Reflections on Three Years of the IAAC Now that the cycle for the 2016–17 International Awards for Art Criticism is complete, it seems like a good moment to reflect on the experience of the last three to four years. The issues to which we always seem to return include the criteria for selection – given that all entries are judged in strict anonymity – and the nature of the judging process. To start off with, it may be worth describing the judging process, as this seems to determine something about the nature of the selection and, ultimately, the choice of the winners. At the initial stage, a long-listing exercise is carried out by members of the committee in London and Shanghai together with local critics and some of the judges, who reduce the total number of entries in both languages from 200 to around 50. In order to facilitate the judging, the long-listed Chinese entries are then translated into English. In the final round, which takes place in Shanghai, all five judges sit around the table, with Board members of the IAAC and associates, to work out a ranking of the shortlisted essays in English and in English translation from the Chinese, from which the eventual Award winners emerge. Returning to the issue of criteria, we stand by the principle that all entries deserve equal consideration, regardless of the writer’s personal background, language or geographical origin. Yet this is not as simple as it sounds, as it seems that a considerable proportion of the entrants – in real life, as in this competition – are not writing in their native tongue, whether that may be Chinese or English. Thus, we receive numerous essays in English from continental Europe, the Middle East and further afield, as well as from the Chinese diaspora. To complicate matters further, certain members of the combined Chinese and English-speaking juries are inevitably limited to adjudicating the Chinese-language entries in English translation. One of the more widely accepted criteria relates to the clarity of the writing, and it has been interesting, and somewhat unexpected, to find that much of the discussion has been often concerned with the clarity and ‘voice’ expressed by the review, as much as by the reviewer’s stylistic virtuosity or powers of observation. This is particularly relevant in cases where an author has to surmount linguistic barriers, to communicate with an audience, although it might also be argued that all criticism is a matter of translation at some level! A seemingly contentious attribute of much ‘critical’ writing is description or, to put it another way, the extent to which the critic aims to provide a thorough textual account of what is present in the exhibition and does not assume that the reader has seen the show, and would be aided by reproductions of the works. For some judges, if it fails to offer an opinion or a critical perspective, description does little more than the standard press release. Others, however, feel that paying close attention to the work itself can sometimes lay a trail that leads us on to a different understanding. The strategy of the critic adopting this latter approach might be to strip away the layers of representation surrounding the work, and then to find a way of articulating what actually remains to be considered. Relevant aspects might extend to details such as the nature of the space, the qualities of finish and display, and even the weather on the day of viewing the work. The best criticism of this kind understands where usefully to draw the line; that is to say, it understands how to set its tolerances in respect of the particularities of the work. ‘Tolerance’ is a useful and potentially revealing term with regard to criticism, as an indicator both of the level of detail that the critic will need to understand and scrutinise in the work from a material perspective, and of the extent to which they may be prepared to entertain, and tease out, the inherent ambiguities of a work. Tolerance also introduces the idea of the limit and the margin, and the sense that while we never, sensibly, know where the limit might be, we do speculate as to the extent of the margin, and operate within it to the best of our ability. The notion of tolerance also introduces some questions of politics into the discussion, and a sense that has been expressed by just about every one of the judges with whom we have worked over the past three years – that art and criticism