Tunnel project admin@bmcanj.com In 2023, the Beiqiu Museum of Contemporary Art unveiled a hidden annex within its premises, serving as a brand-new exhibition space. It launched the "Tunnel Project," inviting young creators to participate based on their interpretation of the tunnel space located on one side of a mountain, presenting site-specific individual artist projects. The Tunnel Space is located alongside the main exhibition hall of BMCA and is a narrow space (about 3 meters wide and 20 meters long) resembling a tunnel, with one side facing a mountain. We have preserved the space's original load-bearing beams and old pipes, only renovating the walls and adding lighting tracks. This maintains the potential for various experimental interventions in this space. The "Tunnel Project" is characterized by the keywords: youthful, experimental, and local. As an art museum, we aim to provide young artists with opportunities to showcase their creations, while also addressing the urgency of self and locality.In this project, we do not limit the mediums of the artwork and are even more encouraging of experimental mediums, hoping these works will exhibit an unusual energy in this unique space. YAO CONG The Mountain Breathes Beyond Measure GAO LEI Testimony For The Future ZHANG YI Inquisition valley CHEN JIACHENG A Mountain of closeness STEFFI REIMERS GUILTY GROUNDS

guilty grounds 2024.4.4-7.6 artist：steffi reimers In collaboration with Foam, the photography museum in Amsterdam, Netherlands, the Beiqiu Museum of Contemporary Art is honored to present the sixth edition of the Tunnel Project, Guilty Grounds, the conceptual photo project by the artist Steffi Rermers. For the project, she travelled to Calabria, southern Italy, to explore the dark side of Calabrian history and the origins and kidnapping practices of the world's most powerful criminal organisation, the 'Ndrangheta. Reimers uses the concept of "Guilty Landscapes" to convey the complexity of this tragic history. She reveals the landscapes of Aspromonte National Park as silent witnesses to the pervasive influence of the 'Ndrangheta. Landscapes that were once untouched and peaceful now resonate with memories of events that have subtly left their mark. In a region where the mafia and its activities are often denied, Guilty Grounds is a powerful reminder of a shocking part of Italian history, confronting the viewer with the uncomfortable truth. In this project, Reimers' choice to exclude human figures from her images is evident, which emphasises the landscapes all the more as both 'guilty' and 'testifying' entities. Each image bears silent witness to the events in Calabria and invites the viewer to join in and make their own interpretations. The addition of a “prayer card” to the exhibition introduces a duality and highlights the role of faith and crime in the region. Although not the central theme, the prayer card serves to highlight the delicate balance between these two aspects and offers a narrative that invites deeper contemplation. As the geographical perspective of the works shifts from the mountainous regions of southern Italy to the mountain tunnel of Beiqiu, and as the exhibition travels from Amsterdam, Netherlands, to Nanjing, China, Reimers' photography will evoke even more imaginings that transcend time and space.

CURRENT Exhibition AN INTERMEZZO, PERHAPS AN INTERMEZZO, PERHAPS Li Ran ROCK HOST: INFRASTRUCTURING THE VOID GROUP EXHIBITION MONSTER & THE NOCTURNAL POLLINATORS MONSTER TESTIMONY FOR THE FUTURE Gao Lei & Li Nu SOMEONE HAS BEEN DISARRANGING THESE ROSES Group Exhibition 21ST CENTURY HERBAL Artist: Emma Talbot MEMORIES AND DREAMS: MIRó'S GARDEN Artist: Joan Miró HEY,LOOK AT ME! I'M TOTALLY ENTANGLED WITH NOT-ME! Artist: Gabriel Rico BEYOND GENIUS: PICASSO’S PASSION AND CREATIVITY Artist: Pablo Picasso DIVING DEEP FOR LIGHT INTO DARKNESS Group Exhibition HUA HAO YUE YUAN Artist: Shen Jingdong HELLO!WORLD! Group Exhibition

Beiqiu Museum of Contemporary Art is an art museum growing on a hill. What's on An intermezzo, perhaps LI RAN For his solo exhibition, Li Ran will place his latest work, An Intermezzo, Perhaps, at the heart of the presentation, situating it within the Beiqiu Museum of Contemporary Art, a labyrinthine civil defense space marked by historical traces. Within this intricate setting, he will reconfigure and stage a selection of his most significant works to date, spanning moving image, painting, installation, performance, and text. Through this reconfiguration, the artist may infuse his body of work with new meanings and interconnections. In this sense, the exhibition carries a retrospective gaze. “The age of exhibitions appears to be over,” the artist muses. Once, exhibitions functioned as a key dramaturgical device—a pivotal stage construct—within the grand intermezzo of contemporary Chinese art. But today, as a prescribed act of the artist, how is an exhibition to be performed? Taking a step back—from Beijing