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We are proud to share that Christine Sun Kim (@chrisunkim ) has been named a 2026 MacArthur Fellow.

Established by the MacArthur Foundation, the MacArthur Fellows Program awarded its first Fellowships in 1981. The MacArthur Fellowship is an $800,000, no-strings-attached award to extraordinarily talented and creative individuals as an investment in their potential.

The Fellows Program does not accept applications or unsolicited nominations. Nominees are identified by invited external nominators and reviewed by an independent Selection Committee through a rigorous, multi-stage process. Fellows are selected according to three criteria: exceptional creativity; promise for important future advances based on a track record of significant accomplishments; and the potential for the Fellowship to enable or facilitate subsequent creative work.

The award is paid in equal quarterly installments over five years. There are no restrictions on how the funds may be used, and the Foundation does not require specific products or reports. Supporting people rather than projects, the Fellowship gives recipients the freedom to pursue their own creative, intellectual, and professional activities.

Christine Sun Kim’s practice explores the political, cultural, and multisensory dimensions of sound, spoken language, and communication. Across a varied body of work that includes drawings, large-scale murals, video, and interactive installations, she creates visual and conceptual representations of sound. Her practice engages with the complexities Deaf people experience in a world that prioritizes sound and spoken forms of communication.

Many of Christine’s works incorporate infographics, musical notation, and her own graphic lexicon. Her work powerfully conveys the experiences of Deaf people and opens up new ways of understanding sound and hearing.

Our warmest congratulations to Christine Sun Kim.

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📷
Image courtesy of the John D. and Catherine T. MacArthur Foundation.

#christinesunkim #macfellow #macarthurfellowship by @whitespacebeijing

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17 days ago

We are pleased to share that works by LI Liao (@liliao_liliao_liliao ) and LIU Xinyi (@liuxinyil ) are currently on view in the group exhibition “Blues on White: Art Exhibition Celebrating the 30th Anniversary of Taikang Insurance Group,” at the Taikang Art Museum (@tamtaikangartmuseum )

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Blues on White:
Art Exhibition Celebrating the 30th Anniversary of Taikang Insurance Group

2026.8.4–2026.10.7
Taikang Art Museum
1–2F, Building 1, Yard 16, Jinghui Street, Beijing Taikang Group Building

Blues on White reflects on the relationship between art and the individual amid ongoing social transformation. Through each artist’s personal experience and artistic expression, the exhibition uncovers emotional narratives hidden in the subtle details of everyday life. Their works awaken our senses and invite us to reinterpret—and reimagine—our understanding of the past, the present, and the future.

Upon entering the exhibition hall, visitors embark on a journey through five chapters—Skin, Wind, Soil, Trace, and Stay—which together evoke the passage of a human life. The Prologue juxtaposes works by Zhang Yinquan, Xu Bing, and Chen Yifei with Karl Marx’s Das Kapital (First Edition) and Adam Smith’s The Wealth of Nations, positioning the exhibition within the historical relationship between modern China, art, and social transformation. Three chronological milestones—1905, 1942, and 1977—serve as key coordinates in the Taikang Collection’s research framework, establishing historical points of reference before visitors enter the landscape of Chinese contemporary art from 1996 onwards.

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📷 Images:
[1] Exhibition View, © Taikang Art Museum
[2] LI Liao, Art is Vacuum 1 (still), 2013, Single-channel video (black screen, sound), 12′04″.
Courtesy the artist
[3] [4] LI Liao, Art is Vacuum 2, 2013–2015, Single-channel video (color, sound), 2′47″.
© Taikang Art Museum
[5]–[7] LIU Xinyi, Guerrilla Squad (Partially Exhibited), 2018, Line marking trolleys, paint, vinyl, Sichuan peppercorn, white sesame, broken Yunnan Black Tea, Variable dimensions (3 components).
© Taikang Art Museum
[8] [9] LIU Xinyi, Flattened World, 2013, Mixed media, 39 × 30 × 11 (h) cm
© 泰康收藏 TAIKANG COLLECTION by @whitespacebeijing

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a month ago

Congratulations to our amazing Christine Sun Kim (@chrisunkim ), who has been named to TIME’s (@time ) inaugural TIME100 Art list in the ”Innovator“ category. The list recognizes the 100 most influential people in art for 2026.

