes, broken lines, and saturated colours with the subconscious, inviting viewers to navigate the ambiguous tension between form and formlessness. Ce JIAN’s practice examines the visual systems that shape perception, balancing conceptual frameworks with the material unpredictability of painting. In recent years, she has developed a speculative vision of nature at the intersection of history and futurism, mythology and science, biology and robotics. Her semi-abstract non-human figures merge organic and technological forms into transformable bodies, creating fictive realities that are both analytical and materially grounded. #shenhan #cejian #berlinartweek #whitespace #tanyaleighton
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Last day on view @aranyaartcenter 🔥 Still lights me up when looking back at the work being lit for the first time in the exhibition. Follow the magic of fire and see where it leads us to. ******* 📷 Installation view, After Fire, Aranya Art Center April 3 – August 30, 2026 Curators @roy_jiang__ @punkvic Photography Sun Shi #chenzhe #aranyaartcenter
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Drawing inspiration from the anatomical structure of human cranial sutures and astronomical instruments from different civilizations, Chen reconfigures both into distinct vessels for understanding the relation between the celestial and the human: one traversing embodied experience to excavate the textures of life; the other turning to rational measurement to probe the cosmic order. Celestial-cranial Instrument: Scaphe of Light finds its inspiration in the Yangyi (the upward-facing hemisphere), an astronomical device invented by the Yuan dynasty astronomer Guo Shoujing. The artist extracts three structural elements—the pinhole aperture, the graduated ring, and the shadow-catching hemisphere—and re-embodies them within the imagery of the human skull. The work’s interior, marked by fissured bone-like textures, stands in sharp contrast to its flawless, mirror-polished exterior. As the overhead light shifts, reflections and shadows slowly circulate within and without the piece, generating a rhythm oscillating between celestial motion and human breath. 陈哲从人类颅缝的生理构造和古今中外的天文仪器中汲取灵感，将二者转化为理解天人关系的不同路径：前者穿过肉身的体验，挖掘生命肌理；后者诉诸理性的度量，追问宇宙秩序。 《星骨仪：流光盏》的原型为元代天文学家郭守敬发明的天文仪器——仰仪。艺术家从中提取了透光孔、刻度环和承影半球面这三个核心结构，将其解构后重新附身于人类头骨的意象之中。作品内层沟壑丛生的骨感与外层极致光滑的镜面形成鲜明对比。随着上方的光线变化，反射与投影在作品内外缓慢流转，呈现出一种介于天体运行与生命呼吸之间的节律。 ******* Prayers to Fornax: Science, Technology, and Spirituality 天炉座的祈祷者：科学、技术与灵性 curated by @penny.dan.xu, @yifengweiart on view at @hyundai.artlab, Beijing July 18 - December 13, 2026 ******* #chenzhe #hyundaimotorstudiobeijing #HyundaiBluePrize+
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twas too brief a time in Beijing though grateful to have gleaned much from the conversations with collaborators and friends (old n new) + stirring exhibitions (art in wartime China by #符罗飞 #人间画会 ; #段建宇 ‘s inner worlds ; #王拓 ‘s Intensity in Ten Cities immersively displayed). BJ i miss… been a year since i was here for How Modern oral histories. glad to still see a lively riverside and ‘60s housing blocks unchanged. yet i mourned at the absence of #俞孔坚 - good to see his library intact and his values being worked out by his team
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WHITE SPACE is pleased to present Wang Tuo‘s latest multi-channel video installation, Intensity in Ten Cities, at Booth P8 in the Premiere sector of Art Basel 2026. The work is co-commissioned by Canadian Center for Architecture , Montréal and M+, Hong Kong, co-produced by WHITE SPACE, Beijing. @buddhathugtuo @canadiancentreforarchitecture @mplusmuseum @whitespacebeijing
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My current solo exhibition ‘Intensity in Ten Cities’ is on view till June 20th at @whitespacebeijing . One hidden narrative of ‘Intensity in Ten Cities’ echoes the spectral entanglements across time and space found in both ‘The Dream in the Garden’ from ‘The Peony Pavilion’ by Tang Xianzu and ‘Beloved’ by Toni Morrison. At the threshold between what can and cannot be spoken, the moving image summons the viewer into an almost ritualized everydayness: to feel the weight of silence itself, to discern the contours of individuals flattened beneath the textures of history, and to imagine how the living and the dead, the past and the present, might yet redeem one another. In this sense, Intensity in Ten Cities constructs, through its multi-channel moving-image installation, a nonlinear temporal structure that compresses the post–Cultural Revolution era, the post-1989 era, and the post-pandemic present into a single spatial dimension. Past and present no longer unfold sequentially but coexist synchronically; they encounter one another within a “constellation” composed of fragments from disparate moments in time. The emotional entanglements between different generations are thereby released from the constraints of linear historical narration and begin to illuminate one another. To inhabit and move through this multi-screen environment is not to arrive at a moment of definitive revelation. Rather, like the work‘s protagonist, it is to enter a prolonged process of wandering—one that requires gathering fragments of information and clues that risk being continually overlooked. Truth is gradually re-recognized and reorganized through this process, while the frustrations and confusions repeatedly encountered along the way come to substitute for our own sense of historical bewilderment when confronting the past. ‘Intensity in Ten Cities’ is co-commissioned by @canadiancentreforarchitecture and @mplusmuseum for the exhibition ‘How Modern: Biographies of Architecture in China 1949-1979’ curated by Shirley Surya @s__surya, and co-produced by @whitespacebeijing. Special Thanks to @fgarutti and @doryunchong And big shout out to my team!
