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  • Tunnel project | 北丘当代美术馆

    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. Exhibition The Mountain Breathes Beyond Measure Special Exhibition Testimony For The Future Exhibition Inquisition valley Exhibition A Mountain of closeness

  • visit | 北丘当代美术馆

    Visit Information Opening Hours Tuesday to Sunday :10:00 AM - 10:00 PM Entry stops at 5:30 PM daily (Closed on Mondays, open on holidays as usual) Address No. 1 Beijing East Road, Xuanwu District, Nanjing, Jiangsu Province, Catherine Park(above Uni Café) Customer Service Number 025-86219156 Transportation Information Public Transport Subway: Line 1, 4 Bus:Line 3, 11, 20, 26, 30, 46, 47 You can take Subway Line 1 or Line 4 to Gulou Station. Exit from Exit 4B and walk 700 meters to reach Catherine Park, where BMCA is located within the park. Self-Driving You can navigate to the underground parking lot of Catherine Park, take the elevator to 1F , and then walk to the Beiqiu Museum of Contemporary Art.

  • 曝书谷 | 北丘当代美术馆

    Inquisition Valley 2023.9.9-2024.1.18 Beiqiu Museum of Contemporary Art is honored to announce that we will present the artist Zhang Yi’s solo project “Inquisition Valley”, curated by Yao Siqing, in the second phase of tunnel project in 2023. Mountains are towering, whereas valleys are hollows between two mountains. Zhang Yi’s personal project ‘Inquisition Valley’ was inspired by her survey of space and history in the Beiqiu Museum of Contemporary Art and Nanjing. The museum is built against Beiji Pavilion; known as the place of teaching humanities and compiling classics in the ancient capital of six dynasties, and famed as ‘the place with the best customs on the east of the Yangtze River’. In this project, the artist images the “original highlands” of humanities in history as a low, dark and closed place. Meanwhile, it also inverts the ritual of ‘曝书/Pushu - giving books an airing’ of classic elegance semantically, to create a satire of exposing books to scotching sun and a barrier to reading, for the purpose of echoing the realistic context that of anti-intellectualism, and satirizes the narrower and duller sphere of culture in reality. Inquisition Valley, Zhang Yi, 2023. Image from Beiqiu Museum of Contemporary Art Inquisition Valley, Zhang Yi, 2023. Image from Beiqiu Museum of Contemporary Art As materials, old books collected from Nanjing were ‘penalized’ by splitting, bundling, cutting and soaking, on which Zhang Yi spent a month building the mottled and complex scene of ‘Inquisition Valley’, where vulgar literature and official history are integrated into a whole and spring grass, and autumn reeds emerge and perish along calligraphy rubbings. Throughout history, books, as a medium of civilized information, have been repeatedly banned and destroyed. However, the human wisdom contained in the classics also remains the cornerstone of civilized consciousness. The question of whether knowledge is a prison or nourishment has always tested the judgement of different minds. The completion of the ‘Inquisition Valley’ scene depends on the opening performance. This performance further theatricalize the tunnel space, where the ‘people of Inquisition Valley’ perform their absurd acts. The artist’s portrayal of these people was inspired by the history of the Six Dynasties and the Ming Dynasty, the two dynasties that are most easily associated with Nanjing; however, the frenzied and numb state of the people was derived more widely from two pedigrees, namely, King Zhou of the Shang Dynasty and the Roman emperor Nero and the various people of conquered nations who pretended to be insane. ‘Inquisition Valley’, however, is a fictional place where human actions activate and manifest the characteristics of the space and surroundings and, in turn, influence the spiritual power of the people inside. This is not the first time that Zhang Yi has experimented with old books as materials. As early as her time as a student in the United States, she expressed the discomfort of cross-cultural communication and the cultural nostalgia that arose from this discomfort. As a result, she has become knowledgeable about the various forms that books and their pages can take. Nonetheless, with ‘Inquisition Valley’, it is indeed the first time she has expanded this technique into the law of constructing an entire art space to complete a dystopian critical picture.

