2025

Photographic Geomancy: Images, Fieldwork, and the Poetics of Geography

Participating artists:
CHEN Xiaoyi, FENG Fangyu, HAN Qian, HE Zike, LI Yong, LIN Shu, LAU Wai, Xin LIU, LIUYujia, LYU Geer, REN Zeyuan, Taca SUI, Xiaoxiao XU, ZENG Han, ZHANG Beichen, ZHANGWenxin, Leah ZHANG, ZHENG Andong, ZHU Yinghao

Artists for Special Screening:
CHENG Xinhao, Mia YU

Curated by He Yining

June 27 to October 8, 2025

Fotografiska Shanghai

From June 27 to October 8, 2025, Fotografiska Shanghai will present "Photographic Geomancy: Images, Fieldwork, and the Poetics of Geography", a group exhibition featuring Chinese contemporary artists. This exhibition, curated by He Yining and in collaboration with Guangdong Times Museum, is part of a touring project that not only examines the multidimensional connections between photographic practices, geographical knowledge, and ecological discourse in contemporary Chinese art, but also underscores Fotografiska's pivotal role in fostering exchanges on contemporary Chinese photography and expanding the boundaries of visual imagery. The exhibition brings together works by 20 artists creating at the dynamic intersections of art, geography, geology, and geopolitics, who have meticulously reconstructed visual narratives rooted in local experiences and knowledge.

Drawing on the traditional Chinese concept of "geomancy" (fengshui) as a conceptual metaphor, the exhibition aims to showcase how artists employ field research and geographical exploration methods, responding to complex issues related to China's historical landscapes, aesthetics, culture, ecology, identity, and geopolitical realities.

The exhibition is organized into four interconnected sections "Retracing Ancient Terrain" , "Geological Perception", "Infrastructure Archaeology", "Poems of Phantom Lands", which are based on the substanceand issues explored by the artists in their work. It invites the audience to explore the mountains, rivers, and historical aspects of China, following the artists' journey. The exhibition aims to reinterpret the expansive Chinese landscape by combining visual art, geography, and history. 

The show will feature a range of activities such as curator guide, artist screenings, academic roundtables, artist workshops, performative lecture and public education programs.

Liu Yujia's Exhibition Work 刘雨佳参展作品

A Darkness Shimmering in the Light, Single channel 4K film, 16mm film transferred to 2K digital video Color, 5.1 surround sound
64' 17", 2023, 5+2AP
微光渐暗, 单通道 4K 影像, 16mm 胶片转 2K 数字影像, 彩色, 5.1 声道, 64分 17秒, 2023, 5+2AP

相地堪舆：图像、田野与地理的诗学

参展艺术家：
陈萧伊、冯方宇、郭珈汐、韩倩、贺子珂、李勇、林舒、刘卫、刘昕、刘雨佳、吕格尔、任泽远、塔可、徐晓晓、曾翰、张北辰、张文心、张紫璇、郑安东、朱英豪

特别展映艺术家：
程新皓、于渺

策展人：何伊宁

2025.06.27-10.08

Fotografiska 影像艺术中心, 上海

Fotografiska影像艺术中心将于2025年6月27日至10月8日呈现艺术家群展《相地堪舆：图像、田野与地理的诗学》。本次展览是由策展人何伊宁策划，与广东时代美术馆合作推出的巡展项目，不仅展现了中国当代影像实践与地理、生态话语之间的深度关联，也体现了Fotografiska在推动中国当代摄影交流、拓展图像边界方面的重要角色。展览汇集了20位活跃于艺术与地理、地质和地缘政治交织领域的艺术家作品，他们基于本土经验与知识，精心重构了与地域相连的视觉叙事。

展览借鉴中国传统"堪舆学"作为概念隐喻，试图展现艺术家们通过实地考察与地理探索的方法，并回应与华夏大地相关的历史、美学、文化、生态、身份与地缘政治等复杂议题。

本次展览将依循“坤舆寻址“、“地质感知”、“基建考古”、“幻乡诗章“四个章节的线索邀请观众穿梭于华夏大地的山川、河流与人文历史之间，跟随艺术家的旅程，在视觉艺术、地理与历史的交叉之处重新认识广袤的华夏土地。

展览期间将举办包括策展人导览、艺术家展映、学术圆桌、艺术家工作坊、表演讲座以及相关的公共教育活动。

POST.PAYSAGES.

