Exhibition Rock Host, Infrustructuring the Void 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

What's on Read more Rock Host, Infrastructuring the Void GROUP EXHIBITION This initiative commissions curators to explore the intersection of art and geography through yearly exhibitions. This year, we have invited the curatorial duo, Iris Long and Zike He, to present an exhibition featuring seminal and recent works by 20 international and domestic artists who investigate realms of infrastructure, science fiction, and geology/environment-related topics. The exhibition also includes new works by artists who participated in the research project Under the Cloud organized by Long and He, showcasing the locality of scientific and technological infrastructure as well as its impact on the environment and our future as a quiet technology. 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

ADMISSION ADMISSION For On-site Purchases Visit the service desk at BMCA , located on the 3rd Floor of Catherine Park For Online Purchases F ree Admission Policy: Buy Tickets Children: Youth under the age of 12 (excluding 12-year-olds) can enter for free with valid identification documents. Seniors: Individuals aged 60 and over (including those who are 60) can enter for free with valid identification documents. Persons with Disabilities: People with disabilities can enter for free with valid identification documents. Note: Children under 12 (excluding), seniors, those with mobility issues, and persons with severe disabilities must be accompanied by an adult with the ability to ensure safety. The accompanying adult must enter with a ticket. Military Personnel: Active duty soldiers, veterans, retired military officers, and retired non-commissioned officers of the People's Republic of China, as well as recipients of national pensions and subsidies, can enter for free with valid identification documents. Fire and Rescue Personnel: Fire and rescue personnel (including those who are active, retired, disabled, students of fire and rescue academies, and full-time government firefighters) can enter for free with valid identification documents. Museum and Art Gallery Staff: Registered staff of both state-owned and private museums and art galleries can enter for free upon presenting valid identification documents. Free Admission Process: Present the reservation QR code and a valid ID at the service desk on the 8th Floor of Deji Plaza Phase II to activate your ticket and exchange it for a paper ticket. Entry is granted by scanning the QR code on the paper ticket.

The Mountain Breathes Beyond Measure 2024.8.10-11.17 artist：chen jiacheng "The Mountain Breathes Beyond Measure" is a research action based on the phenomenon of wetness in the tunnel space of BMCA. In the meanwhile, it also reflects on the surveying and drafting techniques that develop in the modern era. It takes the remaining urban space anchored by the tunnel space as the starting point of investigation and initiates a spatial study of this "non-place". The "largest artificial waterfall in Asia" was once built on the mountain attached to BMCA, which was later demolished. After some repairs, a huge remaining space was left between the mountain and the urban interface, depleted with sunlight. It is what maintenance engineers call the "Back Mountain Canyon", the infrastructure of building infrastructures, like a sac that cannot heal after injury. The concrete roof on top exists like a scab that cannot be removed. The so-called "tunnel space" is regenerated on the mountain that has been dug up. Like a blind box, it is anchored on the long-abandoned landscape waterfall and has become the interior of the interior structure. The tunnel space is destined to play a role of speechlessness: the space possesses no construction in the disciplinary discourse of Architecture, and therefore is aphasic in academic discussions; engineers who normally use it do not speak out outside of maintenance tasks; for the audience who enter it, the muted scene they see through the window is fragmentary, often leading their imagination to be distorted. When located in this hanging blind box, we would start to fall into multiple "interiors" and are more or less bewildered.

Visit MEMBERSHIP Invite you to join the BMCA Membership ！ Membership Plan Free Viewing of Regular Exhibitions Year-Round: Members can enjoy free viewing of regular exhibitions for 365 days from the activation date. Simply reserve your "visit time" in advance and enter with your membership reservation code. Daily Plus-One Free Entry: When visiting regular exhibitions, members can bring one guest for free (limited to one guest per day). Exclusive Discounts on Special Exhibition Tickets: Members enjoy an exclusive 20% discount on special exhibition ticket purchases. More Exclusive Benefits to Look Forward to: Priority Access to Exciting Member Events: Members get early access to sign up for exciting events. Priority Qualification for High-Quality Cultural Activities: Members have priority in obtaining registration qualifications for BMCA lectures, forums, opening receptions, and public courses, with the opportunity to enjoy one free experience. One Free Professional Guided Tour: Members can enjoy one free professional guided tour during their membership period (advance reservation required).

