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  • Open Recruitment | 北丘当代美术馆

    Tunnel project admin@bmcanj.com 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.

  • Member Page | 北丘当代美术馆

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  • Beiqiu Museum of Contemporary Art | BMCA

    What's on Testimony for the Future The dual exhibition "Testimony for the Future" by Gao Lei and Li Nu, curated by Zhu Zhu, is presented in the main hall and tunnel space of BMCA. It showcases the artists' significant works in recent years, their latest creations, and commissioned works by the Beiqiu Museum of Contemporary Art . The curator imagines the museum's space, akin to an air-raid shelter, as a place for the artists to store and share their works, which, when opened one day in the future, will serve as evidence of the intersecting lives of two individuals and as a collective memory and reflection of this era. Book Now 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

  • Past Exhibitions | 北丘当代美术馆

    Exhibition Testimony for the Future 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

  • Deep Blue Impression | 北丘当代美术馆

    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.

  • MEMORIES AND DREAMS: MIRó'S GARDEN | 北丘当代美术馆

    MEMORIES AND DREAMS: MIRó'S GARDEN 2022.12.10-2023.3.10 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

  • Forum | 北丘当代美术馆

    "Someone Has Been Disarranging These Roses" On September 8, 2023, the dual exhibition of BMCA opened simultaneously, and the forum event was successfully held on the afternoon of the opening day. This forum focuses on the current exhibition "Someone Has Been Disarranging These Roses" in the museum and the second phase of the tunnel project exhibition "Inquisition Valley". Exhibition artists, curators, and guests are invited to "shuttle" through the geographical landscape of BMCA, discussing from "climate" to "valley", and concluding with an experimental performance. At the beginning of the forum, Yang Tiange, a consultant curator at BMCA , introduced the annual exhibition plan "Art and Geography" initiated by Beiqiu this year. This exhibition plan starts with "Someone Has Been Disarranging These Roses " and presents a group exhibition with a research-oriented theme every year. Together with the youthful and experimental "Tunnel Project", it will build the core of academic exhibitions and content production with unique institutional characteristics at BMCA.

  • Myth, Fairy Tales, and Dream Tales | 北丘当代美术馆

    Myth, Fairy Tales, and Dream Tales On August 26, 2022, the 21st offline event of Cforabc was successfully held at BMCA in Nanjing. Xiang Shoujing, founder of Cforabc and partner of Star Space, had a conversation with Professor Zhang Weijie and artist Xu Maomao from the Spanish Language Department of Nanjing University, titled "Myth, Fairy Tales, and Dream Tales", to discuss Gabriel Ricco's artistic works and the cultural symbols contained therein. ​ This conversation takes place in the exhibition space of the new exhibition "Gabriel Ricco: Look! I'm Entwined with Non Self" at the Beiqiu Contemporary Art Museum. Half an hour before the event starts, the audience gradually enters the exhibition hall to get up close and admire Gabriel Ricco's artworks. Starting from the respective backgrounds of the guests, this lecture provides three ways for the audience to understand art through the similarities and differences in the works of two artists. It explores the connections between different cultures from Asia to Latin America, from language to symbols, from material to soul, and from individual subconsciousness to collective unconsciousness. Cici starts with the theme of Gabriel Ricci's work itself, and by interpreting the most representative work "Ricci's Formula," it triggers discussions between guests and audiences about the meanings of various symbols in the work.

