Beiqiu Museum of Contemporary Art is an art museum growing on a hill. What's on Tiān Gōng Kāi Wù: Rocks, Fire, Thunder Julius von Bismarck’s First Solo Exhibition in China 2025.11.11-2026.2.1 Beiqiu Museum of Contemporary Art presents Tiān Gōng Kāi Wù: Rocks, Fire,Thunder, the first solo exhibition in China by German artist Julius von Bismarck. Drawing inspiration from the seventeenth-century Chinese encyclopedia of technology, Tiangong Kaiwu, the exhibition bridges ancient wisdom and contemporary thought, exploring the interrelations between nature, technology, and humankind. Read more Past Exhibitions Exhibition Drifting ENCOUNTERS 2025.8.5-2025.10.26 Tunnel project Undercurrent 2025.11.11-2026.2.1 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

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.

CURRENT Exhibition Tiān Gōng Kāi Wù: Rocks, Fire, Thunder Tiān Gōng Kāi Wù: Rocks, Fire, Thunder Julius von Bismarck DRIFTING ENCOUNTERS Group Exhibition 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

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 CHENG JIALIANG Visions beyond the Void, Whispers from the Hollow ZHENG JIANG Undercurrent

Visions beyond the Void, Whispers from the Hollow 2025.8.5-2025.10.26 Artist： CHENG JIALIANG curtor：wang yanjun In the Ming dynasty, atop Jilong Mountain once stood Pingxu Pavilion (the Pavilion Upon the Void)—built against the cliff, open and unshattered, and counted among the famed Forty-Eight Views of Jinling. Like later Wanshou Pavilion (the Pavilion of Longevity) and Beiji Pavilion (the Pavilion of Polaris), it has long vanished—but perhaps that matters no more. We so often fix our eyes upon hollow projections in the dense forest of reality, much like listening to whispers from the hollow, hoping to grasp—or to tear open—a deeper and more distant view. Perhaps this, too, is what a contemporary art museum can offer—no more and no less. Cheng Jialiang is, of course, intimately familiar with Jilong Mountain. As a modest hill that once guarded the northern edge of the city and served as a site for observing the heavens, it holds layers of historical traces—from the Ancient Observatory, Jiming Temple, Literary Museum, and the Ten Temples, to the Republican-era meteorological station, T.V. Soong’s villa, and the Academia Sinica, and onward to today’s Beiji Pavilion Park and the Geological Museum—even the art museum that now emerges from within an old air-raid shelter. Yet to us locals, it is more than just a case study in artificial nature or a backdrop for discussing technological strata—it is a hillside we walk, live with, and share in the quiet routines of daily life. Behind the ever-crowded Jiming Temple, the ruins of Zhenwu Temple and Beiji Pavilion lie crumbling and unseen, while the Ancient Observatory and the Villa are rarely open to the public. We often find ourselves circling the mountaintop’s enclosing walls, wandering down one dead-end dirt path after another, stumbling upon doodled sea turtles on the ground, faux-antique air vents, veteran bird photographers, fortune-tellers tucked beneath the steps, and an improvised gym hidden in the garden of stone carvings. The elderly men exercising along the mountain paths love to ask, “Guess how old I am?” “Seventy-five—hard to tell, right? Gotta keep moving.” And if you replied, “I bet you’re 800,” would you be slipping into one of those classic tales of encountering an immortal? Fifteen centuries on, no matter how power lines and municipal development reshape its form, Jilong Mountain still seems cloaked in a suspicious, lingering mist. And our fascination with rumor and distortion may well be a fascination with escape—or transcendence—just like the impulse to disappear into a Decathlon store when you’re already late for work. This project stems from all the daydreams and bafflements accumulated on Jilong Mountain—three video works spun from two evolving tales, along with fragments of evidence and giveaway traces, scattered like stray whispers throughout a man-made hollow cut off from reality. Though filmed in the actual Beiqiu Museum of Contemporary Art and forested areas of Nanjing, with actors mostly drawn from the city’s creative circle, all characters, events, and texts are entirely fictional—half the absurd overtime jokes only art workers will understand, and the other half the cryptic rural fantasies one might stumble upon outside their own front door. If it all seems too obscure, feel free to treat it as a summer overtime simulator—perhaps even take a catnap in the cave, as if on a quiet lunch break. In the end, it is through the hollow that we gaze beyond; and from the hollow, the whispers come.