to Shanghai, from Shanghai to London, to Nanjing, and perhaps soon, to an upcoming exhibition in Los Angeles—each of these exhibitions seems to unfold as yet another scripted transition in the artist’s evolving stage. Between acts, between intermezzi, a series of new exhibitions will rise. Read more Past Exhibitions Exhibition someone has been disarranging these roses 2023.9.9-2024.1.28 Tunnel project Inquisition valley 2023.9.9-2024.1.28 READ MORE TUNNEL PROJECT In 2023, the Beiqiu Museum of Contemporary Art unveiled a hidden annex within its premises, serving as a brand-new exhibition space. It launched the "Tunnel Project," inviting young creators to participate based on their interpretation of the tunnel space located on one side of a mountain, presenting site-specific individual artist projects. READ MORE Public Education READ MORE The Impression of Deep Blue : A Cyanotype Event Myth, Fairy Tales, and Dream Tales Someone Has Been Disarranging These Roses Store Shop All Address Catherine Park, No. 1 Beijing East Road, Nanjing Phone 025-86219156 Email admin@bmcanj.com Connect

Swiss design classic 2025.02.20-2025.03.20 Beiqiu Museum of Contemporary Art is pleased to present Monster & The Nocturnal Pollinators, a solo exhibition by renowned British artist Monster Chetwynd, from August 10, 2024. As the first institutional solo exhibition of Monster Chetwynd in Asia, Monster & The Nocturnal Pollinators presents works made by the artist from the 2000s to the present. The exhibition will systematically introduce Monster Chetwynd’s creative practice, which can be perceived through paintings, sculptures, installations, and videos selected to be presented. Moreover, some of per recent works will be on view. The exhibition will run through November 17, 2024. Monster Chetwynd, Hell Mouth 3 , 2019, Paint, latex, paper, fabric, foam, wicker, timber, glue, fixings, 305×488×337.3 cm, Installation view, Testament, Goldsmiths, Centre for Contemporary Art, London, 21 January – 03 April 2022 © Monster Chetwynd. Courtesy the Artist and Goldsmiths CCA, London. Photo: Rob Harris Monster Chetwynd, Hybrid Creature Bat , 2019, iron, fabric, cardboard, latex, paint, willow and wire, 280×367×64 cm © Monster Chetwynd. Courtesy the Artist and Sadie Coles HQ, London. Photo: Katie Morrison Monster Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per anarchistic bric-a-brac style performance pieces featuring handmade costumes, props, and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. This participatory impulse behind Chetwynd’s performances is at the core of per performance and film production and, as such, traverses traditional boundaries between the mediums ze employs within per practice. Informed by notions of play and the importance of playful imagination, typical binaries become shaken and flipped – ‘out of this world’ becomes ‘into this world’ and imagination might be closer to reality than it appears. Beyond the idea of absurdism, Chetwynd’s characters, sets, props and costumes embody an ever-changing image of our present and futures. Quick snippets might become permanent states, and loose views may become fixed viewpoints. Most recently, Chetwynd’s oeuvre has diverted into a new body of work informed by and developed through earlier panel paintings. Chetwynd has described the affordable medium as ‘very rewarding’ and discovered that the ‘spontaneity and gesture involved with the material lends itself to performance’. Ze draws from images, videos, and memories of previous performances for the subject of watercolor works, re-thinking and re-working them to alter the composition. Positioned alongside the large experimental paintings in costumes constructed from cardboard, glue, paint, paper, and cloth, Chetwynd bridges the gap between two aspects of practice – painting and performance – to form a singular, otherworldly performance piece. Throughout per career, Chetwynd has notably changed per forename several times, with previous names including Spartacus (2006-2013), Marvin Gaye (2013-2018), and Monster (2018 to present). Of these transitions, ze has said that ‘to choose one’s name, for me, is like casting a spell, uttering an incantation. It‘s a very economical way to bring about change.’ Monster Chetwynd Artist Monster Chetwynd (b. 1973, London, England) lives and works in Zürich. Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per bric-a-brac style performance pieces, featuring handmade costumes, props and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. Zoe Chang Exhibition Consultant As an experienced practitioner of Chinese contemporary art, she has curated and organized over a hundred art exhibitions, projects, and events both domestically and internationally. As an independent writer for art media and a curator, she focuses on the growth and renewal of the young creative ecosystem, establishing sustainable communication mechanisms, and promoting more possibilities through proactive actions.