Matti Basis, Serge Brignoni, Jon Campbell, Carmelo Cutuli , Oded Feingersh, Debora Fella, Yona Lotan, Federica Pamio, Carlo Alberto Rastelli, Liu Yujia
Curated by Mattia Desogus

16 May - 10 August 2025

MACT/CACT

Museum and Center of Contemporary Art in Canton Ticino

The question of landscape started being tackled with increasing interest in artistic circles towards the end of the seventeenth century. In the area of figurative representation, the aesthetic of illustrating the visual field evolved in artists, as something approaching a necessity – or perhaps a devotional practice – made its presence felt in representations of a forest, of clouds or of a sheet of water. That sentiment, which drove art until the triumph of the Romantic era, must necessarily be sought in the artist’s desire to immerse himself in that immensity, in that infinite perfection that dominates events. The human being’s aptitude for employing an artistic capacity to indulge in total meditation when faced with nature was a typical trait of the nineteenth century, when the virtuoso performances of Flemish art were finally surpassed, as the focus zoomed in on man, and thus on the artist, now minimised and impotent in the presence of extreme natural phenomena. The very brushstrokes themselves became active participants in the whirlwind of the sublime, charging the artistic gesture with impetus and transferring those sentiments onto the canvas, where they would involve and overwhelm, in a complete mutation that painting would thenceforth never more abandon.

So, sentiment.

If we were to allow ourselves to be lulled today into allusions about the transformation of the dialogue between artist and landscape, we would be talking about post-landscape. Ever since the years immediately following the world wars, the artist – whose inherited scene of landscape painting is mutated and in progressive turmoil – has learned to reinterpret previous experiences, managing to identify personally with the space, conjuring up the same sentiments as his predecessors. To quote the words of Michael Jakob, “landscape is an experience of self”. Nor can there be any other starting point for research. The perception of space, achieved maybe by merely opening a window to look out onto a garden or by contemplating the complexity of a flower, still evokes the idea of the sublime by triggering those mysterious mechanisms of the human memory. For some, it is also a wake-up call for our spiritual side as it surveys creation.

We have Italo Calvino to thank for reminding us that nature can also be hostile and may often set in motion a sensation of disorientation, if not of actual danger: a hostility whose roots can be traced, first and foremost, to the consequences of human activity on the environment.

More than ever before, we find ourselves today coming to terms with the changes wrought by anthropisation, which wriggle their way between inevitable and prissy attempts at safeguarding the landscape, only to arrive at an unjustified process of victim-blaming of their own actions.

Even urban spaces have not been spared these generations/degenerations of the mind. Today’s cities no longer devour man, who has learned to mistrust them, to live in and experience them while accepting that they are uninhabitable.

Nature and the city, which had always been distinct, now meet up again on the same tracks, comparing notes about the benefits they have brought to the individual. Not two separate organisms, then, but reciprocally complementary ones, both benevolent and malevolent, insidious and at the same time hospitable. And Calvino also had something pertinent to say about the dichotomy between full and void: “Every city receives its shape from the desert it opposes” (from Italo Calvino, Invisible Cities, 1972.)

It is our conscience – and the conscience of artists – that adapts to new ideological interpretations of beauty, to an aesthetic that may be different, but is not necessarily less emotionally involving.  

Mattia Desogus, 2025.

Translated by Pete Kercher

A Thousand Waystations

Li Binyuan, Li Qing, Liu Yujia, Shang Yang, Sun Yuan & Peng Yu, Wang Du, Xue Feng, Yue Minjun, Zhang Jian, Zheng Guogu

2025.4.26 - 6.18

Curated by Lu Xiangyi

Tang Contemporary Art, Beijing 2nd Gallery Space

Tang Contemporary Art is pleased to announce the group exhibition " A Thousand Waystations" at its Beijing Second Space from April 26 to June 18, 2025. Curated by Lu Xiangyi, the exhibition presents works by ten Chinese artists: Li Binyuan, Li Qing, Liu Yujia, Shang Yang, Sun Yuan & Peng Yu, Wang Du, Xue Feng, Yue Minjun, Zhang Jian, and Zheng Guogu.