Undercurrent 2025.11.11-2026.02.01 Artist： ZHENG JIANG curtor：OFELIA CUI The word “undercurrent” refers both to the reverse flow beneath the surface of a river and to the silent pulse beneath the appearances of everyday life. It is also a literary metaphor which often used to describe the hidden tensions and rifts within social conflicts or human relationships. In this project, artist Zheng Jiang adopts Undercurrent as the title, inspired by the bodily sensations evoked by the tunnel space and their resonance with his lived experiences in his hometown. Three years ago, Zheng returned to his hometown in Jinyun County, Zhejiang Province, a hilly town surrounded by ridges. In a stone cave within a valley known locally as Shixia (Understone), he carved a single character—“愛” (love)—into the rock wall, in the form of a cliff inscription. He then made an ink rubbing on Xuan paper to preserve the character’s impression. The valley, shaped through both human quarrying and years of natural weathering, is what locals call Yandang, meaning a rock hollow formed by excavation. Today, the hollow serves as a natural reservoir: during the rainy seasons, it fills with water seeping from the mountain; during the dry seasons, the water is pumped out to irrigate the surrounding farmlands. The carved character “愛” acts as a primitive water gauge, linking climate change and agricultural life in the simplest way, silently narrating the town’s prosperity and decline, as well as the mountain’s destiny. For Zheng, this act is both a commemoration of his own upbringing and a preservation of his ancestors’ labor—transforming invisible natural rhythms and human emotions into a tangible imprint. In this exhibition, Love becomes the fulcrum that sets Undercurrent in motion. Long-suppressed desires and silenced emotions are brought to the surface, gleaming defiantly in the light. The work refuses to become a memorial inscription, nor does it seek to be a distant echo of the Baiheliang or the Nilometer. Suspended around the tunnel slopes are a cluster of beehives, functioning as unique vessels for images. This medium stems from Zheng’s father’s hobby of beekeeping, an interest that once profoundly shaped his father’s personality and the family’s internal dynamics. Inside each beehive lies one of ten videos from Zheng’s series Ripples, like heartbeats sealed within wooden boxes. The round apertures through which viewers gaze serve as physical masks designed by the artist. Here, the artist invites viewers to momentarily set aside grand social narratives and instead begin by listening and looking: to the flock of sheep wandering before the screen; to the mist that forms from the temperature contrast inside and outside the cave; to the bees buzzing or struggling toward the light. He asks us to sense the “undercurrent” running beneath small-town life; to watch the man who endlessly pushes stones inside the grotto: how, when he pauses, he sits by the pool, staring blankly at the rippling surface. To wonder whether the fortune-teller’s “foretold life” manifests the Barnum effect for the one being foretold. Zheng seals the bittersweet pains of society, the working class, family, and the individual alike within these hives, pouring them into this ready-made “riverbed.” At the end of the tunnel, gravel is laid out to resemble a shallow “river valley.” Upon this screen of transported stones and sand lies the final video of Ripples. The imagery contains no crashing waves but only the faint shimmer of rippling water, whose reflections dancing on the scarred rock walls once carved by human hands. “Every mountain range is a remarkable monument to the Earth’s cataclysms.” When we gaze back upon the planet’s past and trace the stories of our own origins, our emotion is not only guilt for what we have done to nature, but also a profound reverence toward it. Civilization grows upon the wounds of ecology, and over time, it also mends those scars, as the eternal geological cycle of erosion and uplift, layer upon layer of renewal. Undercurrent should not merely signify danger, for danger is only the negative of stability. Deep beneath where sight cannot reach, undercurrents are forming, silent, invisible, yet forcefully persistent. They surge in the depths, sculpting character and shaping decisions, and may, at any sudden moment, alter the course of destiny. That is not the metaphor of the undercurrent but the undercurrent itself. Undercurrent is the undertone of life: the hidden connections beneath calmness, the symbiosis between nature and the individual, the circulation of ecosystems, and the gentle attrition that unfolds day by day.