An INTERMEZZO, PERHAPS 2025.04.04-2025.07.06 ARTIST: LI RAN Exhibition curator: YAMIN WANG Beiqiu Museum of Contemporary Art is honored to present An Intermezzo, Perhaps, a solo exhibition by Li Ran. Curated by Wang Yamin, this exhibition showcases key works from the artist’s practice in recent years alongside his latest art pieces. The exhibition will officially open to the public on April 4, 2025, and will run until July 6, 2025. The term intermezzo originates from the evolution of Western theater, denoting an interlude staged between the two acts of a play. During this interval, fatigued or restless audiences would eagerly welcome a performance entirely detached from the main drama—ranging in intensity from subtle satirical humor to a full-blown revelry that dissolves the boundary between stage and spectators. Borrowing and reinterpreting this concept, the artist uses it as a dramaturgical parallel for his firsthand experiences in the contemporary Chinese art scene from 2008 to 2015, and again in the present day: An Intermezzo, Perhaps. Between one grand narrative and the next, successive acts unfold—each convinced it is the true center stage. This notion of an intermezzo embodies the paradoxical dramaturgy of the contemporary art scene—for instance, its fervent yet desolate existence, its oscillation between narcissism and detachment, the tension between the private and the public, and the existential anxiety of self-positioning. These contradictions crystallize in the artist’s repeated, almost satirical renderings of the “little politics” of the petite intellectual class. Here, the collective muscle memory of Chinese contemporary art remains entangled with that of the petite intellectual class in China’s modern historical trajectory, haunted by its lingering specter. Suspended between culture and reality, between China and the world—do we find ourselves caught in the intermezzo of an unfolding epic? Over the past five years, Li Ran appears to have undergone a quiet yet deliberate transition—one in which the formal aspects of his practice, or rather the evolving shape of his work at this stage, have been temporarily placed within something called “painting”. At this moment, the artist’s mind seems to be steeped in a kind of “19th-century world”—a so-called “age of painting.” Or, as a fellow artist once put it, is Li Ran simply performing as a painter? Beyond the “little politics” of the petite intellectual class, the artist sees the contemporary art scene as obsessively fixated on a kind of “political correctness” in discussions of artistic medium—amplifying a narrow, limited perspective on the medium, especially when it becomes overlaid with ideological concerns of “little politics”. In an age where software reigns as the ultimate meta-medium, have all the once-celebrated distinctions between artistic mediums now dissolved into irrelevance? Beyond engaging individuals and their shared sensibilities, this intermezzo mode of viewing unfolds as a more expansive synecdoche for the structural contradictions embedded in Li Ran’s artistic practice. These contradictions manifest in the interplay between film and painting, between text as writing/reading and image as analog/production, between self-performance and reflexive viewing, between the internal and external mechanisms of the art world, between autonomy and heteronomy—among many others. More crucially, however, moving beyond these intermezzo contradictions compels us to step back and confront a “total theater” —one in which