As Kate Brown writes: ”Christine Sun KIM has become a defining voice of her generation by making visible society‘s relationship to sound—and the realities of Deafness. With humor and poignancy, Kim dismantles assumptions about hearing, language, and access through musical notation, infographics, and American Sign Language.“

Read more via the link in our bio.

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📷 Photo: Doro Zinn-laif/Redux

#christinesunkim #time100art by @whitespacebeijing

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a month ago

We are pleased to share that WANG Tuo’s (@buddhathugtuo ) new work “The Experimental Paradigm of Ownership and Autonomy” is on view at the Fondazione In Between Art Film (@fondazioneinbetweenartfilm ) at Complesso dell’Ospedaletto, Venice, as part of the group exhibition CANICULA, from May 6 to November 22, 2026.

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The Experimental Paradigm of Ownership and Autonomy
2026
double-channel video installation, colour, sound
36‘

Commissioned and produced by Fondazione In Between Art Film, and co-produced by The Soil Collection (@the_soil_collection ) and Blindspot Gallery (@blindspotgallery ), Hong Kong, for the exhibition Canicula, 2026
Courtesy of the artist; Blindspot Gallery, Hong Kong; Fondazione In Between Art Film.

The Experimental Paradigm of Ownership and Autonomy (2026) forms the first chapter of Wang Tuo’s ongoing tetralogy, Critical Theory of Absence, adapted from a novel written by the artist in 2022. The work examines the tension between lived experience and organized political structures through the fictional figure of Qū (the Chinese word for “Torso”), a disabled member of a leftist collective in China.

The two-channel installation situates this narrative within a site once used as a hospital pharmacy, now marked by 2050+’s spatial interventions that evoke simultaneous demolition and construction. The work combines original footage with appropriated mass media, surveillance, and propaganda material. The vulnerability of the body becomes a structural metaphor for the instability of collective memory, where past, present, and future circulate within recurring cycles of control, suppression, and fabricated truth.

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📷Images:
[1] [2] Wang Tuo, The Experimental Paradigm of Ownership and Autonomy, 2026 in “Canicula,” Fondazione In Between Art Film at Complesso dell’Ospedaletto, Venice, 2026. Courtesy of the artist and Fondazione In Between Art Film. Photo © Marco Cappelletti and Giuseppe Miotto / Marco Cappelletti Studio
[3] – [11] Wang Tuo, The Experimental Paradigm of Ownership and Autonomy (still), 2026. Courtesy of the artist; Blindspot Gallery, Hong Kong; Fondazione In Between Art Film.

#wangtuo #canicula by @whitespacebeijing

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a month ago

Installation view of the artist ZHANG Zipiao’s (@zipiaoz ) solo exhibition “Eden 404,” at Song Art Museum (@songart_museum ), on view from September 5 to October 11, 2026.

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The exhibition title draws from two conflicting impulses: “Eden” evokes an ancient imagining of a harmonious, abundant, and whole world, whereas “404” signals rupture—the page not found, the path to utopia null. Their juxtaposition, however, does more than announce the loss of paradise. It places the idea of “friction” at the outset of the exhibition: When the outside world no longer offers a viable way forward, how do forms keep forming? How do paintings unfold in a state of obstruction, and how do individuals keep pushing through mounting friction?

For Zhang, it is not so much the flowers themselves that interest her as how forms keep growing under pressure. Roses, orchids, lilies—floral forms extend outward while being pushed back by the edges of the canvases, the backgrounds, and other blocks of color. Simultaneously expanding and compressing, the paintings are constantly destabilized by the clash of these two forces. Compared to her earlier works, which departed from bodily experience, desire, and the mechanism of looking, this new body of paintings adopts a conceptual framework inspired by plants themselves—one that neither fully succumbs to external forces nor rejects them through direct confrontation, but instead redirects and transforms itself under pressure, absorbing friction into its own becoming.

