LEAP is the bilingual art magazine of contemporary China. Published six times a year in Chinese and English, it presents a winning mix of contemporary art coverage and cultural commentary from the cutting edge of the Chinese art scene.
LEAP December 2012 sets out to identify the problems with the state of the museum in China, and potential solutions to these. Tang Keyang looks at the art museum from the perspectives of urban construction and spatial aesthetics; Biljana Ciric and Jens Hoffman discuss exhibition-making and curatorial practice in the museum; Cai Tao reviews knowledge production in art history by way of the museum; Liu Yingjiu spells out the educational responsibilities of the private art museum; and our editorial team consider artistic inquiries and intervention into the museum, as well as take a survey of Mainland museum collections and public education programming. As a final touch, artist Cao Fei addresses some of these issues and others in her satirical work of short fiction, “Secret Tales from the Museum.” The remainder of our middle section is reduced down to several “keywords” meant to offer new perspectives for experiencing and reviewing the work of artists. “Ignorance” and “obstinacy” form the core of Liu Tian’s abstracted gaze on Geng Jianyi, while Zhang Xiyuan’s ruminations on Hu Xiaoyuan give much weight to words such as “unimportant” and “neglect.” In the top, Stephanie Bailey indexes an information-packed appraisal of a newly emergent Düsseldorf; Kate Sutton takes us on a rather olfactive walk-through of Frieze London; artist Yan Xing discloses a few pages of his journal from a recent trip to Kiev; Karen Archey introduces the work of Jana Euler, Simon Denny, Calla Henkel and Max Pitegoff, Haroon Mirza, and Claire Fontaine; and a chat with Sylvain Levy about his DSL Collection. Elsewhere, three short features on artists Zhou Yilun, Li Songsong, and Song Ta. This issue’s reviews section comes with no less than four four-page reviews: the Taipei Biennial, the Gwangju Biennale, the Guangzhou Triennial, and the Shanghai Biennale. Also included are Boris Groys’ “After History,” Alfons Hug’s “Place of Residence,” and a number of solo exhibitions in the Mainland.