Monster & The Nocturnal Pollinators someone has been disarranging these roses 2023.9.9-2024.1.18 Group exhibition Curator: yang naitian & liu lin Someone Has Been Disarranging These Rosesdelves into the historical and present context of BMCA’s site –Beijige Mountain, and investigates the pivotal role it has played in the evolution of meteorological science in China.Departing from the spectral atmosphere of the museum's locus, the exhibition brings together about 20 artists,architects, and researchers from six countries to create a constellation of artworks engaging with this historicallineage andoffering different perspectives towards the omnipresent reality of climate crisis. Hu Yun, Star , 2017-2018, Meteorite, 3D print, music box, acrylic box, 60×40×12 cm, Commission by OCAT Xi’an, Courtesy of the artist, HOW Art Museum and AIKE Gallery Kadambari Baxi & Research Group,Air Drifts , 2016, HD video accompanied bydrawings, diagrams, and texts, Research group includes Janette Kim, Meg McLagan,David Schiminovich, and Mark Wasiuta, In collaboration with scientists at NASAGlobal Modeling and Assimilation Office, Maryland, US, Courtesy of the artist Beijige serves as a point of convergence for the history and reality of Nanjing and China. It weaves together various elements, including ancient myths / Daoist traditions, solar terms / agricultural activities, modern meteorological science / intellectual individuals in China's modernization process (such as Zhu Kezhen, the founder of the Central Meteorological Observatory in Beijige), as well as civil defense projects / consumer spaces, collectively producing a complex, ambiguous, and romantic environment. The museum's existing spaces further consolidate this essence, blending together mountain terrain, air raid shelters, and the "white cube" gallery environment. The exhibition seeks to portray this compressed moment through image and sound, and to extract the dynamic imagery of wind, rain, cloud, etc. It evolves from the perception of such phenomenon to the intangible existence of data clouds, and ultimately to the cultural and political weather and climate at large. Architect Naitian Yang’s choreography of the exhibition space creates an experience that negotiates with theexisting concrete structure and resonates with the oscillating cadence of weather itself. In a time when weather andclimate issues have transcended theoretical discourse and become an urgent reality, the exhibition endeavors tointegrate people and weather into the same fluid, precarious, and crucial state. The artworks within the exhibitionallude to what might conventionally be termed "bad weather", yet the binary idea of "good / bad" is no longerapplicable to our judgments of weather. Beyond a human-centered perspective, the synthesis of chaos emerges asthe norm of weather, where "good" and "bad" coalesce. It pervades every aspect of existence, whether living or not. The participating artists in this exhibition include： Ben Rivers, Zike He, Yun Hu, James Benning, James Bridle,Kadambari Baxi & Research Group, Luo Li, Ke Lin, Philippe Rahm, Ling Wen, Zhen Xu, Ming Ya, Yang Yang,Yutaka Sone, Bo Zheng, and June Lee June LEE,Dragon Temple East Lake, 2015 ~ Now, Couplet, red, paper, ink,brochure, paper, black and white laser print, saddle stitch, Dimensions variable,Courtesy of the artist Lin Ke,Download Rain No.2, 2014, Video, performing arts, performance, 2 minutes34 seconds, Courtesy of the artist and BANKMABSOCIETY Xu Zhen,8848-1.86, 2005, Single-channel digital video (colour, sound)8 minutes, Courtesy of the artist and MadeIn Gallery YANG NAITIAN Curator Yang Naitian is an architectural designer currently living and working in New York City, USA. Focusing on the sensory experiences provided by architectural structures and materials and the power relations behind their formal language, he explores the role of belief systems in the built environment. He has worked at AWP Architects in Paris and Jianmeng Studio in Beijing. At Guy Nordenson and Associates Structural Engineering Company in New York, he participated in the design and construction of a number of public cultural buildings and art projects, including Day's End, a sculpture commissioned by David Hammons for the Whitney Museum of Art, and Shenzhen in collaboration with Sou Fujimoto Architects. The Reform and Opening Up Pavilion, and the Emnauel Nine Memorial designed in conjunction with Handel Architects. His writing has been published in Karma International, Serving The People and other platforms. LIU LIN Curator Liu Lin, writer and curator, currently lives and works in Shanghai. Recently, I have focused on exhibition production and technical theory, and tried to discuss the issue of "co-working" through cooperation with creators in different fields. From 2013 to 2021, he worked as a curator at Sifang Contemporary Art Museum and initiated and implemented the "Topography" (2015-2019) project. Some of the planned exhibitions are: "Yanzhong Art Museum" (2016), "Unfinished" (2019) and "Must Dream of This Blue Tonight" (2020), etc.; he regards writing as a method of action and tries to use it in different ways. Experiments were carried out in the field of writing, and some articles were published in media such as ARTFORUM Chinese website, Art News Chinese version, Art-Ba-Ba, Wallpaper, and The Paper.