The "Waystation," interpreted as an arrival forever in process, serves simultaneously as the capillary system of ancient empires and a temporary anchor point in our era of flux; it is both a relic of history and a seed for the future. In a time when GPS carves the world into centimeter-scale grids, humanity paradoxically finds itself adrift in unprecedented disorientation. The "borderless" myth woven by capital and algorithms seeks to flatten all geographical folds. Here, the "Waystation" is reimagined as a strategy of resistance, transmuting into a non-hierarchical geographical poetics. Spanning from Deleuze's rhizome network to the neural impulses of the digital age, from salt stains on the desolate wilderness to data dust in the cloud, the works of ten artists in this exhibition are like layers of temporary coordinates scattered across the earth, marking the migration trajectories of body, data, nature, culture, and spirit. Beneath the smoothed surface of a certain globalization, they carve out untamed folds. This is neither a point of origin nor a final destination, but a critical threshold where countless possibilities erupt, signaling the nomadic destiny ingrained in human genes.

Curator: Lu Xiangyi 

Black Ocean, Single channel HD film, Color, stereo sound, 38'35", 2016, 5+1AP
⿊⾊海洋, 单通道⾼清影像, 彩⾊，⽴体声, 38 分 35 秒, 2016, 5+1AP

后·风景

马蒂·巴西斯 / 塞尔日·布里尼奥尼 / 乔恩·坎贝尔 / 卡梅洛·库图利 / 奥德·费因格什 / 德博拉·费拉 / 约娜·洛坦 / 费代丽卡·帕米奥 / 卡洛·阿尔贝托·拉斯泰利 / 刘雨佳

策展人：马蒂亚·德索古斯

2025年5月16日 - 8月10日

MACT/CACT

提契诺州现当代艺术博物馆

十七世纪末，艺术界对风景问题的探讨兴趣与日俱增。在具象表现领域，艺术家逐渐发展出描绘视野的美学理念——当描绘森林、云霭或水域时，某种近乎必要性的虔诚感受便油然而生。这种推动艺术发展直至浪漫主义时代全盛期的情感，必然源于艺术家渴望沉浸于主宰万物的无限完美之境。人类运用艺术才能在大自然面前进行深度冥想的禀赋，成为十九世纪的典型特征——当焦点聚集到人类（进而聚焦于艺术家）身上时，佛兰德斯艺术精湛技艺终被超越，此刻的人类在极端自然现象面前显得渺小无力。笔触本身成为崇高风暴中的积极参与者，以充满张力的艺术姿态将情感倾注于画布，通过彻底的嬗变令观者深陷其中，这种绘画语言的革命从此再未消退。

这便是情感的力量。

若今日我们试图探讨艺术家与风景对话的演变，便不得不提及"后风景"概念。自世界大战结束后的岁月起，继承着突变中动荡的风景画传统的艺术家们，已学会重新诠释前人经验，实现个人与空间的认同，唤醒了与先辈们相同的情感。正如迈克尔·雅各布所言："风景是自我的体验"，这亦是研究的不二起点。无论是推窗见园的惊鸿一瞥，还是对花朵复杂结构的凝思，这种空间感知总能触发人类记忆的神秘机制，唤起崇高的理念。对某些人而言，它更是审视造物时对精神层面的唤醒。

伊塔洛·卡尔维诺提醒我们：自然也可能充满敌意，常会引发迷失方向（甚至真实危险）的感受——这种敌意根源首先可追溯至人类活动对环境的影响。

当今人类比任何时候都更深刻认识到人为化改造带来的变化：在不可避免又矫揉造作的景观保护尝试中，最终陷入对自身行为无端指责的怪圈。

连都市空间也难逃这种思想的代际退化。现代城市不再吞噬人类——人们已学会与之保持警惕，在承认其不宜居的同时继续栖居体验。

曾经泾渭分明的自然与城市，如今在同条轨道上重逢，相互比对为个体带来的福祉。它们不再是两个独立有机体，而是互为补充的存在：既仁慈又险恶，既诡谲又好客。卡尔维诺对虚实辩证亦有洞见："每座城市的形态，都取决于它所对抗的荒漠"（摘自1972年《看不见的城市》）。