are significantly diminished if they remain a closed loop between the work and its commentary. Self-evident as this may seem to be, the value of a piece of criticism is dependent not only on the detailed attention it pays to the way in which a work is installed but also to the broader social and economic conditions and circumstances under which it – and the accompanying commentary – have been produced. It is for this reason that the IAAC requires entrants to write about exhibitions taking place within the time frame of a year, reinforcing the position that criticism is an act of the present, designed to coexist with the work that it addresses, and to be read in tandem with the apprehension of the work, or a close memory of it. Recent developments that have attracted critics’ attention include the reception of Chinese art internationally and the strategies deployed by Chinese artists to engage with new networks and emerging debates. Many entries from within China itself have addressed the recent advent of biennial-type exhibitions in the country, as well as the spectacularly fast growth in the number of private museums and a gallery culture. This growth is evidenced by the large numbers of exhibitions that become available for debate. However, some critics also express concerns about the pace of development and lament the too speedy adoption of modes and approaches to exhibition-making, deemed Western in style. One common complaint is that, while many Chinese artists working internationally may over-identify and associate with a folkloric Chinese vernacular, exhibitions in the country are all too happy to jettison more particular, and culturally specific, modes of display in favour of what some might see as a bland, Western, whitewash, art fair aesthetic. This interplay between cultural specificity and more universal concerns has engaged the judges in relation to the level of referencing that might be desirable for a newspaper-length review. How much foreknowledge of the work does a critic need to have? And how should that foreknowledge be deployed? Exhibition reviews are not a substitute for direct engagement with an artist’s work, but they can, and should, be enriched by their author’s knowledge and experience, as well as a careful examination of the physical and socio-political context. This, in turn, raises the question of the value of applying existing, mainly theoretical, frameworks to a piece of critical evaluation only 1,500 words, or 2,000 characters long. Here, the judges have tended to react against anything that might detract from the immediacy and accessibility of the writing, and against the use of citation, as inaccurate shorthand for complicated ideas that would be better developed in a different format. Interestingly, the role of the critic has so far been rarely addressed in our discussions about how the art world might make a better job of persuading government and the public of its significance and value in our culture and society. We have learned many other lessons in these three editions of the prize. One of them is about the essential role of publications and editors: publications, to foment and disseminate discourse, and editors, to make that discourse intelligible. And we have come to realise that the best publications are those that appear to be read by their contributors; those in which there seems to be an ongoing internal dialogue, and in which critics are under some kind of pressure to position themselves in relation to other critics, as well as their audiences, and work they are addressing. So far, we have somewhat self-consciously avoided too much consideration of criticism in digital and other social media platforms. We shall probably need to have a fuller engagement with these and other forms of writing about art, from poetry to Twitter, if we are to succeed in achieving a more broadly shared perception about the value of criticism to art and, by extension, to other spheres of life. However, the field is large, and our work has scarcely begun! At this point, we must leave it to the reader to judge for themselves the fruits of our collective endeavour. In doing so, we wish to express our deep gratitude to the numerous individuals and organisations that have worked with us in the realisation of this exciting, ongoing project. First, we must thank the competitors from China and all parts of the world, for taking the chance of submitting their