we are all, inevitably, cast as participants. At this very juncture in the 21st century, what roles are we destined to play? Are we merely enacting the figure of a little artist of our time, or are we stepping into the role of a general artist? And how, then, should we perform? li ran Artist Li Ran was born in Hubei, China in 1986. He relocated from Beijing to Shanghai in 2018. He graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009 with a bachelor's degree. In 2015, Li Ran held a solo exhibition at the Xi'an of OCT Contemporary Art Center. His single - screen video works have been screened at institutions such as the M+ Museum in Hong Kong, the Thorvaldsens Museum in Copenhagen, the Jewish Museum in New York, the ICA in London, as well as at numerous independent film festivals and art festivals. His works have also been exhibited at art institutions around the world, including the NYU Shanghai Art Center, Shanghai, China (2025); the Tank Shanghai, Shanghai, China (2024); the Star Museum of Art, Shanghai, China (2024); the Hong Art Museum, Suzhou, China (2024); the X Museum, Beijing, China (2024); the Donlon Art Museum, Shanghai, China (2023); the Tai Kwun Contemporary, Hong Kong, China (2023); the BY ART MATTERS 天目里美术馆，Hangzhou, China (2023); the Sangwidae Art Center, Seoul, South Korea (2022); the He Art Museum, Foshan, China (2022); the Sifang Art Museum, Nanjing, China (2021, 2015); the OCT Contemporary Art Center (Shanghai), Shanghai, China (2021, 2019, 2014, 2013); the Inside - Out Art Museum, Beijing, China (2020); the HOW Museum，Shanghai, China (2019); the Ullens Center for Contemporary Art, Beijing and Shanghai, China (2023, 2017, 2013); the Centre Pompidou, Paris, France (2017); the Museum of Contemporary Art and Design, Manila, Philippines (2016); the OCT Contemporary Art Center (Shenzhen 馆), Shenzhen, China (2016, 2013, 2012, 2011); the NTU Centre for Contemporary Art, Singapore (2015); the Wattis Institute for Contemporary Arts, San Francisco, USA (2014); the Haus der Kulturen der Welt, Berlin, Germany (2013); the BAK, basis voor actuele kunst, Utrecht, Netherlands (2013); the Contemporary Arts Museum Houston, Houston, USA (2012), etc. He has participated in the Beijing Biennale (2022), the Montreal Biennale (2014), the Geneva International Festival of Films on Art (2014), the 4th Moscow International Biennale for Young Art (2014), the 2nd CAFAM Biennale (2014), the 4th "Former West" Project in Berlin (2013), the 9th Gwangju Biennale (2012), and the 7th Shenzhen Sculpture Biennale (2012). He won the "Best Artist Award" at the 2014 Moscow International Biennale for Young Art and was shortlisted for the "Future Generation Art Prize" at the PinchukArtCentre in 2017. wang yamin Curator Wang Yamin, a Doctor of Literature, is an art creator and curator. Currently, he serves as the curator and Director of the Academic Department at the Art Museum of Nanjing University of the Arts. Wang Yamin regards art exhibitions and performances as an increasingly important medium for artistic creation. He has curated dozens of exhibitions and events for domestic and international artists and creators. Recently, he has mainly focused on issues such as the re - trans - individualization of the public in the reality of contemporary technological culture and the re - creation of daily life. He has participated in art projects and held exhibitions in China, the UK, Germany, etc., and his writings have been published in various art periodicals, magazines, and exhibition literature.