Tiān Gōng Kāi Wù: Rocks, Fire, Thunder 2025.11.11-2026.02.01 Julius von Bismarck’s First Solo Exhibition in China ACADEMIC DIRECTOR: YANG TIANGE Beiqiu Museum of Contemporary Art presents Tiān Gōng Kāi Wù: Rocks, Fire,Thunder, the first solo exhibition in China by German artist Julius von Bismarck.Drawing inspiration from the seventeenth-century Chinese encyclopedia of technology, Tiangong Kaiwu, the exhibition bridges ancient wisdom and contemporary thought, exploring the interrelations between nature, technology, and humankind. Bismarck’s artistic practice consistently revolves around the triangular relationship between humankind, nature, and technology. In his art and thinking, “nature” is not external to human, nor does it stand in opposition as a passive material world; rather, nature, for him, is mutually shaped through human perception and experience. Often employing the logic of scientific experiment, he combines satellite data, meteorological instruments, mechanical structures, and moving images, transforming art into a renewed experiment of natural phenomena. The title Tiān Gōng Kāi Wù (or Heavenly Craftsmanship, Opening Things) carries philosophical resonance: “Heavenly Craftsmanship” refers to the self-generating artistry of nature, while “Opening Things” denotes human creativity that mirrors cosmic laws. The title thus signifies more than a text; it embodies a worldview in which art and technology evolve through cycles of imitation and transcendence, modeling a vision of coexistence and renewal between humanity and the natural world. In Bismarck’s artistic thought and practice, he resists the conventional, narrow definition of “nature” — one that relies on a binary logic to oppose it to “the human,” or to divide the “natural” from the “artificial.” In this sense, Bismarck’s understanding of “nature” resonates profoundly with the philosophy of ancient Chinese technologies. Therefore, the exhibition’s triad—rocks, fire, and thunder—are no longer forms of “nature” external to humanity, but rather isomorphic entities of man and nature, transformed through the artist’s mediation and creative process. At the heart of the exhibition lies a newly commissioned site-specific work for Beiqiu—a rock sculpture series inspired by the museum’s name, Beiqiu, meaning “North Hill.” These seemingly solid boulders are hollow structures supported by steel frameworks, revealing the illusion of mass. Inspired by his visit to Lingyin Temple, where worshippers leaned wooden sticks against rocks in prayer, Bismarck extends the metaphor by giving the stones “legs,” imbuing them with a sense of life and humor, and reflecting on the spiritual autonomy of matter. Across the triad of rocks, fire, and thunder, the exhibition traces humanity’s enduring dialogue with natural forces. Complementing new rock sculptures are Bismarck’s long-term studies of fire and lightning. The Talking to Thunder series, born from his that unites experiment and ritual. In Fire with Fire, slow-motion mirrored images of wildfires turn catastrophe into contemplation, rendering fire as both destructive and sacred. In Tiān Gōng Kāi Wù: Rocks, Fire, Thunder, Bismarck fuses the precision of science with the sensibility of art to rekindle awe toward the natural world. His works suggest that to “open things” (kāi wù) is not merely to expand the realm of technique, but to rediscover the resonance between the human and the cosmos. Julius von Bismarck Artist Julius von Bismarck, born 1983 in Breisach am Rhein, Germany, grew up in Riyadh, Saudi Arabia. He currently lives and works in Berlin and in Switzerland. The artist studied at the Berlin University of the Arts (2005-2013) and the Hunter College, New York (2007). Julius von Bismarck received the Award of the Shifting Foundation, Beverly Hills (2018); IBB Photography Award, IBB Atrium, Berllin (2013); and Prix Ars Electronica Award, Linz (2009), among others. Spanning a wide range of forms—from kinetic sculptures and photographs to video installations and landscapes—Julius von Bismarck's work is produced in an intense engagement with the world and the physical conditions that determine existence on the planet. His work treats the natural world as a laboratory, a studio or sometimes even as a kind of canvas. Employing optical illusion, elaborate tromp l'oeil or incongruous action, his works can confound viewers, allowing them to experience the world and their place in it from a reoriented perspective. At the core of his practice is the question of how the notion of Nature was constructed: specifically, how the conceptual split stipulated by man from his surroundings, through naming, classifying and creating systems, has gone hand in hand with control and domination of the environment, to increasingly disastrous effects, not just for nature itself but as a consequence of wider notions of humanity’s sovereignty, also for the lives of other beings, human and non-human. Ambitious and expansive, von Bismarck's projects are rooted in extensive research and experimentation to invent entirely new technological apparatuses that articulate and give form to his ideas. At times grandiose or granular, the works beguile with their originality of thought and execution. Playing on danger—real and implied existential risks for the artist, or his team, for example, by triggering lightning with small rockets, or for the audience who are placed near slowly collapsing sculptures or confronted with what appear to be large quantities of precariously suspended explosives—von Bismarck’s projects reveal an explorer's adventurousness, tempered by a scientific approach and the artist‘s profound self-awareness of his engagement with the operations of a flawed Enlightenment that his work seeks to critique. yang tiange Academic Director Yang Tiange, a curator and art historian. He serves as an advisory curator at Beiqiu Museum of Contemporary Art and is currently a Ph.D. candidate at Peking University. He was the inaugural recipient of the “ Ink Connections: Art History Research and Writing Grant ” by the New Century Contemporary Art Foundation in the category of Chinese contemporary art writing. His long-term research focuses on twentieth-century Chinese and international contemporary art, and his recent work explores the body, identity, and the formation of national forms from a perspective of cultural grography.