essays to unusually fierce scrutiny. Then, we owe an equal debt of gratitude to our five distinguished jury members: Ute Meta Bauer ( Singapore ), Cao Yiqiang ( Hangzhou and Hong Kong ), Brian Dillon ( London ), David Elliott ( Berlin ) and Philip Tinari ( Beijing ). Our thanks go also to the practising writers and critics who assisted the IAAC Board and staff with the first round of selections in London and Shanghai – namely, Emily Labarge and Chris Fite-Wassilak in London, and Chao Yiqiang and Philip Tinari in China. None of this would be possible without the generous and unwavering support we have received from our sponsors, the Shanghai Minsheng Bank, the Shanghai Minsheng Art Foundation ( Gan Zhiyi ), the Anxin Trust Co. Ltd. ( Amy Gao ) and the Shanghai Pudong New Area People’s Government. No less important to us has been the expert administrative assistance of the staff at the Shanghai Minsheng Art Museum ( Su Xiaohe, Wang Dan, Gu Jia and Wang Weijia in particular ) and their counterparts at the Royal College of Art, London, including, most notably, Anne Duffau. We wish also to record our thanks to our Company Secretary, John Shield, of gunnercooke llp, and Marina Bru Cruz, SRA Registered European Lawyer. Finally, we should also like to thank: the translators of the English texts into Chinese, Qianfan Gu, Yedan Huang, Hanlu Zhang and Shuang Li; the translators from the Chinese into English, Richard Dobson and Daniel Szehin Ho; our dedicated editorial assistants, Anne Duffau and Gu Jia; and our copy-editors, Lise Connellan ( English texts ) and Yuting Zhang, Jianmei Lei and Qi Yong ( Chinese texts ). Henry Meyric Hughes ( Chair ), Lewis Biggs ( Treasurer ), Juan Cruz, Ling Min, Board members; and Gan Zhiyi and Amy Gao, members of the Executive Committee of the International Awards for Art Criticism ( IAAC ), Shanghai and London. Location of Writers ( in English ) 投稿人所属地区 ( 英文 ) 벌셥論減팀쬠쉽（ IAAC ）힛쾨저넋裂럽鋼 순黨2016-2017쾨똑돨벌셥論減팀쬠쉽（ IAAC ）綠뺌途찮얌듐，癩苟慨빎攣角쀼寡대럽鋼侶寧쉽淃법鞏힛逞愷쾨쒔저돨봤珂샙댁 乖쳬삔路듐쬠甘돨狂痙관윅魚朞깃硫——순黨杰唐尻멨엇拮목潾磵콴츰齡똑쏵契팀——鹿섟팀직넋돨昑醴댁 앎횻乖쳬닒팀직넋역迦綱폅，凜槨侶엄땍죄魚朞돨昑醴鹿섟離老삿쉽諒돨朞嶝댁瞳놓퍅쌓뙈，譚쬈뛔섟베좃뒈돨IAAC莉官삔냥逃宅뎠뒈돨팀쬠소섟寧硅팀官묾谿젬癎，닒200튠櫓亶匡尻멨櫓쑹朞놔댕獨50튠鱗틔댁槨죄긱黨팀，삿朞돨櫓匡尻멨삔굳럇陋냥亶匡댁離빈寧쫴팀朞瞳베앨契，槨鑒巧훙돨팀考젯谿IAAC莉官삔냥逃묾谿累놔흙鍋鱗틔츰데，깻닒櫓朞놔離老돨쉽淃돤寮댁 쀼돕唐밑（ 魚朞 ）깃硫돨狂痙，乖쳬潾亮돨覩橙角꼇밗鱗諒돨몸훙교쒼대刀喇샀윱都뒈흔부，杰唐尻멨엇삔寧柬谿훗댁횔랍茄숟폅윱앎꼇흔甘杰喇컸척숌데죄，攣흔瞳굶쎌팀쬠쉽櫓，앎唐宮뎠寧꼬롸尻멨훙깻청唐痰儉쳬돨캡刀윱畇鱗，꼇쬠角櫓匡뻘角亶匡댁凜늪，乖쳬澗돕죄윱菱킹碌댕쩍대櫓땜켄逞뫘陶뒈혐鹿섟빽픽盧췽돨亶匡멨숭댁즈憐숭慤긴돤뫘속릿憧돨角，譚櫓匡섟亶匡팀官莉냥돨팀官삔櫓돨캐硅냥逃怜콘弩옜櫓匡鱗틔돨亶匡陋멨뚤맡鱗틔쏵契팀댁 굳뫘속밤렉쌈肝돨페櫓寧몸깃硫橙宅畇鱗돨츠횅昑唐밑，즈훙먁돕唐혹랍棠唐硅놔빎雷죕돨角，瞳댕뜩鑒팀쬠匡覽櫓，밑鬧듐꼇쏭쭝黨츠횅돨밖듐宅“랙”，뻘唐쑹纜돨匡루宅츌희돨밖뀁제댁談페角뎠寧몸鱗諒극伎낚督刀喇돨崍강鹿긱宅뗍諒뭇繫，쐴밗샀冀杰唐돨팀쬠瞳캐蘆넋똑엇옵柬槨럇陋돨끓膠！ 붤뜩팀쬠匡覽杰야唐돨寧몸慨빎唐轢累돨橄昑앎角췄甘，샀諒뻣喇裂，팀쬠훙瞳뜩댕넋똑玲瞳槨嵐응杰너君돨宮밑慤膠瓊묩寧몸낱뒀돨匡俚昑션쩌，깻뚤宮밑鱗틔쏵契疼눼鱗，할꼇솝땍뗍諒綠쒔였법죄侶寧嵐응댁뚤黨唐硅팀官윱綱，흔벎췄甘轟랬瓊묩였랬샀툽팀昑돨柬柰돨뺐，앎宅寧겹돨劤壙멨轟嫩；랍唐硅팀官橙훰槨，쵱학밑鬧鱗틔굶唐珂옵多돔뗍諒끓꼇寧湳돨숨썩댁훰谿빈寧蘆였랬돨팀쬠훙옵콘삔꽃혤侶湳돨꿉쫠：괆혼鍋훈瞳鱗틔鷺鍋돨꿔꿔냈甘，횔빈桿暠殮寧令돤뗍諒鋼옘돨宮밑코휭，관윅왕쇌돨굶醴대냥틔섟嵐냈돨醴좆대逞밖칡鱗틔뎠莖돨莖폭된玖쌘댁侶寧잚팀쬠돨離솅裂뇹섦角땠돤瞳부뇹唐槻뒈뺍헌썹窟，冷앎角綱，흔부뚤宮밑鱗틔돨景喝昑너君관휭돨率檄댁 “관휭”角唐밑팀쬠돨寧몸唐痰할야풉瞳쌀刻昑돨츰늦，鱗槨寧刻팀쬠훙닒寧몸膠醴돨실똑杰矜잿썩대玖뀁寧숭鱗틔돨宮밑玖쌘，鹿섟儉쳬옵콘拳狼瞳부蘆넋똑隊있대샀乫잿寧숭鱗틔杰미唐돨꼇츠횅凜羹댁谿珂，“관휭”腦蕨훙썽죄唐밑“唐掘”섟“긋썹”돨잿쿡，깻멩据훙쳬：쐴밗乖쳬닒먁列湛陶轟랬돤列썹掘부瞳，乖쳬돨횅옵鹿股꿎긋썹돨렀鍋，깻瞳늪렀鍋코쐴乖쳬杰콘쏵契頓鱗댁 “관휭”돨매쿡谿珂冷쉥漣撈돨寧硅狂痙던쏵擎쬠裂櫓， 랍瞳법鞏힛쾨쇌，宅乖쳬묾慤법돨첼寧貫팀官腦깊甘법侶湳돨잿쿡：論減宅툽팀삔굳鞫廖뒈슉목，솝흔페瞳鱗틔宅팀쬠裂쇌괏넣寧蘆룐균돨琦뻔돨뺐댁侶寧밖쿡菱慨빎붤츠鞫돨깊刻，寧튠팀쬠돨송令꼇쏭嵐윳페뚤寧숭鱗틔돨零렘랬돨玖菓밑鬧，谿珂冷唐윳黨맡鱗틔鹿섟宮壇팀쬠杰끓돨뫘밤윔돨삔係숭뵨쒔셌뻔쓱댁攣角凜槨흔늪，IAAC狼헹꽝힙諒杰팀畇돨嵐응伎瞳寧쾨돨珂쇌코杰랙，닒랍퓻딧팀쬠角寧蘆뎠苟돨契槨，角굳셕냥宅페瓊섟돨鱗틔杰묾닸돨，깻할角瞳쥴較샀쐤퍅쀼壘侶숭鱗틔돨谿珂굳敦뗍댁 쐤퍅多폅팀쬠썹鬧雷돨劤랙嵐관윅櫓벌論減굳벌셥各썹杰쌈肝，섟櫓벌論減소槨죄曲嵐劤돨밑溝貢뵨꽝宅劤菫돨擎쬠杰꼬憾돨몹蘆꿉쫠댁IAAC澗돕붤뜩윱菱櫓벌돨尻멨엇瓊섟쐤쾨윱瞳벌코杰菫폅돨뺌읜匡뺏宅몹蘆崗쾨嵐잚謹돨嵐응，鹿섟降檀쳄減반瞳鑒커즈훙潔槨밖岺돨우醵藤낀댁侶寧랙嵐옵鹿붤츠鞫뒈닒옵묩擎쬠돨嵐응鑒커裂텁댕돤鹿丹聯댁횔랍，唐硅팀쬠훙腦뚤랙嵐돨꼍램깊刻밑鬧，깻갊潔뚤黨杰館돨鮫렘近駕섟嵐응齡鱗돨친駕宅였랬돨꽃케법黨祺醵댁페櫓寧몸묾谿돨꼇찮角뎠冀뜩삶禿黨벌셥論犬돨櫓벌論減소옵콘삔뚤櫓벌駕돨췽粳렘喇법똑훰谿，벌코돨몹蘆嵐응홱있盧黨테폴야唐뫘景땍돨匡뺏橄昑돨嵐냈친駕，瘻랍허蕨寧蘆옵콘즈훙먁돕랩瓘돨대鮫렘돨대쒔법뢴干돨대論꺽삔駕돨쳄欺댁 侶蘆匡뺏景嫩昑宅뫘속벌셥밑溝뺏裂쇌돨宮빳鱗痰綠횔즈팀官쳬뫘속밑鬧匡覽돨多痰彊틱，깻옵콘凜늪랍뫘속허懃黨寧튠獗劤壙괩돛寧겹낀똑돨팀쬠댁寧몸팀쬠훙矜狼뚤寧숭鱗틔唐뜩邱숨裂츠？랍컸湳돨邱숨裂츠棠맡等湳굳꼬憾？嵐응팀쬠깻렷角宅寧貫論減소돨鱗틔殮쌈젬能돨競덜틔，횔랍劍쳬옵鹿，冷극伎굳페鱗諒돨列街宅쒔駱鹿섟뚤페膠잿섟삔漣撈교쒼돨凌玖옘聯杰념茄댁럽법윱，侶앎끓죄侶湳돨狂痙：瞳寧튠쏭唐1500俚亶匡샀2000俚櫓匡돨팀쬠匡覽櫓頓痰君냥돨대鹿잿쬠槨寮돨움솥돨송令부瞳댁瞳늪，팀官쳬혈蕨黨럽뚤옵콘삔숑愆畇鱗돨殮쌈宅轟강돨寧학，腦럽뚤쉥多甘痰鱗릿憧밖듐돨꼇硫횅숌畇댁唐혹돨角，逞쏟瞳乖쳬돨擎쬠櫓붤瓊섟팀쬠훙杰곁蘿돨실，鹿즈論減썹콘뭘뫘봤뒈綱륩漣리宅무露唐밑論減瞳乖쳬돨匡뺏宅삔櫓돨路狼昑섟송令댁 瞳법鞏힛쎌쉽淃뎠櫓，乖쳬冷俱혤죄붤뜩페儉돨싱祁댁페櫓寧몸角밑黨놔경膠섟긍서杰폅돕돨극狼鱗痰：놔경膠옵鹿鯨폅쬠甘깻쉥페밤렉눈꺄，랍긍서橙콘쉥쬠甘돨匡俚긴돤츠죄弄땠댁乖쳬腦훰街돕離봤돨놔경膠角컸硅였윱獗角굳페尻멨諒杰敦뗍，페櫓관벵淪넣崎돨코꼬뚤뺐，랍鱗槨匡覽鱗諒돨팀쬠훙삔肝돕캐蘆箕제，쏵랍쉥菱宅페儉팀쬠훙대뗍諒鹿섟匡覽杰瓊돕돨鱗틔쉔접밑溝댁폰쏟槨岺，乖쳬떼샀뜩샀唐雷街뒈긁출쬠섟컸硅瞳鑒俚첵竟섟페儉슥첵竟틱憩돨팀쬠댁흔벎乖쳬拳狼瞳論減팀쬠켄逞페儉삶렀노돨송令렘충냥묘댐냥뫘밤렉돨묾街，샀冀冷狼쉥侶잚팀쬠섟페儉近駕돨論減匡覽（ 닒家멱돕股景 ）케흙옘좆돨렀鍋裂櫓댁횔랍，論減팀쬠돨렀鍋흔늪裂밤，乖쳬돨묏鱗꼽먼먼폅꼍！ 