The Impression of Deep Blue : A Cyanotype Event Myth, Fairy Tales, and Dream Tales Someone Has Been Disarranging These Roses

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.

The Impression of Deep Blue Starting from September 16th, BMCA will provide visitors with a "Deep Blue Impression" art experience. Take you through time and space, exploring the wonderful connection between Prussian blue and weather changes. Gain a deeper understanding of how this ancient way captures the magical light and shadow of nature.

21ST CENTURY HERBAL 2023.4.3-2023.6.11 Artist: emma talbot curator: wells fray-smith This exhibition brings together paintings on silk, three-dimensional forms, animations and drawings made in the last three years that reflect on the power of the natural world and experiences of living in flux and transformation. Emma Talbot makes work that is about processing what it means to be alive, to think, to feel, and to notice the world in which we live. Her work is rooted in personal experience and fact, but often presents alternate realities or suggests ways to live differently. E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist The central work in the exhibition, 21st Century Herbal, presents a figure experiencing the effects of eleven plants on her body while written text explains the magical or medicinal properties of those plants, and how they may help or harm us. Rosemary slows Alzheimers and dementia, while stinkweed is a toxic plant that produces amnesia and confusion. Across fourteen panels, Talbot takes us on a journey through nature of discovery full of truth, wisdom and hope, revealing that humans and the natural world are deeply connected and plants may be the key to our survival. Talbot is a storyteller with a distinctive painterly language that combines colourful, swirling lines and patterns, direct text, and a female figure who explores and navigates imagined landscapes and worlds. The figure in Talbot’s work faceless, acting as both an avatar of Talbot and a surrogate for ourselves. The imagery in Talbot’s work is direct and hand-drawn on silk, relating to her inner landscape of personal thought and emotional responses to subjects ranging from technological advancement and grief, to nature and aging. The central work in the exhibition, 21st Century Herbal, presents a figure experiencing the effects of eleven plants on her body while written text explains the magical or medicinal properties of those plants, and how they may help or harm us. Rosemary slows Alzheimers and dementia, while stinkweed is a toxic plant that produces amnesia and confusion. Across fourteen panels, Talbot takes us on a journey through nature of discovery full of truth, wisdom and hope, revealing that humans and the natural world are deeply connected and plants may be the key to our survival. E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, Floral hangings, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist EMMA TALBOT Artist Emma Talbot (b. 1969, Stourbridge) lives and works in London. She studied at the Birmingham Institute of Art & Design and Royal College of Art. Working in drawing, painting, animation and sculpture Talbot often articulates internal narratives as visual poems or associative rumination, based on her own experience, memories and psychological projections. Incorporating her own writing and references toother literary and poetic sources, Talbot’s work considers complex issues such as feminist theory andstorytelling; ecopolitics and the natural world; and pertinent questions regarding our shifting relationshipsto technology, language and communication. Wells Fray-Smith Curator Wells Fray-Smith is Curator at the Barbican Art Gallery, London. Prior to Barbican, Wells held similar positions at Whitechapel Gallery, Pace Gallery, London and The Metropolitan Museum of Art, New York.At Whitechapel Gallery, she was the co-curator of Emma Talbot’s Max Mara Art Prize for Women winning exhibitionThe Age/ L’Età and was also the curator ofThe London Open(2022) and Helen Cammock: Che si puófare (2019). She was the curator of Real Life at Galerie Sofie Van de Velde in Antwerp, Belgium, for which she also wrote the catalogue. Wells writes extensively on modern and contemporary art, recently contributing catalogue essays on the artists Tess Jaray (2022), Secundino Hernandez (2022), Prabhavthi Meppayil (2022) and Fabienne Verdier (2020).

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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.