Monster & The Nocturnal Pollinators 2023.8.10-2024.11.17 Artist: MONSTER CHETWYND Exhibition Consultant: Zoe Chang Beiqiu Museum of Contemporary Art is pleased to present Monster & The Nocturnal Pollinators, a solo exhibition by renowned British artist Monster Chetwynd, from August 10, 2024. As the first institutional solo exhibition of Monster Chetwynd in Asia, Monster & The Nocturnal Pollinators presents works made by the artist from the 2000s to the present. The exhibition will systematically introduce Monster Chetwynd’s creative practice, which can be perceived through paintings, sculptures, installations, and videos selected to be presented. Moreover, some of per recent works will be on view. The exhibition will run through November 17, 2024. Monster Chetwynd, Hell Mouth 3 , 2019, Paint, latex, paper, fabric, foam, wicker, timber, glue, fixings, 305×488×337.3 cm, Installation view, Testament, Goldsmiths, Centre for Contemporary Art, London, 21 January – 03 April 2022 © Monster Chetwynd. Courtesy the Artist and Goldsmiths CCA, London. Photo: Rob Harris Monster Chetwynd, Hybrid Creature Bat , 2019, iron, fabric, cardboard, latex, paint, willow and wire, 280×367×64 cm © Monster Chetwynd. Courtesy the Artist and Sadie Coles HQ, London. Photo: Katie Morrison Monster Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per anarchistic bric-a-brac style performance pieces featuring handmade costumes, props, and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. This participatory impulse behind Chetwynd’s performances is at the core of per performance and film production and, as such, traverses traditional boundaries between the mediums ze employs within per practice. Informed by notions of play and the importance of playful imagination, typical binaries become shaken and flipped – ‘out of this world’ becomes ‘into this world’ and imagination might be closer to reality than it appears. Beyond the idea of absurdism, Chetwynd’s characters, sets, props and costumes embody an ever-changing image of our present and futures. Quick snippets might become permanent states, and loose views may become fixed viewpoints. Most recently, Chetwynd’s oeuvre has diverted into a new body of work informed by and developed through earlier panel paintings. Chetwynd has described the affordable medium as ‘very rewarding’ and discovered that the ‘spontaneity and gesture involved with the material lends itself to performance’. Ze draws from images, videos, and memories of previous performances for the subject of watercolor works, re-thinking and re-working them to alter the composition. Positioned alongside the large experimental paintings in costumes constructed from cardboard, glue, paint, paper, and cloth, Chetwynd bridges the gap between two aspects of practice – painting and performance – to form a singular, otherworldly performance piece. Throughout per career, Chetwynd has notably changed per forename several times, with previous names including Spartacus (2006-2013), Marvin Gaye (2013-2018), and Monster (2018 to present). Of these transitions, ze has said that ‘to choose one’s name, for me, is like casting a spell, uttering an incantation. It‘s a very economical way to bring about change.’ Monster Chetwynd Artist Monster Chetwynd (b. 1973, London, England) lives and works in Zürich. Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per bric-a-brac style performance pieces, featuring handmade costumes, props and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. Zoe Chang Exhibition Consultant As an experienced practitioner of Chinese contemporary art, she has curated and organized over a hundred art exhibitions, projects, and events both domestically and internationally. As an independent writer for art media and a curator, she focuses on the growth and renewal of the young creative ecosystem, establishing sustainable communication mechanisms, and promoting more possibilities through proactive actions.

TEstimony for the future special exhibition artist：gao lei & li nu In previous exhibitions at BMCA, the tunnel space was used for young people to work on personal projects. However, this time, since we have two artists, and especially because Gao Lei is particularly interested in the tunnel, he has taken over the space. Although the tunnel may seem small in size, there are actually quite a few works displayed inside. The main focus is a commissioned creation of five pieces located close to the mountainside. The images depict objects, but they are metaphors for human experiences. The hanging method resembles the aesthetics of train windows. The entire exhibition leads up to the second-to-last piece, located down the steps of the tunnel. It is a work by Gao Lei , designed in the style of a mani stone pile. This piece is an organic fusion of natural and crafted materials that he collected around Shanghai, combined with materials gathered during his travels to Tibet. We know that in Tibet, mani stone piles usually appear on high-altitude plateaus, but this time, we have placed the work at the lowest point of the entire North Hill, creating a dual contemplation—both upward and downward—between this piece and Li Nu’s work.

