Times Museum

Times Museum Times Museum resulted from the urbanism of the Pearl River Delta and the 2nd Guangzhou Triennial in 2003 and features progressive translocal programs

Times Museum As a non-profit institution caters to the public and persists on academic independence, Times Museum aims at reaching beyond canonical programming to nurture creative processes and cutting-edge practices in the area of art, design and architecture.

Soft Rules: Amy Ching-Yan Lam Artist TalkArtist Amy Ching-Yan LamSpeakers in Conversation Nikita Yingqian Cai, Zian Chen...
02/06/2026

Soft Rules: Amy Ching-Yan Lam Artist Talk

Artist
Amy Ching-Yan Lam

Speakers in Conversation
Nikita Yingqian Cai, Zian Chen

Language
English/Chinese

Time
June 13, 2026 15:00–16:40

Venue
Auditorium, 1F, Guangdong Times Museum
Free admission (limited seating available on a first-come, first-served basis)

In the versatile work of Hong Kong–Canadian artist and poet Amy Ching-Yan Lam—spanning poetry, artists’ books, and exhibitions—artistry and humor arrive sideways, surfacing where they seem least supposed to exist.

In this talk, Lam will share projects from the past decade, including Looty Goes to Heaven (2023), a speculative novel and animation exploring British colonial extraction through the perspective of a Pekin dog stolen after the O***m Wars, and Acceptable Protest (2025), which satirizes the absurd logic of “approved” dissent on North American campuses following the Palestine encampments.

The conversation will explore how literary gestures fold into exhibition-making, and how institutional critique slips back into writing. After the talk, the speakers will open up an informal exchange with the audience on writing poetry, making artists’ books, and organizing exhibitions in Guangzhou.

Amy Ching-Yan Lam
Amy Ching-Yan Lam is an artist and writer born in Hong Kong who lives in Tkaronto/Toronto and Lenapehoking/Brooklyn. She works between what capitalism requires of life and what it feels like to be alive.

Nikita Yingqian Cai
Currently Adjunct Curator for Asia-Pacific, Centre Pompidou; Former Chief Curator at Times Museum and Times Art Centre Berlin (2010-2025) and now Curator at Large.

Zian Chen
Zian Chen is an editor at Ocula magazine and a curator. He translated Amy Ching-Yan Lam’s novel Looty Goes to Heaven (2023).

唔使讲出口：林静昕艺术家讲座

分享艺术家
林静昕

对谈嘉宾
蔡影茜、陈玺安

语言
中/英

时间
2026年6月13日 15:00-16:40

地点
广东时代美术馆1楼多厅
免费参与（座位有限，先到先得）

Image 1: Looty Goes to Heaven
Image 2: Oopsie Compound, 2023. Collaboration with HaeAhn Woo Kwon.
Image 3: Installation view of Acceptable Protest.

Public Program Series for the Exhibition “Still as a Stone: The Persistent Body in Mediation”Self-Confession: Kong Qian’...
02/06/2026

Public Program Series for the Exhibition “Still as a Stone: The Persistent Body in Mediation”

Self-Confession: Kong Qian’s Path in Painting

 Speaker Kong Qian, Painter and Professor of Oil Painting, Tianjin Academy of Fine Arts

 Moderator YANG Tiange, Curator

 Time June 6, 2026 15:00–16:30

 Venue Auditorium, 1F, Guangdong Times MuseumFree admission (limited seating available on a first-come, first-served basis)

KONG Qian
KONG Qian is a painter. Born in Tianjin in 1956, he graduated from Tianjin Academy of Fine Arts in 1982. In 1998, he undertook a scholarly exchange at the Royal Academy of Fine Arts Antwerp, Belgium. Since 1985, he has taught at Tianjin Academy of Fine Arts, where he is currently Professor of Oil Painting. He lives in Tianjin.

YANG Tiange
Curator of the exhibition “Still as a Stone: The Persistent Body in Mediation.”

“身如磐石”展览公教系列讲座：《自我告白——孔千的绘画之路》

 主讲人 孔千（天津美术学院 油画系教授）

 主持人 杨天歌（策展人）

 时间 2026年6月6日 15:00-16:30

 地点 广东时代美术馆1楼多厅免费参与（座位有限，先到先得）

孔千 
画家。1956年生于天津，1982年毕业于天津美术学院，1998年赴比利时安特卫普皇家美术学院做学者交流，1985年至今于天津美术学院任职油画系教授。现生活在天津。

杨天歌 
“身如磐石”展览策展人。

Qiu Ruixiang Handstand II, 2021–2022Oil on canvas250 x 170 cmSinger I, 2016–2018Oil on canvas32 x 26 cmSinger II, 2017–2...
01/06/2026

Qiu Ruixiang

Handstand II, 2021–2022
Oil on canvas
250 x 170 cm
Singer I, 2016–2018
Oil on canvas
32 x 26 cm
Singer II, 2017–2018
Oil on canvas
30 x 30 cm
Portrait, 2019–2022
Oil on canvas
50 x 42 cm

Qiu Ruixiang is not a conventional figurative painter. While each of his paintings is conceived to express the presence of a physical body, and in most cases describes an aspect of the human form—whether in action or at rest, a head, or a face —for the artist, these are simply a means of exploring a broader concern. He does not intend the paintings to describe what people look like, or how individuals interact in social situations as commonly feature in the realm of figurative painting. Instead, Qiu Ruixiang thinks about what each individual person experiences and feels emotionally in the lives that, broadly speaking, all human beings live today.