늪옻，乖쳬극伎횻굶蝎돨뗍諒菱契털뙤乖쳬섞竟클제돨냥벎댁瞳늪，乖쳬쏴蕨鹿苟瀨뜩몸훙섟샙뭐鈴鹿돨쓴雷，먁剋儉쳬宅乖쳬깻쇘젬癎，묾谿다냥IAAC侶寧샴땡훙懃대꼇뙤넣崎돨淃커댁看邱，乖쳬극伎먁剋윱菱櫓벌섟各썹몹뒈돨꽝힙諒，儉쳬겉壞샙삔尻뒵匡覽，鹿퍅繫법섐페拮옥돨꿴댁谿珂，乖쳬冷狼먁剋굶쎌돨巧貫쌤놔팀官，관윅劤속팃NTU뎠덜論減櫓懃반낀魁景》첨檢》괴랑（ Ute Meta Bauer ）대櫓벌쳄減欺牘論減훙匡欺牘牘낀꿀雷퓻（ Yiqiang CAO ）대亶벌Cabinet憧羚긍서꼈윰람》둠질（ Brian Dillon ）대겝주鱗소쇗꿉嵐훙덖郭》간적걔景（ David Elliott ）대談쬈薑뎠덜論減櫓懃반낀逕醉倒（ Philip Tinari ）댁쥼棍，乖쳬뻘狼먁剋鹿苟윱菱쬈뛔宅베돨鱗소섟팀쬠소葵燎IAAC莉官삔섟묏鱗훙逃供냥看쫴팀朞묏鱗：쬈뛔돨Emily Labarge宅Chris Fite-Wassilak，鹿섟櫓벌돨꿀雷퓻宅逕醉倒댁 乖쳬腦狼먁剋鹿苟銅燎데貫돨땋제連넣，관윅櫓벌췽陵契믈룀唐掘무鱇대베췽論減샘쏜삔대갛斤斤辜믈룀唐掘무鱇鹿섟베팻땜劤혐훙췽漣리댁늪棍，乖쳬뻘狼먁剋베췽君덜쳄減반돨攻데대믓솅대珙寬솅대坑貴뵤된훙鹿섟亶벌뽈소論減欺牘鹿Anne Duffau槨看돨묏鱗考뚠瞳契漣렘충杰瓊묩돨淚撚葵燎댁乖쳬谿湳冷狼먁剋IAAC돨쵤蝎考뚠，관윅윱菱Gunnercooke쪼可契돨John Shield섟쪼可솰밗애鬧꿍킹碌쪼可Marina Bru Cruz댁 離빈，乖쳬뻘狼蕨鹿苟훙却깊댐盧懃돨剋雷：亶陋櫓陋諒믓沚럴대뼝僞덮대蠟벼쨋섟쟀康；櫓陋亶陋諒Richard Dobson섟부鋼羅（ Daniel Szehin Ho ）；긍서燎잿Anne Duffau섟믓솅；亶匡긍Lise Connellan섟櫓匡긍蠟黛宴대잉쉔첨대啖敖댁 벌셥論減팀쬠쉽莉官삔 쏴폘 寮柩：뷕적》첨쟁옹》金薑（ Henry Meyric Hughes ）꼿蛟：쨌弄薑》귄목薑싱竿 （ Lewis Biggs ）莉官삔냥逃：빚갛》옹쨀律싱竿（ Juan Cruz ）대쥡츌싱竿（ Min LING ）莉官삔긍棍냥逃：맵例碍（ Zhiyi GAN ）대멕낚（ Amy GAO ） Location of Writers ( in Chinese ) 投稿人所属地区（ 中文 ）
Exhibition Reviews Annual 3 A publication containing a selection of entries from the Second International Awards for Art Criticism ( IAAC 3 ), 2016 www.iaac-m21.com Edited by Lewis Biggs, Juan Cruz, Henry Meyric Hughes and Ling Min, for the IAAC Board, with Gu Jia and Anne Duffau for Minsheng Art Museum and the RCA Copy-edited by Lise Connellan Website designed by Stinsensqueeze Publication designed by Shujie Sun Translations into Chinese by Qianfan Gu, Hanlu Zhang, Yedan Huang, Shuang Li Translations into English by Richard Dobson, Daniel Szehin Ho, with Henry Meyric Hughes Proofread by Gu Jia, Lise Connellan, Henry Meyric Hughes A publication of the International Awards for Art Criticism Ltd. ( IAAC ), in partnership with the Shanghai Twenty-First Century Minsheng Art Museum, Shanghai and the Royal College of Art, London. With the support of the Shanghai Minsheng Art Foundation, China Minsheng Bank ( CMBC ), Anxin Trust, Shanghai Artemis Art Center, and the International Association of Art Critics ( AICA ). The board of the IAAC would like to thank Anne Duffau, Zhiyi Gan, Amy Gao, Gu Jia, Lise Connellan, Aine Duffy, Michael Turco, Janna Taylor. ©2017 the editors and authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means mechanical, photo copying or otherwise, without prior permission in writing from the publisher and the board of the IAAC. The board of the IAAC have made every effort to trace copyright holders, but if any have been overlooked, they will be pleased to make the necessary accreditations at the first opportunity. 쾨똑嵐응팀쬠3 놔경코휭관윅뒤힛쎌벌셥論減팀쬠쉽흙鍋匡覽 ( IAAC 3 ), 2016 www.iaac-m21.com 긍서：IAAC莉官삔 쨌弄薑》귄목薑대빚갛》옹쨀律대뷕적》첨쟁옹》金薑대쥡츌；베췽君덜쳄減반 믓솅； 亶벌뽈소論減欺牘Anne Duffau 멨：Lise Connellan 셕: 建閭轢 陋諒： Richard Dobson, Daniel Szehin Ho，믓沚럴，蠟벼쨋，뼝僞덮，쟀康 叫뚤：믓솅, Anne Duffau, Henry Meyric Hughes 굶蝎譚벌셥論減팀쬠쉽莉官삔대베췽君덜쳄減반섟쬈뛔뽈소쳄減欺牘젬북놔경댁 굶蝎놔경삿돤櫓벌췽陵契대베췽論減샘쏜삔대갛斤斤辜대베逞쳄論減랙嵐櫓懃鹿섟벌셥論減팀쬠葵삔땋제連넣댁 벌셥論減팀쬠쉽莉官삔景깎츤剋鹿苟훙却뚤굶蝎놔경돨마놔： Anne Duffau대맵例碍대멕낚대믓솅대Lise Connellan대Aine Duffy대Michael Turco대Janna Taylor –2017긍官삔宅鱗諒댁경홈杰唐댁灌쒔벌셥論減팀쬠쉽莉官삔蝎충冀옵，맡놔경膠훨부꼬롸꼇돤릿齡대零黨쇱乞溝固，샀鹿훨부癎묏꾸鱗샀릿丹된近駕쏵契瘻랙댁 IAAC莉官삔綠쐴제瀏巨경홈넣唐諒，흔唐훨부瑙짤，儉쳬쉥黨뒤寧珂쇌쏵契극狼돨훰聯댁
Wlademir Dias-Pino: O poema infinito Museu de Arte do Rio, Rio de Janeiro 쟁獨훑코짭論減꺽膠반 쟁獨훑코짭 01.03.16 – 10.07.16 Paul Strand: Photography and Film for the 20th Century Victoria and Albert Museum, London “괏쭈》薑景읊돠：20各셩돨緞宅든緞” 郭뜩적饑뵨각랑껍景꺽膠반 쬈뛔 19.03.16 – 03.07.16 Esperanto Rowing Gallery, London 쬈뛔 19.02.16 -19.03.16 Diagonal Noise Castlefield Gallery, Manchester 참낱薑景 27.05.16 -17.07.16 8th Three Shadows Photography Award Exhibition: Immeasurable Three Shadows Photography Art Centre, Beijing “轟좆”2016쾨똑뒤검쎌힛緞慊緞쉽鱗틔嵐 힛緞慊緞論減櫓懃 굇쑴 09.04.16 – 03.06.16 Kameelah Janan Rasheed: On Refusal A.I.R Gallery, Brooklyn 꼈쨀옹주 21.04.16 – 22.05.16 Mary Heilmann: Looking at Pictures Whitechapel Gallery, London 겜싱慊뺌읜 쬈뛔 08.06.16 – 21.08.16 Stuart Whipps: Isle of Slingers Spike Island, Bristol 薑暠랑景》쁨팹薑：“꺼景읊돎” 꼈쟁薑辜 09.07.16 – 18.09.16 Palestinian Art in Israel: New Generation Umm el-Fahem Art Gallery, Umm el-Fahem 鹿죗돨것잇薑譴論減：劤덜 魁캠》각랬캠論減뺌읜 09.04.16 – 09.11.16 Sebastiao Salgado: Genesis Los Jardines del Nautico, Gijon 힘것薑뒝갰》힉랑속뜩눼各셩 句븅 07.07.16 – 03.09.16 The Fola Collection Private online collection n/a Oct-Nov 2015 Inside Out Castlefield Gallery, Manchester 譚코랍棍 열렵랑돠뺌읜 참낱薑景 04.03.16 – 24.04.16 Peter Wachtler: Secrets of a Trumpet Renaissance Society, Chicago 蓮속며 07.02.16 – 03.04.16 Lenora de Barros Oficina Cultural Oswald de Andrade, Sao Paulo 加괏쭈 02.05.16 – 30.07.16 Cerith Wyn Evans White Cube, London 힘쟁薑》뺙람》간匡薑 겜접렘뺌읜 쬈뛔 23.09.15 – 15.11.15 teamLab: Living Digital Space and Future Parks Pace Gallery, Menlo Park, CA 쳔쭤탕옹 06.02.16 – 18.12.16 Conceptual Art in Britain,1964–79 