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MEMORIES AND DREAMS: MIRó'S GARDEN 2022.12.10-2023.3.10 artist: joan Miró Joan Miró's creative style underwent transitions from Fauvism and Realism to Surrealism. During his youth, Miró lived in Paris for an extended period, where his interactions with Surrealist poets were immensely beneficial. Poetry broadened his horizons, leading him away from the Realist creative philosophy. This exhibition displays three series of Miró's original pictorial poems. In these works, poetry and painting form a whole, with painting enhancing the expressiveness of the text and the text enhancing the narrative quality of the painting. The ingenious combination of the two creates an infinite space of imagination for the audience. The flight of the lark , 1973, Mixed technique：GOUCHE AND INK ON PAPER, 30 x 25cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 Some Flowers for Friends , 1962, Lithograph printed in color and pochoir, 41 x 32.5cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist Joan Miró (1893-1983) is one of the significant figures in the 20th-century Modernism art movement. As a pioneer of Surrealist art, Miró often employed colors and forms in a symbolic manner, crafting intricate compositions and fluid linear styles. He combined abstract elements with recurring motifs (such as birds, eyes, and the moon) to depict the rich and variable inner world of humanity. As an abstract artist of renown, on par with Picasso, Miró's paintings are filled with irrational artistry, with lines and colors freely flowing from the artist's brush, resembling poetry composed of dream-like associations and arbitrary wordplay. This exhibition has carefully selected 20 exemplary works created by Miró, utilizing a variety of materials including watercolor, gouache, Chinese ink, oil paint, and even textiles, showcasing the comprehensive style of Miró's paintings in a highly representative manner. Miró's themes include children, the sun, the moon, stars, birds, eyes, and ladders. The artist simplifies shapes, lines, and colors in his paintings, minimizing the elements to schematize figures and objects. In Miró's view, form is more important than color in painting; he believed that once the form is established, colors will naturally emerge. This exhibition has meticulously selected 20 exemplary works by Miró, created using a diverse range of materials such as watercolors, gouache, Chinese ink, oil paint, and even textiles. These pieces showcase the comprehensive style of Miró's painting, embodying a significant representativeness. Untitled, 1981, Oil, gouache, India ink and charcoal on paper, 54.6 x 40cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 Behind the Mirror . Paintings on Cardboard, 1965, lithograph printed in color, 37.8 x 57.2cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 Joan Miró Artist Joan Miró (1893-1983) was one of the prominent figures in the 20th-century modernist art movement. As a pioneer of Surrealist art, Miró often used color and form in symbolic ways to create complex compositions and flowing linear styles. He combined abstract elements with recurring motifs such as birds, eyes, and the moon to express the rich and ever-changing inner world of humanity. Renowned alongside Picasso as an abstract painter, Miró's works are filled with irrational artistry, with lines and colors flowing freely from his brush like a poem composed of dreamlike associations and whimsical wordplay. This exhibition meticulously selects 20 exemplary works by Miró, showcasing the artist's holistic painting style through various materials such as watercolor, gouache, Chinese ink, oil paint, and even textiles, making it highly representative of his oeuvre.

Tunnel project admin@bmcanj.com Open Call for Submissions! Open Call for Submissions! Open Call for Submissions! Open Call for Submissions! The Tunnel Space is located alongside the main exhibition hall of BMCA and is a narrow space (about 3 meters wide and 20 meters long) resembling a tunnel, with one side facing a mountain. We have preserved the space's original load-bearing beams and old pipes, only renovating the walls and adding lighting tracks. This maintains the potential for various experimental interventions in this space. The "Tunnel Project" is characterized by the keywords : youthful, experimental, an d local. As an art museum, we aim to provide young artists with opportunities to showcase their creations , while also addressing the u rgency of self and locality . In this project, we do not limit the mediums of the artwork and are even more encouraging of experimental mediu ms, hoping these works will exhibit an unusual energy in this unique space. As an institution based in Nanjing, we are open to collaborating with artists related to Nanjing, but we also welcome exhibition projects with fresh ideas from all over the cou ntry . We hereby extend a sincere invitation for open recruitment and welcome everyone to submit their exhibition proposals to us, hoping we have the opportunity to assist in realizing them. In addition to the use of the space, we will provide professional staff support for the project implementation, as well as meet the equipment and construction needs of the exhibition. Requirements Application Mate rials Artwork and exhibition proposal and explanation; Artist's resume and port folio. Application Time and Method This project is open for long-term recruitment, and we welcome your projects at any time! Please send your materials to the official email: exhibition@bmcanj.com Email subject: Tunnel Project + Applicant's Name More Space Information Moisture: The space is damp, with seepage from the mountain on rainy days. Pipes: Various pipes crisscross the space, unavoidable. Windows: There are opaque windows through which the opposite vertical cliff can be vaguely seen. Columns: The space is not fully open due to intersecting columns that obstruct the view.