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🌳 June Exhibitions at Beijing 798 Art Zone (with Map) 北京最近的天气很好 很适合出去走走逛逛 ▫️北京公社（P2-3） @beijingcommune 年轻一代的甜美、轻盈与梦幻 《无伤大雅》志韦｜05.16-07.11 ▪️秘书画廊（P4-5） 最近风很大的新画廊 小独栋 布展很新颖 《Work Work Work》&《Poor Things》 ▫️户尔空间（P6） @hua_international 是798东街上清新的男孩子们 《当云朵如天鹅洁白漂浮》陈锦彬｜05.22-07.17 ▪️LUKE GALLERY（P7-8） @luke__gallery 跨界艺术家笔下炙热又艳丽的浪漫舞台 亮眼且很有吸引力 会让人想起 日内瓦·费吉斯的抓马世界 《王悠个展》｜05.17-07.13 ▫️喜在空间（P9） @xzspace_beijing 是夏日里的一抹明黄 很喜欢这家画廊每次的展览 《布朗热街》谭彼得｜05.09-06.14 ▪️常青画廊（P10-17） @galleriacontinua 是今年春夏798必看系列 总是会很中意精致完整的作品 和用综合材料制作的画框 喜欢展厅随处可见的“得寸进尺”和“走下神坛” 《晨钟暮鼓》倪有鱼｜04.03-06.30 ▫️马刺画廊（P18） @spurs_gallery 2026画廊周北京的最佳展览 是能看懂且有美感的影像装置作品 《浊智》佩恩恩｜05.21-06.28 ▪️空白空间（P1&P19） @whitespacebeijing 今年被大家发现的798最美露台 上一个展虽然结束了 但空间还在 《涅槃》欧阳春｜04.28-06.07 ▫️线路图（P20） #art #artist #798artzone #beijing #gallery
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Ouyang Chun (@ouyangchun25) is a Beijing-based painter who’s been quietly building one of the more singular bodies of work in contemporary Chinese art. His canvases are crowded with demons, fallen angels, gods at war, and ordinary people caught between heaven and hell — pulled from ancient Chinese mythology and his own psychological landscape in equal measure. He started out painting in Xi’an with no gallery, no buyers, and no real foothold — “I felt like the dust falling around street lamps at night,” he told us — and that hunger still shows up in the work. Nothing about it is polished for comfort. “Nirvana” is a special exhibition by WHITE SPACE (@whitespacebeijing) that brings together seven years of paintings and makes the case for how far he’s pushed the medium. He mixes oil with sand, asphalt, and wax, buries personal objects inside the canvas, stretches work across multi-panel formats — all of it driven less by formal experimentation than by necessity, by needing the material to carry more weight than paint alone can hold. The show moves from a near-four-meter abyss at the entrance to another near-four-meter abyss at the end, meandering through multiple dimensions. The sheer variety of visual material is a product of his process. “I don’t start with a fully formed concept,” he says. “Most of it comes from something accidental.” Special thanks to Gallery Weekend Beijing (@galleryweekendbeijing_) for organizing the interview a couple weeks back. The show closes this weekend! Ouyang Chun: Nirvana April 28–Jun 7, 2026 798 Art District D01, WHITE SPACE Beijing 🇨🇳
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This is the video I made this month in collaboration with Mandarin Oriental Wangfujing Beijing Hotel @mo_wangfujing In Beijing, China Thanks a lot to @whitespacebeijing My pleasure, my honor 🙏🇨🇳❤️ #debbiereda #china #artcollaboration #luxurylifestyle #artcollectors
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As Gallery Weekend Beijing (GWBJ) celebrates its 10th anniversary, China’s capital has come alive with a wide-ranging programme of gallery openings, museum tours, performances, panel discussions and, of course, art-filled parties. Founded in 2017, GWBJ is a forward-thinking platform for conversations around contemporary art in China. Each year, it brings together a series of art events centred on a curated selection of new exhibitions from galleries and non-profit institutions across Beijing, fostering public and academic dialogue on the city’s evolving art scene. This year, Flint Culture’s APAC team is honoured to partner with GWBJ once again, spending the week among an inspiring community of artists, gallerists, curators, journalists, collectors and professionals from diverse fields for a deep dive into the ideas, energy and creative pulse shaping contemporary art in China today. Our heartfelt congratulations to GWBJ on this remarkable milestone and its many more decades of inspiration, creativity and continued success! #FlintCulture #GWBJ #GWBJ2026 #Beijing #798artdistrict
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Beijing Art Week. Catching the most beautiful weather 🌦️ - #contemporaryart
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Twelve years ago, I visited Beijing for the first time. Last weekend, I finally visited a second. On the surface, it’s hard to know what exactly has changed over that decade. I largely zipped from the airport to the hotel to the 798 Arts District (@798artdistrict) and back, spending a short 48 hours there for Gallery Weekend Beijing (@galleryweekendbeijing_). Somehow I did find time for a couple of meals with noodles and dumplings, as well as a brief karaoke night out, during which I did not dare to sing. A beer or two later, I was back at my hotel and up the next morning for an early flight out. However short it may have been, the trip checked every box for why I jump at these opportunities to travel and to see. It wasn’t a single work that energized me, but rather this feeling of rediscovery. This sort of revalidation that there is so so so much more than what’s in the “major art centers” of New York and the like. But it also brings back this familiar feeling of being a foreigner yet again. The slight frustration in myself that I can’t speak the language more effectively. What I realized is that regardless of how the city may have changed, I certainly have changed lots over that time. No longer do I feel the lightness of naively visiting new places with wide eyes and for pure fun. Now, there’s a certain responsibility, a pressure to put in more effort to understand the work and the language in order to appreciate the culture behind it. That potential for greater depth is motivating. It’s a work in progress. Hopefully it won’t be another twelve years before I am back. And for those of you near and around Beijing, at least you have another few days to visit Gallery Weekend. Thanks for bringing me out there!
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