Tate Britain, London 亶벌매쿡論減1964-1979 揭景君덜쳄減반 쬈뛔 12.04.16 – 29.08.16 Transmissions: Art in Eastern Europe and Latin America, 1960 – 1980 Museum of Modern Art, New York 눈꺄:땜킹뵨윗땀쳄碌돨論減,1960 – 1980쾨 큔獨君덜論減꺽膠반 큔獨 05.09.15 – 03.01.16 Tianzhuo Chen: Ishvara Long March Space, Beijing 냈莖綸:菱瞳莖 낀瀝왕쇌 굇쑴 06.09.16 – 07.10.16 Canvassity Art Exhibitions NBC Centenary House, Abuja 각꼈솔 Sep 2016 Goshka Macuga: To the Son of Man Who Ate the Scroll Fondazione Prada, Milan 쵠읊 04.02.16 – 19.06.16 Ren Lun: So You Can’t See The Gallery on the Corner, London 훨쬈몸嵐“杰鹿콱였꼇숨” 쬈뛔쌍실뺌읜 쬈뛔 2015 Guerilla Boys: How many Female Artists do you know? Speedy Grandma Gallery, Bangkok 참믄 19.12.15 -15.01.16 Uri Aran: Two Things About Suffering Sadie Coles HQ, London Uri Aran몸嵐“밑黨욈켜돨좃숭慤” 힉둑옰랑薑HQ 쬈뛔 01.09.16 – 01.10.16 The Infinite Mix: Contemporary Sound and Image Hayward Gallery / The Vinyl Factory, The Store, London “轟掘살북” 베怪돠뺌읜 쬈뛔 09.09.16 -11.12.16 Celebrate the World with the Spirit of India Art Bengaluru Festival UB City and various venues, Bangalore 꼈랬쭈懇，겯속쭈랑 19.08.16 – 28.08.16 14th Istanbul Biennial Various venues, Istanbul 뒤枷愷쎌怒薑譴꼈랑崗쾨嵐 怒薑譴꼈랑 05.09.15 – 01.11.15 Mauro Folci: Parakharatterin to Nomisma Space 4235, Genoa 훑컸饑 04.12.15 – 05.02.16 George Shaw: My Back to Nature National Gallery, London 피撈》圭：“乖쀼백菱횔” 亶벌벌소쳄減반 쬈뛔 11.05.16 – 30.10.16 Enric Farres Duran La Casa Encendida, Madrid 쯩돠쟁 05.02.16 – 01.04.16 Everywhen: The Eternal Present in Indigenous Art from Australia Harvard Art Museums, Cambridge, MA 숲픕懇（ 쳄벌쯩힉瀨힘鹵 ） 05.02.16 -18.09.16 Covered in Time and History: The Films of Ana Mendieta Katherine E. Nash Gallery, Minneapolis “瞳珂쇌宅저袈돨拿맨苟: 갛컹》쳔딱檢돨든緞” 츠콩각꺼적薑 15.06.15 -12.12.15 In Progress: Emerging Japanese Artists’ Show Himalayas Museum, Shanghai “쏵契櫓——휑굶행쾨論減소횐嵐” 毆쯔윗錤쳄減반 베 23.10.15 – 10.12.15 Jessica Stockholder: Door Hinges Kavi Gupta, Chicago 蓮속며 12.09.15 -16.01.16 Ida Tursic & Wilfried Mille Almine Rech Gallery, Paris 것잭 02.06.16 – 30.07.16 Zhang Huan: Let There Be Light! Pace Gallery, New York 蠟沈：Let there be Light! 큔獨 30.10.15 – 05.12.15 Ibe Ananaba: Selense Rele Gallery, Lagos 윗몹薑 04.09.16 – 26.09.16 Shinju Kagawa Chichu Art Museum, Naoshima 뒈櫓쳄減반 휑굶殮돎 Permanent exhibition Melike Kara: In Your Presence Peres Projects, Berlin 겝주 13.02.16 – 11.03.16 Mark Justiniani: Reverb UP Vargas Museum, Quezon City 웠漑 13.04.16 – 06.05.16 Rene Magritte: The Treachery of Images Centre Pompidou, Paris “잇코》쯩목쟁景:近蹶돨턺쾀 퇀튄뗘” 것잭 21.09.16 – 23.01.17 Michele Gabriele and Alessandro Di Pietro Treti Galaxie, Turin 떼쥣 14.09.16 – 02.10.16 9th Berlin Biennale Various venues, Berlin 뒤씽쎌겝주崗쾨嵐 겝주 04.06.16 – 18.09.16 Kimsooja: Archive of Mind National Museum of Modern and Contemporary Art, Seoul 쏜磵綾：“Archive of Mind” 벴벌벌소君뎠덜論減꺽膠반 看랑 27.07.16 – 05.02.17 Shadi Harouni: Paved Over and Other Stories A.I.R Gallery, Brooklyn 꼈쨀옹주 21.04.16 – 22.05.16 Whose Chair Is It, Anyway? CIMA Gallery, Kolkata 속랑몹댑 05.08.16 – 20.08.16 Infosphere Museum of Contemporary Art, Karlsruhe 엥랑薑쨀띵 05.09.15 – 31.01.16 Jia: The Chinese Version Galerie Arratia Beer, Berlin 겝주 Oct 2015 Ezra Wube: Palindrome kim? Contemporary Art Centre, Riga 쟁속 06.12.15 – 31.01.16 Michael Simpson: Flat Surface Painting Spike Island, Bristol 꼈쟁薑辜 16.01.16 – 27.03.16 Alexander McQueen: Savage Beauty Victoria and Albert Museum, London 饑저댕》찝웹：“柰昑裂쳄” 郭뜩적饑뵨각랑껍景꺽膠반 쬈뛔 14.03.15 – 02.08.15 56th Venice Biennale Various venues, Venice 뒤56쎌瓜콩薑崗쾨嵐 瓜콩薑 09.05.15 – 22.11.15 The Ballad of Generation Y OCAT Shanghai, Shanghai “Y各덜裂멱”횐嵐 베 06.12.15 – 22.02.16 Mona Hatoum Tate Britain, London 칭컹》벗拷캠 揭景君덜쳄減반 쬈뛔 04.05.16 – 21.08.16 Po co wojny şa na świecie Museum of Modern Art, Warsaw 빽 19.02.16 – 01.05.16 Little Grey Dress: Soul of the Artist History Museum of Bosnia and Herzegovina, Sarajevo 꺼붚저袈꺽膠반 힉윗훑罫 02.16 – 09.03.16 The World Goes Pop Tate Modern, London 꺼팹홍各썹 쬈뛔揭景君덜쳄減반 쬈뛔 17.09.15 – 24.01.16 The Age of Catastrophe Actual Gallery, Manitoba 참콩辜것 13.11.15 – 12.12.15 Nicole Kelly Westman: Rose, Dear Walter Phillips Gallery, Banff Centre, Banff 겯뤼 10.02.16 – 03.07.16 Things You Can’t Unthink Walter Phillips Gallery, Banff Centre, Banff 겯뤼 23.01.16 – 22.05.16 Julien Bismuth: Steganograms The Box, Los Angeles 쭤瓷 19.09.15 – 31.10.15 Aleksandra Chaushova Centrale for Contemporary Art, Brussels 꼈쨀힘랑 14.01.16 – 28.02.16 Bentu: Chinese Artists in aTime of Turbulence and Transformation Fondation Louis Vuitton, Paris “굶皐：긴몌櫓돨櫓벌論減소” 쨌弄》瓜되論減櫓懃 것잭 27.01.16 – 02.05.16 Contemporary Fine Art of the Peoples of the