In “First Class,” LEAP takes a look at at contemporary art education from the bottom up, thinking in terms of learning rather than teaching; we invite educators, curators, and artists—especially those who have recently left school—to share their experiences of self-education, and to discuss the possibilities of a hidden curriculum.
McKenzie Wark introduces a perfect example of interdisciplinary thinking—Joseph Needham. According to Needham, the processes of thought and movement would dominate the his future plans, not only for understanding biological systems or the social structure of China’s past, but to infer the outcome of current and future social systems. Karen Archey explores German artist Isa Genzken’s practice, demonstrating her unique sense of artistic “fun.” Through an interpretation of Yu Cheng-Ta’s new work “Practicing LIVE,” Rikey Cheng expands on the alienation of the piece’s creation, improvisational structures, imitation, irony, and self-referentiality.
In our regular column “My Miles,” we interview Korean artist Haegue Yang, exploring how her practice is tied to her cultural and linguistic backgrounds, travels, and other abstract narratives; “Shop Talk” analyzes the ways in which Liu Xinyi’s work is grounded in political histories of text and image; in “On Canvas,” Song Yi attempts to decipher Liu Chuanhong’s Memoir in Southern Anhui, in which every possible medium is brought into play to convey Liu’s dreamscape; and “New Directions” brings in two young artists, Wang Xin and Austin Lee. In addition, you’ll also read about Guccivuitton, an artist-run gallery in Miami Beach, in “Institutional Critique”; the architectural exhibition “Modernism Revisited,” which stresses an exploration of modernism neglected by mainstream purview; the excavation of “Exhibition and Expediency” in Huang Sun Quan’s new solo exhibition; and a semi-fictional piece from Indonesia by Adam Bobbette.
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