ABOUT The Beiqiu Museum of Contemporary Art (BMCA) is situated on the hillside garden at Catherine Park in the Xuanwu District of Nanjing, Jiangsu Province, with its back against the Chicken Cage Mountain near the Beiji Pavilion. It stands as the first art museum in the nation to be located on a city center's hillside, combining contemporary art collection, exhibition, research and development, and education in one facility. The museum's principal structure has preserved its original appearance from over twenty years ago and underwent restoration and reinforcement six years prior. The 1,100 square meter area is ingeniously integrated with the verdant hillside garden. The interior of the exhibition halls, constructed with exposed concrete, reflects a blend of industrial and natural aesthetics. This place is a nexus where history, nature, and reality converge, fostering a dialogue between the avant-garde and tradition. Here, the Beiqiu Museum of Contemporary Art (BMCA) engages with the concepts of locality, multimodality, and the uncertainty of contemporary art.

HEY! LOOK AT ME! I'M TOTALLY ENTANGLED WITH NOT-ME! 2023.8.13-2023.11.13 artist: gabriel rico 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 gabriel rico Artist GabrielRico is regarded as one of the most talented artists of contemporary Latin America. Born in Lagosde Moreno, Mexico in 1980, he currently resides and works in Guadalajara, Mexico. His sculptures and installations have been shown in a number of international exhibitions, and in 2019, he participated in the 58th Venice Biennale. Being an architect by training, Rico has a strong affinity for natural elements and specializes in incorporating the min his creations. Through a combination of ready made and man-made objects,Rico explores the mesranging from intangible forms of sound spectrum to the production and consumption of everyday food, provoking us to think about our own culture through the asymmetry of things. He pays homage to the post-surrealist and poverty art movements through his use of neon, taxidermy, ceramics, stone, tree branches, and personal belongings. In this exhibition, Gabriel Rico combines the creation of natural and non-natural objects, inviting the viewer to reflect on the juxtaposition of the se elements of human civilization in a poet i can d humorous way.

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

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.

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.

"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.

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

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).

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).

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.

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.

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.