North Caucasus Orient Museum, Maykop 찢옰팹 Permanent exhibition Alfredo Jaar: Shadows Galerie Lelong, New York 잇징뺌읜 큔獨 14.02.15 – 28.03.15 Ai Weiwei: Project Fukushima The Exclusion Zone surrounding the Fukushima Daiichi Power Plant, Fukushima 르돎 March 2015 Don’t Follow The Wind Watari–Um Museum of Contemporary Art, Tokyo 땜쑴 19.09.15 – 03.11.15 James Coleman Marian Goodman Gallery, London 쬈뛔 04.03.16 – 15.04.16 Gaur Constellations San Telmo Museum, Donostia-San Sebastian 加힘崑薑뒝갛 23.01.16 – 15.05.16 Ai Weiwei: Safe Passage Foam Photography Museum, Amsterdam 갔灌灌：“갛홍繫돛” 각캠薑景덮緞꺽膠반 각캠薑景덮 16.09.16 – 07.12.16 Apichatpong Weerasethakul: The Serenity of Madness MAIIAM Contemporary Art Museum, Chiang Mai 퀼쓰돨룩욺：각궐꿴곡쀼믓嵐 헌찢 04.07.16 -10.09.16 Detroit : Techno City Institute of Contemporary Arts, London 쬈뛔뎠덜論減欺牘 쬈뛔 27.07.16 – 25.09.16 Manifesta 11 Various venues, Zurich 坑잭各 11.06.16 – 18.09.16 Jan Fabre / Troubleyn: Mount Olympus Bourla Theatre, Antwerp 갛景括팹 31.01.16 Cyprien Gaillard: Nightlife K20, Dusseldorf 뗘힘랑뜩뤼 30.01.16 – 03.04.16 Ballistic Poetry La Verriere, Brussels 꼈쨀힘랑 23.04.16 – 02.06.16 Margareta Kern: To Whom Does The World Belong? The Art Gallery, Cultural Centre, Belgrade 굔랑목윰돠 19.11.15 – 12.12.15 XYLANYUN: Taller de Ios Viernes Kurimanzutto Gallery, Mexico City 카鮫며냘 06.02.16 – 17.03.16 Peter Scott: Picture City II Emily Harvey Foundation, Venice 瓜콩薑 29.04.16 – 01.05.16 Slavs and Tatars: Mirrors for Princes Blaffer Art Museum, Houston 金薑뛰 15.01.16 – 19.03.16 13th Lyon Biennale: Sammy Baloji – Hunting and Collecting Various venues, Lyon 뒤枷힛쎌쟁갰崗쾨嵐 쟁갰 10.09.15 – 03.01.16 Sidsel Meineche Hansen: Second Sex War Gasworks, London 쬈뛔 17.03.16 – 29.05.16 Mika Rottenberg Palais de Tokyo, Paris 찝엥》쭈矣껍목 땜쑴묵 것잭 23.06.16 – 11.09.16 Jack Early Fergus McCaffrey, New York 큔獨 19.02.16 – 09.04.16 Dream Out Loud Stedelijk Museum, Amsterdam 각캠薑景덮懇접꺽膠반 각캠薑景덮 26.08.16 – 01.01.17 Utopias/Heterotopias: Wuzhen International Contemporary Art Exhibition North Silk Factory and West Scenic Zone, Wuzhen “魁辜곡》嫩辜곡” “鮫邏쒼혐”뵨“굇邏介낍” 魁麗 28.03.16 – 26.06.16 Michael Rakowitz Barbara Wien Galerie, Berlin “찢옹랑》윗옹瓜늙” 겝주 30.04.16 – 20.08.16 Inda Peralortega: Lexicon Deptford X, London 쬈뛔 18.03.16 – 14.05.16 Jorg Immendorff: Late Paintings after Hogarth Michael Werner Gallery, London 獨랑목》怒쳔뜩뤼쀼믓嵐 쬈뛔 12.05.16 – 02.07.16 Miao Ying: Content-Aware MadeIn Gallery, Shanghai “코휭얾今”——춰蛋몸嵐 청땅뺌읜 베 03.06.16 – 16.07.16 From the Archives: Art and Technology at LACMA 1967–1971 Los Angeles County Museum of Art, Los Angeles 論減宅옰세 쭤瓷 21.03.15 – 25.10.15 Superflex 29 Nils Staerk Gallery, Oslo 걔薑쩍 14.11.15 – 16.01.16 Concept Context Contestation Cemeti Art House, Yogyakarta 丹콩휑훌 20.08.15 – 21.09.15 Missing Links Jim Thompson Art Center, Bangkok 참믄 22.05.16 – 31.10.16 Anne-Mie Van Kerckhoven Zeno X, Antwerp 갛景括팹 20.04.16 – 11.06.16 Seth Siegelaub: Beyond Conceptual Art Stedelijk Museum, Amsterdam Seth Siegelaub：“낚督매쿡論減” 각캠薑景덮懇접꺽膠반 각캠薑景덮 12.12.15 – 17.04.16 Anthony Discenza: Anthony Discenza Presents A Novel Catharine Clark Gallery, San Francisco 앉쏜 27.02.16 – 16.04.16 30 Years of CFCCA — Susan Pui San Lok: RoCH Fans & Legends Centre for Chinese Contemporary Art ( CFCCA ), Manchester 櫓벌뎠덜論減櫓懃30쾨 —쭸톡：“딕舅쩟돨뢴介宅눈펜” 櫓벌뎠덜論減櫓懃 참낱薑景 03.06.16 – 03.07.16 “博特罗在中国” 中华艺术宫 上海 Botero in China China Art Palace, Shanghai 01.31.16 – 05.08.16 “灰褐色” 艺术空白空间 伦敦 Taupe Art Lacuna Space, London 2015 “蛇杖II：黄永砅国际巡回展” 红砖美术馆 北京 Caduceus II – Huang Yongping International Exhibition Tour Red Brick Art Museum, Beijing 26.09.15 – 16.02.16 “弗里达卡罗:艺术、花园、生活” 纽约植物园 纽约 Frida Kahlo: Art, Garden, Life New York Botanical Garden, New York 16.05.15 – 01.11.15 王俊个展“闪回” 千高原艺术空间 成都 Wang Jun: Flashback A Thousand Plateaus Art Space, Chengdu 25.06.16 – 28.08.16 “蛇杖III：左开道岔” 上海当代艺术博物馆 上海 Serpent III: Spur Track to the Left Power Station of Art, Shanghai 18.03.16 – 19.06.16 北京国际摄影双年展“陌生的亚洲” 中央美术学院美术馆、798艺术中心、Cipa画廊、中央美术学院图书馆一层 北京 Unfamiliar Asia: The Second Beijing Photo Biennial ( 2015 ) CAFA Art Museum, Dashanzi Art District, CipaGallery, Central Academy of Fine Arts, Beijing 15.10.15 – 29.11.15 张鼎：“龙争虎斗II” K11美术馆 上海 Enter The Dragon K11 Art Museum, Shanghai 21.05.16 – 30.06.16 “坐井观天” K11美术馆 上海 A World In A Well K11 Art Museum, Shanghai 21.05.16 – 30.06.16 “转向，2000 后中国当代艺术趋势” 上海民生现代美术馆 上海 Turning Point, Contemporary Art in China Since 2000 Shanghai Minsheng Art Museum, Shanghai 24.07.16 – 04.09.16 “艺起”十周年新锐艺术家群展”Whiplash!!!