The exhibition title was adopted from her title for the large wall installation of over 100 noisemakers, such as megaphones, kitchen utensils, drums, and shoes, for street protest and celebration. The objects in Pica’s work, however, were covered with plaster bandages to both mute their acoustic function and preserve their forms, implying a kind of ad hoc archive and archeology.

As the very basis of human epistemology, the notion of “animism” almost always coevolved with human civilizations. In contemporary China, heightened globalization induced by continuous technological advances has interwoven with the tradition of naturalism to form the contextual environment in which Song deepens her exploration of animism.

Recently relocated from Cape Town to Los Angeles, Simphiwe Ndzube (b. 1990, Johannesburg, South Africa) has created an ambitious body of figurative works, ranging from paintings to sculptures to installations, incorporating various stitched-on garments, patterned duct tapes, and found objects. Ndzube’s work, drawing inspiration from African folklore magic realism, is centered on a reoccurring imaginary protagonist, Bhabharosi, on a journey to self-discovery, healing, and searching for meaning in a seemingly godless world.

For Kathleen Ryan, sculpture is a matter of balance. With each work, the artist brings lightness in tension with heaviness, the wild with the restrained, the natural with the processed. In Man Made Moon, the artist’s first solo exhibition in China, an arrangement of three sculptures, titled Frequency, Cool Breeze, and Bacchante, emphasizes Ryan’s ongoing interest in exploring the sculptural possibilities of materials like stone, iron, concrete, and clay. Drawing symbolic resonances from ancient Roman mythology, 1980s broadcasting technology, and the flora of Southern California, Ryan’s work is insistent on its physicality yet ultimately tied to the intangible weight of time and memory.