  • Rock Host, Infrustructuring the Void | 北丘当代美术馆

    Rock Host, Infrustructuring the Void 2024.12.06-2025.02.16 Group exhibition Exhibition curator: he zike、iris long Beiqiu Museum of Contemporary Art is pleased to announce Rock Host, Infrustructuring the Void, the second installment in its annual exhibition series, “Art and Geography”. 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. The exhibition is developed from Under the Cloud project and its discussion on the notions of geological time, mountain types, topography, and infrastructure. It weaves a thread connecting three spatio-temporal dimensions: the air-raid bunkers in Beiqiu, Nanjing; the data centers in Guizhou; and the factories constructed in caves during Guizhou’s Three Front Movement. Expanding these narratives to a global scale, the works in the exhibition examine the mutual nesting between infrastructure and the geological environment around the world. British-Polish geologist Jan Zalasiewicz visualizes temporal and material transformation from microscopic to macroscopic scales through geological metaphors: he sees the Earth as a “Stratigraphy” machine, which operates at an extremely slow speed—so much so that it forms a geography along the vertical axis. Rock Host, Infrustructuring the Void captures this slow, vertical transformation through a variety of works, from profiling rocks, bunkers, and waterbodies to delineating clouds and vegetations that appear more fictional than real. In addition to introducing the scales of time and materials, this exhibition also questions the prevailing perception of scientific and technological infrastructures as isolated, externalized, and ultimately lifeless technological objects. Instead, it proposes their new image as a dynamic “technology-nature” continuum. Fossils, for instance, by solidifying time and reshaping their surrounding scenes, can generate unexpected humor: the porcelain tiles used in the bathroom sinks at Guiyang Longdong bao International Airport have been identified as early-Silurian Paraconchidium shiqianensis from 439 million years ago. Similarly, today’s technological constructs, such as data centers, deep-earth laboratories, and other structures hidden and embedded in the depths of natural and manmade caves may undergo unforeseen scenic transformations in the distant future. Imagining these changes allows us to build a parallel future of technology, rendering the temporality of infrastructure a captivating subject. The exhibition reimagines the gallery space within the Beiqiu Museum of Contemporary Art as a giant machine dwelling within rocks. Utilizing an array of recyclable materials commonly found in infrastructure, the exhibition site is transformed into a “void infrastructure” of time. Simultaneously under construction and obsolete, this “void infrastructure” rests quietly between the layers of rock strata. The exhibition will occupy both the main exhibition hall and the tunnel annex of the Beiqiu Museum of Contemporary Art. It will officially open to the public on December 7, 2024, and run through February 16, 2025. This exhibition is partially supported by Pro Helvetia Shanghai, the Swiss Arts Council. PARTICIPATING ARTISTS: Badel/Sarbach, Cao Fei, Chen Xiaoyi, Dennis De Bel, Duruo Wang & Zhang Wenxin, Filips Staņislavskis, Luo Shuang, Marina Otero Verzier, Monica Ursina Jaeger, Qian Dajing, Salvatore Vitale, Lithic Alliance, Tega Brain, Timur Si Qin, Himali Singh Soin,The Nomadic Department of the Interior (NDOI), Zhou Tao ZIKE HE Curator HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others. IRIS LONG Curator HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

  • 无限接近山 | 北丘当代美术馆

    someone has been disarranging these roses 2023.4.3-2023.6.11 Artist: yao cong After two months of open recruitment and internal discussions, Beiqiu Contemporary Art Museum is honored to announce that we will present the solo exhibition project of young artist Yao Cong, "A Mountain of Closeness" in the first phase of the "Tunnel Project" permanent exhibition hall. The exhibition "Infinitely Close to the Mountain" echoes the geographical characteristics of Beiqiu Contemporary Art Museum, and also has a spiritual connotation with the exhibition hall of the tunnel project, a long and narrow space suspended on the mountain cliff. During these years of the epidemic, Yao Cong lived in his hometown, staying with the mountains (Zhongnan Mountain in Xi'an), and often went to the northwest to touch the wild peaks. Here, the artist rethinks family relationships, reflects on the inextricable connection with the mountains, and also appreciates the mystery and sublimity in it from the perspective of human geography. Mountains not only serve as the carrier of personal memories, but also serve as the collision between civilization and nature, becoming an implicit or explicit connecting element in the artist's creation. The exhibition brings together some of the artist's images and photography, trying to sort out from "place" how motifs such as "landscape" and "flesh" overlap and grow in the context of the Anthropocene. The Square Reserve , 2020-2021, 4K 10-screen video 4K, Each video isaround 15 min. Image from Beiqiu Museum of Contemporary Art "A Mountain of Closeness", 2023. Image from Beiqiu Museum of Contemporary Art