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📷Images:
installation view, Zhang Zipiao: Eden 404, 2026. Photo: Yang Hao.
Courtesy the artist and WHITE SPACE.

#zhangzipiao #songartmuseum #eden404 taken in 松美术馆 Song Art Museum by @whitespacebeijing

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a month ago

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 by @whitespacebeijing

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a month ago

Check out Christine Sun Kim’s (@chrisunkim ) new site‑specific commission “Have Many Dumb Fights Against Rock” at MMCA (@mmcakorea ), on view through November 29, 2026.

MMCA×LG OLED Series 2026: Christine Sun Kim
Have Many Dumb Fights Against Rock
2026.7.31 - 11.29
MMCA Seoul, Seoul Box

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This exhibition builds upon Kim’s recent practice of site‑specific installation, expanding her drawing into an architectural scale—reconfiguring it not as a discrete image but as an environment where movement, duration, and architectural experience intersect. For this new work at the museum‘s Seoul Box, she combines animation, drawing, mural, audio, text, and OLED displays into a single spatial composition, transforming the act of reading language into a spatial experience.

Kim reinterprets the motion lines from classic comics and the movement inherent in ASL into her own visual grammar. Visual elements that convey speed, direction, collision, and tension function here as formal devices that articulate movement, affect, and relationships within language. As viewers move through Seoul Box, they encounter processes in which language is formed, intersects, and is continually rearticulated within space. Communication thus emerges not as the transmission of fixed meaning but as an ongoing process through which differing perceptions and perspectives are continually negotiated and understood.

The title, Have Many Dumb Fights Against Rock, evokes the endless, unproductive arguments intensified by digital environments—where the ”rock“ stands for the unyielding other, our own stubborn certainties, and the rigid structures that govern language and social relations. Within this shifting space, the exhibition invites reflection on communication as an evolving process, and on how we might coexist with others without erasing difference.

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Images:
MMCA×LG OLED Series 2026: Christine Sun Kim,Have Many Dumb FightsAgainst Rock (MMCA Seoul, 2026) installation view. Courtesy of NationalMuseum of Modern and Contemporary Art, Korea. Photographed by CJY ART STUDIO.

#christinesunkim #havemanydumbfightsagainstrock #mmca taken in 국립현대미술관 서울관 National Museum of Modern and Contemporary Art, Seoul by @whitespacebeijing

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a month ago

We are pleased to announce “Eden 404,” a solo exhibition by artist Zhang Zipiao(@zipiaoz ), presented in collaboration with Song Art Museum (@songart_museum ). On view from September 5 to October 11, 2026, at Song Art Museum, Beijing. The exhibition brings together a new body of oil paintings on canvas from recent years.

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In a time when images are rapidly recognized, named, and categorized in overwhelming numbers, roses or orchids would be among the easiest forms to identify. Yet Zhang subjects the very act of recognition to friction: just as the viewer identifies a flower, it slips away amid overlapping colors, folding and unfolding lines, and a figure-ground relationship in forever flux. Her paintings are not a simple refusal of familiar images. Rather, they accept that familiarity and shift it from within. The resulting uncertainty unshackles images from any singular reading, positioning the act of looking within an ongoing process of colliding forces and reconfiguring forms.

In this sense, the rupture suggested by Eden 404 moves beyond a figure of speech to become a condition that sustains the internal dynamics of a painting itself. Zhang is not concerned with fixing this “error,” nor is her use of the floral motif a promise of some ideal, perfect state. Compressed colors, folded lines, overlapping forms, and unresolved images—through these formal devices, Zhang lets friction remain embedded in her paintings. Growth, then, no longer signifies an unconditional expansion outward, but a continuous happening that undergoes endurance, resistance, and adjustment: external pressures don’t disappear, and forms never give away. They wrestle, and they converge. Within this tension, both paintings and individuals retain the possibility of continued growth.

#songartmuseum #zhangzipiao by @whitespacebeijing

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a month ago

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.