光之回响” 红门画廊 北京 SURGE Art Celebrating Ten Years of Emerging Artists Red Gate Gallery, Beijing 18.06.16 – 26.06.16 “时空书写：抽象艺术在中国” 上海当代艺术博物馆 上海 Calligraphic Time and Space: Abstract Art in China Power Station of Art, Shanghai 22.08.15 – 22.11.15 “视界香港” 皇后像广场 香港 Antony Gormley: Event Horizon Statue Square, Hong Kong 19.11.15 – 18.05.16 “不要太努力让事情发生” Spring 工作室 香港 Wong Wai Yin ( Doris ): Without Trying Spring Workshop, Hong Kong 20.08.16 – 10.16 “七重天塔” 比可卡机库当代艺术中心 米兰 Anselm Kiefer: The Seven Heavenly Palaces HangarBicocca Milan 25.09.15 – 2018 “美的颠覆:意大利当代艺术的洞见” 北京芳草地当代美术馆 北京 Challenging Beauty: Insights of Italian Contemporary Art Parkview Green Museum, Beijing 16.07.16 – 16.08.16 2016年香港巴塞尔艺术展 香港会议展览中心 香港 Art Basel Hong Kong Hong Kong Convention & Exhibition Centre, Hong Kong 24.03.16 – 26.03.16 “夏季大三角”群展 OCAT深圳馆 深圳 Summer Triangle OCAT Shenzhen, Shenzhen 31.07.16 – 23.10.16 贾科梅蒂回顾展 余德耀美术馆 上海 Alberto Giacometti Retrospective Yuz Museum, Shanghai 22.03.16 – 31.07.16 “自在置物 金 夜”群展 联合艺术空间 上海 United Art Space, Shanghai 22.05.16 – 24.06.16 “不用去纽约巴黎，生活同样国际化” 上海外滩美术馆 上海 Chen Zhen: Without Going To New York And Paris, Life Could Be Internationalized Rockbund Art Museum, Shanghai 30.05.15 – 07.10.15 “新的旧物 金 处于传统与革新张力关系中的设计” 南京艺术学院美术馆 南京 New Olds – Design Between Tradition And Innovation Art Museum of Nanjing, University of the Arts, Nanjing 25.09.15 – 25.10.15 “直播金 Welcome to My Life勒梅特夫妇影像艺术收藏展” 上海喜玛拉雅美术馆 上海 Welcome to My Life: Moving Image from Collection of Jean-Conrad and Isabelle Shanghai Himalayas Museum, Shanghai 05.05.16 – 26.06.16 “遥不可知金来自英国的当代艺术” OCAT上海馆 上海 The Distant Unknown OCAT Shanghai, Shanghai 05.06.16 – 28.08.16 “山水间” 上海当代艺术馆 上海 Shanshui Within MOCA Shanghai, Shanghai 03.09.16 – 20.11.16 “劳森伯格在中国” 尤伦斯当代艺术中心 北京 Rauschenberg in China Ullens Center for Contemporary Art, Beijing 12.06.16 – 21.08.16 “喻体幻像” 上海摄影艺术中心 上海 Figures of Speech Shanghai Center of Photography, Shanghai 12.12.15 – 29.02.16 “空中楼阁：艺术+与3D打印+” 成都当代美术馆 成都 Castles in the Air Chendu Museum of Contemporary Art, Chengdu 13.09.15 – 11.10.15 廖国核个展“一万幢房子” 北京民生现代美术馆 北京 Liao Guohe: Ten Thousand Houses Beijing Minsheng Art Museum, Beijing 02.04.16 – 18.04.16 第八届三影堂摄影展 三影堂艺术中心 北京 8th Three Shadows Photography Award Exhibition: Immeasurable Three Shadows Photography Art Centre, Beijing 09.04.16 – 03.06.16 “自牡丹亭金当代艺术展” 苏州金鸡湖美术馆 苏州 From The Peony Pavilion – The Contemporary Art Exhibition Suzhou Jinji Lake Art Museum, Suzhou 11.06.16 – 11.09.16 王思顺：“启示” 长征空间 北京 Wang Sishun: Apocalypse Long March Space, Beijing 28.04.16 – 26.05.16 “贾斯培琼斯与爱德华蒙克” 蒙克博物馆 奥斯陆 Jasper Johns & Edvar Munch Munch Museum, Oslo 18.06.16 – 25.09.16 “第十四号，家” 木木美术馆 北京 Guido van der Werve: Nummer Veertien, home M WOODS, Beijing 20.03.15 – 20.06.15 天台县第二届摄影艺术展 天台县博物馆 浙江 The Second Photography Art Exhibition in Tiantai Tiantai Museum, Zhejiang 20.11.15 – 30.11.15 马丁克瑞德：“后门” 帕克大街军械库汤普森艺术中心 纽约 Martin Creed: The Back Door Thompson Arts Center at Park Avenue Armory, New York 08.06.16 – 07.08.16 “废途径” 五五画廊 上海 Lost Comrad Gallery 55, Shanghai 17.06.14 – 22.06.14 “2016艺术深圳” 深圳会展中心 深圳 Art Shenzhen 2016 Shenzhen Convention and Exhibition Center, Shenzhen 16.09.16 – 19.09.16 “真实的假像” 上海二十一世纪民生美术馆 上海 The Shadow Never Lies Shanghai 21st Century Minsheng Art Museum, Shanghai 30.04.16 – 31.07.16 “无界” 上海ADA艺术空间 上海 Wu Jie ADA gallery, Shanghai 02.07.16 – 21.07.16 “绝地反击：热” J: GALLERY 上海 Total War or Nothing At All: Hot J: GALLERY, Shanghai 20.08.16 – 23.10.16 “海豹脱下外衣的日子” 替代空间 纽约 ’ Shih: The Seals Are Shedding Their Coats Practice, New York 21.05.16 – 01.06.16 “数码比约克” 萨默赛特宫 伦敦 Somerset House, London 01.09.16 – 23.10.16 中国当代艺术年鉴展 2015 北京民生现代美术馆 北京 The Exhibition of Contemporary Art of China 2015 Beijing Minsheng Art Museum, 25.06.16 – 22.08.16 周啸虎：“地上” 上海民生现代美术馆 上海 Chimera: Zhou Xiaohu Solo Exhibition Shanghai Minsheng Art Museum, Shanghai 13.06.16 -10.07.16 “作为窄门的绘画” 蜂巢当代艺术中心 北京 Painting As Strait Gate Hive Center for Contemporary Art, Beijing 26.08.16 – 24.09.16 “我等你金无限的本体时空” 今日美术馆 北京 Waiting For You – Infinite Time and Space Today Art Museum, Beijing 28.05.16 – 15.06.16 “波普之上” 余德耀美术馆 上海 Overpop Yuz Museum, Shanghai 04.09.16 – 15.01.17 “乌托邦异托邦堂乌镇国际当代艺术邀请展 乌镇北栅丝厂、西栅景区 乌镇 Utopias/Heterotopias: Wuzhen International Contemporary Art Exhibition North Silk Factory and West Scenic Zone, Wuzhen 28.03.16 – 26.06.16 “影像上海”艺术博览会 上海展览中心 上海 Photofairs Shanghai Shanghai Exhibition Center, Shanghai 09.09.16 – 11.09.16 “无相万象”奥拉维尔金埃利亚松个展 龙美术馆( 西岸馆 ） 上海 Nothingness is Not Nothing at All Long Museum, Shanghai 20.03.16 – 19.06.16 “影观武汉堂武汉影像艺术家群展 K11艺术村 武汉 ’ – Wuhan Artists Exhibition K11 Art Village, Wuhan 09.07.16 – 31.07.16 “幸运的光谱堂海峡新锐雕塑展 集美兑山艺术区 厦门 Lucky Spectrum Dui Shan Art District, Xiamen 07.05.16 – 30.05.16 “进行中”日本青年艺术家群展 证大当代艺术空间 上海 In Progress: Emerging Japanese Artists’ Show Zendai Contemporary Art Space, Shanghai 23.10.15 – 10.12.15 “高孝午何采柔双个展” 上海当代艺术馆 上海 Gao Xiaowu – Joyce HO – Joint Exhibition MOCA Shanghai, Shanghai 28.04.13 – 12.06.13 “艺术怎么样?