  • Monster and the nocturnal pollinators | 北丘当代美术馆

    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 | 北丘当代美术馆

    testimony for the future 2024.3.30-2024.6.30 Artist:Gao lei, li nu curator: zhu zhu The concept of the exhibition is inspired by the difference between the space of Beiqiu Museum ofContemporary Art and that of the “White Box”. As an artistic space transformed from an air-raidshelter, the art museum retains the previous structural characteristics and sense of historical relicsas well as its geographic environment that is inseparable from the Jilongshan Mountain. The spaceof the "air-raid shelter" is treated as a place where Gao Lei and Li Nu store and exchange theirworks. One day, far in the future, upon looking back, the door of the “shelter” would be opened,displaying testimony for the collective memory and reflection of the two intersecting individuallives as well as of the present era. ,Li Nu, Warm/September , 2022, Nichrome wire, silica glass, electricity, 525×95×25cm, Courtesy of the artist and SPURS Gallery Gao Lei, The Door of Perception , 2016, Bronze, stainless steel, Overall: 225×284×23cm; Durian: 30×23×20cm; Hot Water Bag: 36×19.5×9cm, Private Collection In the specific structural arrangement of the exhibition, works of the two artists are organicallygrouped together to form direct thematic dialogues, superimposed visual tensions, or understandableinterconnections, weaving the two independent forms of individual creations into a bare thread inthe tunnel of time and space. In terms of their respective methodologies, Gao Lei's expression hasthe constant appearance of rational thinking, while Li Nu constantly shifts between lightness andheaviness, silence and explosion. Their works are both witnesses to reality and metaphysicalinquiries. Compared with the local conceptual artists of the previous generation, Gao Lei and Li Nuavoid excessively-symbolic production and respond to the common circumstances by focusing moreon art itself. The exhibition, for the first time, will be presented in both the main gallery and the tunnel sub-spaceof Beiqiu Museum of Contemporary Art. The duo exhibition will be unveiled on March 30, 2024,and closed on June 30, 2024. gao lei Artist Gao Lei’s art practice spans multiple media, including installation, sculpture, photography, and painting. Gao often adopts everyday objects and “standardized” industrial products as the essential component, whose works are manipulated through synthetic or abstract regulatory forms, in which the functions, properties, and meanings are tampered with or added through blurring transformation. Thus, they become a scale or model for measuring various domains such as the body, power, consumption, and religion. Through precise material testing and vectorization of graphics, Gao’s works, along with the objects they confront and the questions raised, alternate between spatial and conceptual dimensions, allowing the viewer to re-examine and remeasure our inherent boundaries with the world using a standard other than that of experience. Gao’s works have been the subject of solo exhibitions at White Space (Beijing, China), Arario Gallery (Seoul, Korea), Museum of Contemporary Art Taipei, etc. His works have also been exhibited in international art institutions including, Ullens Center for Contemporary Art, Minsheng Art Museum (Shanghai), Long Museum, Tank Shanghai, Hao Art Museum, Guangdong Times Art Museum, Singapore Art Museum, Institute of Modern Art (Valencia, Spain), Tinguely Museum (Basel, Switzerland), Ludwig Museum im Deutschherrenhaus (Coblence, Germany), National Museum of Modern and Contemporary Art (Korea), and others. li nu Artist Li Nu, graduated with an MA in sculpture from Royal College of Art, London, Li Nu won the RBS (Royal British Society of Sculptors) Bursary Awards in 2015 and is a member of the RBS. He currently lives and works in Beijing. Rooted in everyday life, Li Nu’s practice captures personal experiences and subjective feelings and thus reflects shared sentiments of the broader environment, individual’s mood swings, and the collective mental state in the social evolution. Drawn to the accidental, the unexpected, the present rather than techniques or forms, Li resists visual monotony as well as coherent, strategic, stylized methods pursued by many Late Modernists, and explores instead the potentialities of installation, contemporary sculpture, experimental video, events, etc. He subverts the perceived boundaries between documentary and fiction, representation and abstraction, transforming seemingly unpromising materials into metaphorical, piercing, humorous, poetic, and dramatic expressions with multiple connotations. ZHU ZHU Curator Zhu Zhu, a poet, curator, and art critic, was born in September 1969. He has been awarded the Anne Kao Poetry Prize, the Chinese Contemporary Art Award for Criticism (CCAA), and the Hu Shi Poetry Prize. He has authored numerous collections of poetry, essays, and art criticism, including the French edition of poetry collection "Blue Smoke" (2004, translated by Chantal Chen—Andro), "The Grey Carnival—Contemporary Chinese Art Since 2000" (2013, published by Guangxi Normal University Press' "Ideal Country" series, 2016, Taiwan's Eslite Press), "Only One Gram" (2017, Henan University Press), and the English edition of poetry collection "Wild Great Wall" (2018, published by Phoneme Media in the United States).