正是我们的意识——以及艺术家的意识——在不断适应对美的新意识形态诠释，这种美学或许形式迥异，但情感共鸣的力量从未衰减。

马蒂亚·德索古斯，2025年
皮特·克彻译

千重驿站

2025.4.26 - 6.18

艺术家：厉槟源、李青、刘雨佳、尚扬、孙原&彭禹、王度、薛峰、岳敏君、章剑、郑国谷

策展人：陆向怡

2025.4.26 - 6.18

当代唐人艺术中心 北京第二空间

当代唐人艺术中心荣幸地宣布，将于2025年4月26日至6月18日在北京第二空间举办群展“千重驿站”。此次展览由陆向怡策划，呈现厉槟源、李青、刘雨佳、尚扬、孙原&彭禹、王度、薛峰、岳敏君、章剑、郑国谷这十位中国艺术家的作品。

“驿站”作为一种未完成的抵达，既是古代帝国的毛细血管，也是流动时代的临时锚点；既是历史的遗骸，也是未来的种子。在GPS将世界切割成厘米级网格的时代，人类却陷入前所未有的方向迷失。资本与算法编织的"无国界"神话正试图将所有地理褶皱熨平，“驿站”重构为抵抗的策略，化身为非层级化的地理诗学。从德勒兹的块茎网络到数字时代的神经脉冲，从荒原上的盐渍到云端的数据尘埃，展览中十位艺术家作品，如散落在大地上的重重临时坐标，标记身体、数据、自然、文化与精神的迁徙轨迹，在某种全球化平滑表面下凿刻未被驯服的褶皱。它既非起点亦非终点，而是无数可能性爆发的临界点，标记着人类基因里的游牧宿命。 

WHISPERS FROM TIDES AND FORESTS

Caroline Bachmann, Johanna Calle, Lena Laguna Diel, Abi Palmer, Nohemí Pérez, Naufus Ramírez-Figueroa, Belén Rodríguez, Ana Silva, Julia Steiner, Surma, Liu Yujia

Curated by Ines Goldbach

11.4.—17.8.2025

Kunsthaus Baselland

This is an exhibition of quiet tones as well as the delicate new stories that we should begin telling in these times of crisis and upheaval. In the face of climate change, landscapes, forests and rivers under threat, and the mass migration caused by the extreme global climatic and political situations that are becoming increasingly apparent, we need to find new narratives that might not be the same as the previous ones. Because, as the professor and anthropologist Anna Tsing recently explained, we should now prepare ourselves to survive without the old stories that could tell us what happens next. 

The internationally active artists involved in the exhibition facilitate these subtle new narratives that position human beings in a new relationship between space, time and body. They are about a caring, considerate coexistence between people and nature, but also progress and the power of resilience—without dismissing current events. They offer us a glimpse of the world, from South America to Europe, showing us turbulent places and themes of vulnerability and loss, but also trees, forest floors and their mushroom cultures, rivers and landscapes full of beauty, poetry and the future. 

KuratorIn: Ines Goldbach

Mushrooms，Single channel 4K film Color, stereo sound，13' 14" 2023 5+2AP
蘑菇，单通道 4K 影像 彩色，立体声 13分 14秒 2023，5+2AP

潮汐与森林的絮语

卡罗琳·巴赫曼 / 约翰娜·卡列 / 莱娜·拉古纳·迪尔 / 阿比·帕尔默 / 诺埃米·佩雷斯 / 瑙弗斯·拉米雷斯-菲格罗亚 / 贝伦·罗德里格斯 / 安娜·席尔瓦 / 茱莉亚·施泰纳 / 苏尔玛 / 刘雨佳

策展人：伊内斯·戈德巴赫

2025年4月11日—8月17日

巴塞尔乡村州美术馆

在这个危机与变革交织的时代，我们需要讲述不同于以往的崭新故事。本次展览以静谧的语调，呈现那些亟待诉说的细微叙事。当气候变化威胁着山川林泉，当极端气候与政治局势引发大规模迁徙日益显现，人类必须重构与空间、时间及身体的全新关系。正如人类学教授安娜·青所言：我们应当学会在失去传统叙事指引的境况下继续生存。

参展艺术家们以全球视野编织这些精微的新叙事，探讨人与自然共生共荣的可能——既包含对进步的思考与韧性的力量，也不回避当下的困境。从南美到欧洲，作品既呈现动荡地域中的脆弱与失去，也展现树木、林地与菌群生态，那些蕴藏着诗意与未来的河流与风景。在暴风雨中，我们依然需要聆听潮汐涨落的节奏，辨认森林深处的密语。

策展人：伊内斯·戈德巴赫