来自中国的当代艺术” 阿尔里瓦克（ AI Riwaq ）展览馆 卡塔尔多哈 What About the Art? Contemporary Art from China Al Riwaq Exhibition Hall, Doha 14.03.16 – 16.07.16 “不在图像中行动” 常青画廊、佩斯北京、当代唐人艺术中心 北京 Beijing Voice: Unlived by What is Seen Galleria Continua, Pace Beiing, Tang Contemporary Art, Beijing 18.12.14 – 15.03.15 何迟 “隔馆” 箭厂空间 北京 He Chi: Next Door Arrow Factory, Beijing 15.03.16 – 05.05.16 乔治亚欧姬芙回顾展 泰特现代美术馆 伦敦 Georgia O’Keeffe Tate Modern, London 06.07.16 – 30.10.16 约翰杰勒德：“权利演绎” 尤伦斯当代艺术中心 北京 John Gerrard: Power / Play Ullens Center for Contemporary Art, Beijing 09.06.16 – 07.08.16 观念艺术在英国 1964-1979 泰特不列颠美术馆 伦敦 Conceptual Art in Britain, 1964 – 1979 Tate Britain, London 12.04.16 – 29.08.16 杰夫沃尔亚洲首展 白立方画廊 香港 Jeff Wall White Cube, Hong Kong 11.12.15 – 23.01.16 中国第三届舞台美术展 北京展览馆 北京 The Third Chinese Stage Design Exhibition Beijing Exhibition Center, Beijing 26.11.15 – 29.11.15 关于展览的展览:90 年代的当代艺术展示 OCAT研究中心 北京 An Exhibition About Exhibitions OCAT, Beijing 26.06.16 – 30.10.16 第三届CAFAM双年展“空间协商：没想到你的是这样的” 中央美术学院美术馆 北京 Space: I Never Thought You Were Like That’ CAFA Art Museum Beijing 09.11.16 – 08.01.17 “变文书：陈界仁影像、生产、行动与文件” 立方计划空间 台北 The Bianwen Book: Image, Production, Action and Documents of Chen Chieh-Jen The Cube Project Space, Taipei 24.10.15 – 10.01.16 “残响世界回乐生” 乐生疗养院 新北市 Losheng Sanatorium New Taipei City, 2015 “残响世界” 奥利维尔罗伯特画廊 巴黎 Ring the World Galerie Olivier Robert, Paris 2014 “他的史诗堂杨佴旻新水墨画中国巡回展 南京艺术学院美术馆 南京 His Epic – Yang Ermin’s New Chinese Ink Painting Exhibition AMNUA, Nanjing 07.06.13 – 21.06.13 DMM.PLANETS Art by teamLab 日本御台场 东京 DMM.PLANETS Art by teamLab Odaiba, Tokyo 16.07.16 – 31.08.16 “三角洲行动之大尾象”一小时，没空间，五回展 广东时代美术馆 广东 Operation PRD – Big Tail Elephants: One Hour, No Room, Five Shows Guangdong Times Museum, Guangdong 12.06.16 – 07.10.16 “大同大张”个展 上海当代艺术馆 上海 Datong Dazhang MOCA Shanghai, Shanghai 30.12.15 – 10.04.16 “编号223” 林志鹏个展 德萨北京画廊 北京 Lin Zhipeng: No. 233 De Sarthe Gallery, Beijing 10.06.16 – 28.08.16 “手掌的钥匙”2015威尼斯双年展国际艺术展 绿园城堡、军械库 威尼斯 56th Venice Biennale Various venues, Venice 09.05.15 – 22.11.15 “市民都会 金上海:现代城市主义的样本” 上海当代艺术博物馆 上海 Ordinary Metropolis – Shanghai: A Model Of Urbanism Power Station of Art, Shanghai 09.07.16 – 09.10.16 “未竟之绪：翰美娜与关尚智新作” 南风集团 香港 The Mills Gallery Spring Exhibition 2016: New Work by Mariana Hahn and Kwan Sheung Chi Nan Fung Place, Hong Kong 22.03.16 – 21.04.16 “中国当代艺术四十年希克藏品展 香港太古坊 香港 M+ Sigg Collection: Four Decades of Chinese Contemporary Art ArtisTree, Hong Kong 23.02.16 – 05.04.16 “华丽与苦难：法国 1850-1910 期间的妓女图像” 巴黎奥塞博物馆，阿姆斯特丹凡高博物馆 阿姆斯特丹，巴黎 Splendours and Miseries: Images of Prostitution in France, 1850-1910 Musee D’Orsay, Van Gogh Museum, Paris, Amsterdam 22.09.15 – 17.01.16 19.02.16 – 19.06.16 “自然：主观的景态” 上海摄影艺术中心 上海 Nature: A Subjective Place Shanghai Center of Photography, Shanghai 08.09.16 – 27.11.16 小野洋子北京个展：“金梯子” 798林冠艺术基金会 北京 YoKo Ono Golden Ladders Faurschou Foundation, Beijing 15.11.15 – 07.03.16 “本土：激流和嬗变下的中国艺术” 法国路易威登基金会 巴黎 Bentu: Chinese Artists in a Time of Turbulence and Transformation Fondation Louis Vuitton Paris 27.01.16 – 02.05.16 “在你面前，我们一同消散：梅里克卡拉” 佩雷斯项目画廊 柏林 Melike Kara: In Your Presence Peres Projects Gallery, Berlin 13.02.16 – 11.03.16 2016年第11届光州双年展金“第八气候 （ 艺术何为 ）” 不同地方 光州 11th Gwangju Biennale: The Eighth Climate ( What Does Art Do? ) Various venues, Gwangju 02.09.16 – 06.11.16 陈鸿志个展：“谜光” 今日美术馆 北京 Chen Hongzhi Solo Exhibition: MYST Today Art Museum, Beijing 26.09.15 – 07.10.15 悠游二零一六淮阴艺术馆提名展 淮阴艺术馆 淮安 Exhibition For Nominated Artist 2016 Huaiyin Art Museum, Huai’an 24.07.16 – 10.08.16 “信息雕塑公路” 没顶画廊 上海 Information Sculpture Superhighway Madein Gallery, Shanghai 08.09.16 – 23.10.16 “她们：国际女性艺术特展” 龙美术馆西岸馆 上海 International Women Artists Exhibition Long Museum West Bund, Shanghai 23.07.16 – 30.10.16 “无声无名”杨罗威斯作品展 明当代美术馆 上海 Jan Lauwers: Silent Stories Ming Contemporary Art Museum, Shanghai 20.05.16 – 31.07.16 张鼎：风卷残云 上海外滩美术馆 上海 Zhang Ding: DevouringTime Rockbund Art Museum, Shanghai 03.09.16 – 11.09.16 “日本群星：伊东丰雄，SANNA及后来者” 纽约现代艺术博物馆 纽约 A Japanese Constellation: Toyo Ito, SANAA, and Beyond Museum of Modern Art, New York 13.03.16 – 31.07.16