  • Join us | 北丘当代美术馆

    Join us Intern Responsibilities Assist at the front desk with ticket checking and validation, greeting visitors, and answering questions. Help maintain order in the exhibition hall to ensure the safety of artworks and visitors. Be able to answer questions about the exhibition content and related queries. Requirements Work diligently and responsibly, be punctual, and possess a team spirit. Be friendly, modest, courteous, and patient. To apply, please send your resume via email, and specify "Intern + Your Name" in the subject line to hr@bmcanj.com .

  • 晦暗里 | 北丘当代美术馆

    diving deep for light into darkness 2022.3.18-2022.6.5 group exhibition Curator:yang tiange The exhibition "Diving Deep for Light into Darkness" takes the spatial geography and historical context of BMCA (which was once a bunker and is adjacent to the thousand-year-old Jiming Temple) as a jumping-off point for imagination, focusing on the body and the sensorial expedience in the environment, and presenting the undulating journey of the physical body sinking into obscurity and finding light in the dawn. As an extension of the museum's pre-existing setting, the exhibition space is intentionally painted obscure, with both tunnels and cloisters, in order to create a sense of direction while still being perplexing and disorienting. We feel our way through the dark bunker, wander through the gaps among the rocks, walk into the inner cavity of the rocky space, as well as penetrate the human flesh to look inward at ourselves. The exhibition distinguishes conceptually between the"bare body"and the"political body", and emphasizes the former which has a more universal meaning, namely the body with sensibility and of three chapters."Living Bodies, Unspeakable Illnesses”directly confronts the peculiarities of the body ,particularly the sick body and hidden aches: burnt faces or swollen limbs, suffering from insomnia or depression, yet leaving a glimmer of light amid the gloom."In Motion and Silence" is a collection of abstract paintings. Here, "abstraction"is interpreted as an accumulation of bodily gestures that point to a clear manifestation of spirituality. These works do not directly address the body as a subject but rather deal with the bodies and spirits of the artists behind the works:their works bear witness to a clear physical engagement, document the passage of time, present the accumulation of colors, and connect the thread of wandering lines- the art form and the creative process are the pivots between the body and the spirit."In the Wilds In the Mountains In the Sea" echoes the physical sense of being among the rocks of BMCA, presenting the people in the realm of nature and their subtle feelings in it, suggesting the state of connection and symbiosis between the body and all creatures of nature. In this context, intellectual activities such as gazing, interrogation, and investigation do not take precedence over bodily awareness such as experiencing, perceiving, and immersing. The exhibition attempts to build an organism: the most significant part is undoubtedly the artworks on display, which directly depict the body or indirectly indicate its existence; it also intends to awaken the viewer's imagination of the artists’ bodies at the time of their creation, so that the artists behind the works can be recognized; in addition, the spatial reality of the museum allows the viewers to be included in the exhibition, who is also among the bodies that the exhibition attempts to evoke and mobilize. In "Diving Deep for Light into Darkness",the triple forms of bodies interact with each other to create a chequered voyage between light and darkness. Artist: Miriam Cahn/Chen Dandizi/Duan Zhengqu/Feng Zhixuan/Owen Fu/Fanny Gicquel/Hu Wei/Lyu Zhi-Qiang/Ma Kelu/Ma Shuqing/Pejvak/Gabriel Rico/Niclas Riepshoff/Su Chang/Hiroshi Sugimoto/Wang Zhongjie/Wu Shan/Zhao Yao yang tiange Curator Tiange Yang is a Beijing-based curator and writer. He currently holds the position of curator-at-large at the Beiqiu Museum of Contemporary Art, Nanjing, and is enrolled in a Ph.D. in art history at Peking University. Yang has curated numerous exhibitions including Leisure of Auteur and Amateur; How many times, I have left my everyday life; Diving Deep for Light into Darkness; Contamination: Not for Perfection, but for Contamination; Buddhist Youths: United Collective Indifference, and There are Volcanoes Under the Sea at institutions including Cloud Art Museum, Beiqiu Museum of Contemporary Art, Inside-Out Art Museum, Goethe-Institut, Hua International and others. Yang is the inaugural recipient of the Mo Yuan: Art History Research and Writing Grant in the field of contemporary Chinese art writing from the New Century Art Foundation. His research explores issues of the body and the construction of identity, and nationalist formations in twentieth-century China and the contemporary world.

  • Admission | 北丘当代美术馆

    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.

  • 山汽莫测 | 北丘当代美术馆

    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.

  • Membership | 北丘当代美术馆

    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).

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