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.

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.

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.

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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

beyond genius: picasso's passion and creation 2023.8.13-2023.11.13 artist: pablo picasso curator：wang chunchen Pablo Picasso (Málaga, Spain, 25 October 1881 - Mougins, France, 8 April 1973), is one of the great geniuses of 20th century art, with unlimited talent and a voracious need to create. His imagination feeds on everything around him. His inspiration finds its sources in ancient cultures, in distant civilizations, or in the environment that surrounds him. He takes the simplest forms of everyday life and turns them into art. This Picasso' Passion and Creation exhibition brings the visitor closer to the ingenious universe created by the artist through his paintings, etchings, ceramics and photographs. Picasso was equally skillful at all of these techniques; he worked on new approaches to Art that led to innovative creative processes and pioneer forms of expression.As a painter, he started out from Academicism, he created Cubism, and passed through Classicism,Surrealism and Expressionism in what was a constant process of change and rupture, in his never-ending quest for freedom. The human figure, or more specifically portraits, and still lifes were Pablo Picasso’s main themes throughout his career.His drawings and etchings are one of the most important parts of his career, perhaps because it depicted the restless and risky, tenacious and passionate spirit that characterised him. For Picasso, engraving provided the means with which to depict his most profound desires, emotions and thoughts. Everything imaginable and even everything he failed to acknowledge as imagined is reflected in his graphic works. The different personal and artistic obsessions that haunted him throughout his life find an escaperoute here and allow us to track him through each phase of his life and his creative art. Picasso’s graphic art comprises more than 2000 works. He frequently used a mixture of techniques, such as etching and drypoint, or etching and aquatint. As a ceramist, Picasso established an open dialogue with his sculptures. Ceramics allowed him to exercise his drawing skills, his extraordinary dexterity as a painter, and his subtle talent at modelling shapes. Itsplastic flexibility, together with an avant-garde spirit and his capacity for innovation, carry it beyondtraditional consideration of pottery as a craft to attain the category of Art. Picasso is undoubtedly the most revolutionary and tireless artist of the 20th century. With his creativeforce and his artistic potential, he challenged the norms of his day and broke new ground in the Historyof Art. pablo picasso Artist Pablo Picasso(25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker , ceramicist , and theatre designer who spent most of his adult life in France . One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture ,[8] [9] the co-invention of collage , and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War . wang chunchen Curator Professor, PhD supervisor, Doctor of Art History, art critic, and curator. Graduated from the Central Academy of Fine Arts, currently working at the Art Museum of the Central Academy of Fine Arts, engaging in research on modern art history and contemporary art theory and criticism. In 2012, appointed as a special curator by the Eli and Edythe Broad Art Museum at Michigan State University, where they curated an exhibition of contemporary Chinese art. Art in America magazine referred to them as "the first Chinese curator from mainland China to be appointed by an American art museum."

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.

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).

Swiss design classic 2025.02.20-2025.03.20 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.

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.

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

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