  • HEY! LOOK AT ME! I'M TOTALLY ENTANGLED W | 北丘当代美术馆

    HEY! LOOK AT ME! I'M TOTALLY ENTANGLED WITH NOT-ME! 2023.8.13-2023.11.13 The theme of this exhibition, I'M TOTALLY ENTANGLED WITH NOT-ME! , is derived from the quantum entanglement effect in physics. Despite being in Mexico, the artist's work and his way of thinking about the world are presented in parallel in the art museum in China. The arrows and mathematical symbols in the artworks make visual comparisons between different objects, suggesting an internal logic and provoking thought. The selection of these works and the design of the exhibition are inspired by Mayan myth as told in the Popol Vuh, illustrating the connection between technology and art with human knowledge through the myth of the "Twin Gods" of Mexican culture and Mayan civilization. Hunahpú and Ixbalanqué, the Twin Gods in the myth, had a legendary origin. They bothered the Lords of Xibalbá when playing at the court of the Mayan Ball Game their father had built and were called to visit the Underworld. They went through several trials and defeated the Ajawab of Xibalbá. After their victory in the Underworld, Hunahpú became the Sun and Ixbalanqué became the Moon. No podemos ver el interior del sol directamente , 2022, Brass, rock, neon and etc., 155×155×9 cm. Courtesy of the artist and Perrotin Sesenta y tres from the series - Reducción objetiva orquestada, 2022, Mixed media and neon, Dimensions variable. Courtesy of the artist and Perrotin The artist's decision to stage his first solo exhibition in China at the Beiqiu Museum of Contemporary Art is significant. Located in Huangya Catherine Plaza in Xuanwu District, Nanjing, Jiangsu Province, the museum is backed by Jilong Mountain and is a unique art museum set on a hill in the heart of the city. The BMCA features a collection, exhibition, research and development, and education of contemporary art. The art museum has been restored and reinforced over the years, and the interior of the concrete-poured pavilion presents a collision of industrial and primitive. History, nature, and reality intertwined, pioneers and traditions constantly tested, the localization, multimodality, and unpredictability of contemporary art are all addressed here. Located on the uppermost level of the last century's bunker, the art museum retains the original architectural structure from more than twenty years ago. The exhibition space has the sense of a cave or subterranean, comparable to the space where the Twin Gods defeated the Ajawab in Mayan mythology's Underworld. Both Mexico and China are ancient civilizations. Southeastern Mexico and Nanjing are geographically apart, but they share a rich history, culture, and art. The implication of the works and the location of the exhibition give rise to a coherence between time and place. Cynthia Gutiérrez, a close friend of Gabriel Rico and fellow outstanding Mexican contemporary artist, has written a beautiful text for this exhibition. Her poetic language leads the viewers into the world of Gabriel Rico's art. ​ In the emptiness of the desert emerge cactus with golden pitayas and pencas made of ground and stuffed viscera. Thirst for gold. In the sky, a square sun. The loop is broken. History stops repeating itself. The wheel of nature does not turn. Spears of light piercing and illuminating the totem of the end of time. Consumed idols carrying dead nature in a sea of sand.Dazed and sad bird, giddy hare. Animals persist, but only as trophies. They look at us, still. They pose on worlds simulated by colored balls, elevated by golden rays emerging from rocks surrounded by rings of light. Holograms. Appearance. Death that looks at you. Illusory uprising. Artificial return. False landscapes do not deceive me. Let the birds fly in the dissected world! Has everything died? The shadow of the world is a plane. I walk it painting ghosts. Paths, paths, trajectories. The tireless search for knowledge. The absurd explanation of an inexplicable world. Ink that suffocates songs, that clouds the senses, that numbs our being. My head is a book. Silence, unbearable weight, monument to permanence, to immobility. My head is a stone. I have anticipated you VI (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine, 2021, Cedar wood carving with steel core, polychrome oil painting, gold-plated ceramics and etc. 210×90×90 cm. Courtesy of the artist and Perrotin I have anticipated you VI (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine), 2021, Cedar wood carving with steel core, polychrome oil painting, gold-plated ceramics and etc. 210×90×90 cm. Courtesy of the artist and Perrotin To compound the small differences, 2022, 100×100×6 cm, Courtesy of the artist and Perrotin

  • 21 century Herbal | 北丘当代美术馆

    21ST CENTURY HERBAL 2023.4.3-2023.6.11 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

  • 无限接近山 | 北丘当代美术馆

    someone has been disarranging these roses 2023.4.3-2023.6.11 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

  • 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.

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