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📷 Installation view, After Fire, Aranya Art Center
April 3 – August 30, 2026
Curators @roy_jiang__ @punkvic
Photography Sun Shi

#chenzhe #aranyaartcenter taken in Aranya Art Center by @whitespacebeijing

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2 months ago

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。

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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

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#chenzhe #hyundaimotorstudiobeijing #HyundaiBluePrize+ taken in Hyundai Motor Studio Beijing by @whitespacebeijing

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3 months ago

We’re delighted to share that two works from the Celestial-cranial Instrument series by artist Chen Zhe (@chenzhe_towardsevenings ) are currently on view in Prayers to Fornax: Science, Technology, and Spirituality, the 2025 Hyundai Blue Prize+ exhibition curated by Penny Dan Xu (@penny.dan.xu xu) and Yifeng Wei (@yifengweiart ).

The exhibition title pays tribute to the Fornax constellation, which was named after the Latin word for “laboratory stove” or “furnace.” To name a celestial body after a technological achievement marked a turning point in the history of human knowledge. This exhibition invites audiences to explore how scientific inquiry and spiritual imagination—drawing from traditions, folklore, and mysticism—can conjure new ways of thinking about technology and the world we inhabit.

The show runs from July 18, 2026 through December 13, 2026.

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With the body as her first measure, Chen Zhe’s recent practice continues to explore the possibility of communication between the human and the transcendental.

The earliest methods of astronomical observation lay in reading one‘s own shadow length and orientation during the day, and tracing celestial motion across the sky at night. The artist regards this practice of measuring with the body as a critical moment in which finite individuals encounter infinite space-time, giving rise to her sculptural series, Celestial-Cranial Instrument, operating across multiple scales.

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.

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📷Images:
[1] - [5] Image courtesy of Hyundai Motorstudio Beijing @hyundai.artlab

#chenzhe #hyundaimotorstudiobeijing #HyundaiBluePrize+ taken in Hyundai Motor Studio Beijing by @whitespacebeijing

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3 months ago

Last weekend to see Chen Zhe’s (@chenzhe_towardsevenings ) commissioned new work “Meeting I ” in the group exhibition “Threading Inwards ” at CHAT (Centre for Heritage, Arts and Textile) (@mill6chat ), on view through 28 June 2026.

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Threading Inwards
CHAT (Centre for Heritage, Arts & Textile), The Mills, Hong Kong, China
Co-curated by Wang Weiwei (@weiweitoutou ), with Eugene Hannah Park, Seiha Kurosawa(@seihai ) and Wang Huan (@wanghuan_unnamed ).
2026.3.21-6.28

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Meeting I
2025-2026
paper pulp, mineral powder, stone-based clay, beeswax, natural casings, metal pins, bodhi seeds, bone fragments, pigmented silicone, hemp, cotton thread, found fabric, gauze, bamboo.
Commissioned by CHAT

”All real living is meeting. “- Martin Buber

Meeting unfolds between people, but also through encounters with the forgotten self, or with a divine presence. Whatever form it takes, meeting asks one to open the self within a relation whose arrival is never guaranteed, to redraw one’s boundaries, and to bear the pain and weightlessness it brings.
In religious traditions and folk beliefs, the skull is often seen as the passage through which the soul enters and leaves the body. Drawing from this, the work takes the open skull as a state of bodily and spiritual openness, and returns spiritual communication to the scale of everyday human experience.
Two connected heads hover in the air, while the cloth that once held them rises from the ground as well. The skulls meet through their torn fontanelles, a wound of self-exposure and a hinge of mutual pull at once. The Bodhi seeds, bone fragments, and fine pins pierce the lower face, marking and suturing this ritual moment with a visceral imagination.
Three broken groups of words (Re- / membering, not yet / Wake, I / be / come / through You) are embroidered in red thread onto the cloth below. In different arrangements they generate shifting meanings, so that each meeting becomes an occasion to recognize the self, the other, and the relation between them anew.

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📷Images:
Artist image courtesy: CHAT (Centre for Heritage, Arts and Textile), Hong Kong
Work image courtesy: Chen Zhe

#chenzhe #threadinginwards taken in CHAT 六廠 by @whitespacebeijing

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4 months ago