drifting encounters 2025.8.4-2025.10.26 group exhibition Curator:yang tiange Though a static exhibition, Drifting Encounters unfolds like a continuous drama. Ding Liren is the point of departure—but how could an “encounter” occur with only one player? A single clap makes no sound; a solo rendezvous breeds only solitude. As such, Drifting Encounters is not a solo show in the conventional sense. It is an ensemble production. These new participants engage, intervene, contaminate, provoke. Together, they enact a dynamic interplay of recognition and departure—a scene that begins, but never quite ends. At once a drama and a game, this exhibition mirrors Ding’s approach to life and art: playful, curious, and ever open to joy. Along the way, he has often found fellow travelers—kindred spirits with whom to share a drink or a walk. In Drifting Encounters, every participant plays a role; logic is suspended, age irrelevant. Like a teeming stage on a cosmopolitan street, the show revels in its variety. One moment bursts with chaos, the next with heartfelt exchange. As the saying goes: the elder artist becomes young again, humble among the ensemble; while the young perform with a flair for legend. Consider the younger artists who’ve come to “encounter” Ding: Ge Yulu, ever the outlier, refrains from creating new work himself, instead curating a mini-exhibition of artist Zhan Qi—a “show within a show”—as a gesture of introduction and encounter. Hu Yinping revisits her ongoing series “What did the masters come to the east for?”, producing a new episode of Xiaofang in the visual style of Ding’s early works, paying tribute to his deep affinity with grassroots culture. Li Xindi devises a set of rules for an interactive installation that redefines “encounter” as the evolving relationship between viewer and exhibition—a script written through movement. Liu Dongxu reimagines household items into sculptures that echo both classical and modernist vocabularies, staging a formal encounter across time. Su Hua paints scenes teeming with unruly vitality—markets, rivers, martial worlds—unfolding with ceaseless energy. Wu Shangcong repurposes discarded materials into narratives that bridge sculpture and painting, dissolving boundaries in a manner deeply resonant with Ding’s spirit. Drifting Encounters speaks to those open to chance, to those with heart. One talks art, another speaks of life; one shares history, another spins tales. You may be solemn, while the next is gleeful—mismatched tones are the point, while contradictions live together. This is art as game, achieved only through non-striving, where the child creates effortlessly and the elder lets go of mastery. To keep one’s innocence untarnished—this is the highest aim, and the hardest to attain. The confused may stumble into insight; the fixated will surely miss it. Its secret may seem distant, inspiring awe from afar; or it may feel intimate, revealing one’s innermost nature and true self. Drifting Encounters is, above all, a gesture of openness—a wish to spark unexpected connection. At Beiqiu Museum of Contemporary Art, this “encounter” unfolds as a meeting of landscape and mind, connected by a “Nine-Turn Bridge”. Drawn from Ding’s painting, the Nine-Turn Bridge has been brought to life as a physical exhibition platform—carefully designed and subtly woven through the museum’s terrain. Along this winding path, scenes of encounter unfold one after another. The drama is rich and varied—too much to count—but here are a few teasers: the fantasy and fairy tales of Drifting Encounters; Lijiazhaij, tracing Shanghai’s transformation from countryside to city; A rural school life from 80 years ago, still vivid today; New rewritings of legendary tales: Journey to the West, Twin Spears, and Yang the Chivalrous, reimagined with battle cries and mythic flair. In short: a magnificent spectacle, born of small, playful art pieces. 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.

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.

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 .

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.