All posts tagged: Shanghai

Wallace Chan: Vessels of Other Worlds – A Dual-Site Exhibition in Venice and Shanghai

Wallace ChanVessels of Other Worlds VeniceSanta Maria Della PietàMay 8 – Oct 18, 2026 ShanghaiLong Museum West BundJul 18 – Oct 25, 2026 wallace-chan.com Coinciding with the 61st International Art Exhibition of the Venice Biennale, Wallace Chan presents Vessels of Other Worlds, a dual-site exhibition unfolding between Venice and Shanghai. Opening on 8 May 2026 at the Chapel of Santa Maria della Pietà in Venice, and continuing from 18 July 2026 at the Long Museum in Shanghai, the project is curated by James Putnam and establishes a transcontinental dialogue between two cities historically defined by water, reflection, and exchange. At the core of the exhibition is oil, or Olea Sancta, a substance that, across cultures and religions, has long functioned as a medium of purification, protection, and consecration. Used in rituals in Christianity, Buddhism, Judaism, and Islam, oil embodies a shared understanding of transformation and spiritual continuity. Chan reimagines this material not as substance alone, but as a conceptual thread linking different systems of belief. In Venice, three titanium vessels are installed within the Chapel’s …

Wallace Chan: Vessels of Other Worlds – A Dual-Site Exhibition in Venice and Shanghai

Published by Artomity Magazine

Wallace Chan /Vessels of Other Worlds / Venice /Santa Maria Della PietàMay 8 – Oct 18, 2026 Shanghai /Long Museum West BundJul 18 – Oct 25, 2026 wallace-chan.com To coincide with the 61st International Art Exhibition of La Biennale di Venezia, Wallace Chan presents Vessels of Other Worlds, a dual-site exhibition unfolding between Venice and Shanghai. The project marks the artist’s 70th birthday and introduces a new body of monumental titanium sculpture. Curated by James Putnam, the exhibition extends Chan’s longstanding investigation into material innovation, metaphysics, and scale. At the Pietà Chapel, three titanium vessels reference the Olea Sancta — the sacred oils used in Catholic rites — and are structured around the triad of birth, growth, and death/rebirth. Their biomorphic and architectonic forms evoke the layered cosmologies of Hieronymus Bosch’s The Garden of Earthly Delights, while remaining grounded in Chan’s sculptural language. Installed within the Chapel’s altar space, a triptych of video screens operates as a live conduit to Shanghai, collapsing geographical distance and situating the exhibition within a transcontinental framework. At the Long Museum, the …

Howie Tsui

Published by Artomity Magazine

Parallax Chambers /Art Labor Gallery / Shanghai / Nov 10, 2018 – Jan 8, 2019 / Nooshfar Afnan / As the martial-arts fiction community mourns the recent death of well-known wuxia novelist Jin Yong (1924-2018), it is refreshing to see his characters and stories live on in the works of Vancouver-based artist Howie Tsui. The artist grew up consuming endless hours of old Hong Kong martial-arts movies, including video adaptations of Jin Yong’s books. In retrospect the artist has realised that they were a lifeline to his cultural roots in his birthplace, and still provide a rich source of inspiration. Tsui’s first solo show at Art Labor in Shanghai follows on the heels of his exhibition opening at Ocat Museum of Contemporary Art, Xi’an. The Xi’an exhibition showcases his giant, 20-metre-long, scroll-like video installation Retainers of Anarchy, originally commissioned by the Vancouver Art Gallery. Set in the fabled and now demolished Kowloon Walled City, it depicts in minute detail the lives of ordinary residents and martial-arts practitioners in the self-ruled community. The show at Art …

Nadim Abbas

Published by Artomity Magazine

Chimera Antenna Space, Shanghai, Nov 9 – Jan 10, 2017 By Nooshfar Afnan For his first solo show at Antenna Space in Shanghai, Nadim Abbas again draws heavily on the space between science and fiction. This time an image of the common cold virus, which has caught his attention for some time, becomes the point of departure. On entering the main exhibition space, Human Rhinovirus 14 (2016) bombards the visitor’s senses with the glow of floating beach balls in the air, and the sound of the centrifugal blower fans that keep them up. Abbas projects a visual mock-up of the common cold virus onto the floating balls, creating something between an image and an object. He wanted to translate his near obsession with this image of the virus into a work of art; after lengthy research he decided to use several 3D molecular visualisation programs, one of which, Chimera, gives the show its title. The work straddles scientific enquiry and fiction, the real and the imagined. In contrast the next work in the exhibition, Chamber 667/668 (2016), is quiet, …