Qiu Ruixiang born in 1980 in Shanxi, graduated from Xi’an Academy of Fine Arts in 2003, and currently works and lives in Xi‘an. Qiu Ruixiang works on the “interior” of painting, where he explores his imagination based on the formal elements and historical mechanisms of traditional painting. He often presents figures in unknown spaces with thick pigments and colors, and these figures are repetitive of the self. This evolution based on repetition takes years to complete, constantly searching, exploring, and even grappling with oneself on the canvas. Placed in the timeline of the artwork, this is a slow and secretive process of liberation belonging to the subject. His exploration is based on human nature, exposing the vulnerability and contradictions of humanity. his solo exhibitions include “Every One” (Song Art Museum, Beijing, 2025); “The World of Others”(Nan Shan Society, Xi’an, 2023), etc.

Courtesy of the artist and Platform China Contemporary Art Institute

邱瑞祥

《倒立2》2021–2022
布面油画
250 x 170 cm
《唱歌的人I》2016–2018
布面油画
32 x 26 cm
《歌唱者II》2017–2018
布面油画
30 x 30 cm
《肖像画》2019–2022
布面油画
50 x 42 cm

作品由艺术家和站台中国当代艺术机构惠允

“Still as a Stone: The Persistent Body in Mediation” Exhibition view
“身如磐石”，展览现场

Image by PJ
照片由彭靖拍摄

Gordon Matta-ClarkClockshower, 1974Perfomance13‘ 09“Clockshower is one of Gordon Matta-Clark’s most iconic performance w...
25/05/2026

Gordon Matta-Clark

Clockshower, 1974
Perfomance
13‘ 09“

Clockshower is one of Gordon Matta-Clark’s most iconic performance works. The artist, dressed in a black bodysuit, scaled the exterior facade of a lower Manhattan clock tower alone, fixed a showerhead to the clock’s hands, and performed intimate daily hygiene rituals — bathing, brushing his teeth, shaving — in full public view. In this extreme bodily act, the boundaries between private and public, between body and architecture, were dissolved entirely. Trained as an architect, Matta-Clark turned a professional eye on the power structures of urban space, then dismantled them through action: architecture was no longer a container for bodily activity but an object of bodily intervention and resistance. The work is also a precious mediated remnant — the performance itself was fleeting, but the film holds it in place, allowing the body’s adventure to persist across time.

Gordon Matta-Clark born in 1943 and died in 1978, is widely recognized as a central figure in the New York art scene of the 1970s. He was born in New York. His father was the Chilean Surrealist artist Roberto Matta, and his mother was the American artist Anne Clark. From 1962 to 1968, Matta-Clark studied architecture at Cornell University. During his university years he also traveled to France, where he studied
French literature. While at Cornell he met the land artist Robert Smithson, whose work had a significant influence on him. After graduating, Matta-Clark returned to New York and developed a radical artistic approach that directly engaged with the urban environment and the communities within it.

Courtesy of the Electronic Arts Intermix (New York)

戈登·马塔– 克拉克

《时钟淋浴》1974
表演
13’ 09”

《时钟淋浴》是戈登·马塔– 克拉克最具代表性的行为影像作品之一。艺术家身着黑色紧身衣，只身攀爬至曼哈顿下城的钟楼外立面，将莲蓬头固定于钟面指针之上，在众目睽睽之下完成沐浴、刷牙、刮胡须等私密的日常卫生仪式。私密与公共、身体与建筑之间的界限，在这一极端的身体行动中被彻底打破。马塔- 克拉克以受过专业训练的建筑师之眼审视城市空间的权力秩序，又以行动者之身将其拆解——建筑不再是身体活动的容器，而成为身体介入与对抗的对象。这件作品同时也是一份珍贵的媒介化遗存：行为本身转瞬即逝，而影像将其定格，使身体的冒险得以跨越时间持续在场。

作品由电子艺术联盟（纽约）惠允

“Still as a Stone: The Persistent Body in Mediation” Exhibition view
“身如磐石”，展览现场

Image by PJ
照片由彭靖拍摄

Sharp Turn Open Ground Series Program Solidarity Across Places and Interwoven TimesSpeaker: CHEN YifeiTime: 26 May 2026,...
18/05/2026

Sharp Turn Open Ground Series Program
Solidarity Across Places and Interwoven Times

Speaker: CHEN Yifei

Time: 26 May 2026, 15:00–16:30

Venue: Auditorium, 1F, Guangdong Times Museum

In recent years, artist Chen Yifei has travelled between Asia and Europe. The experience of transnational movement has shaped his distinctive observations on the changes unfolding in the world today. At the same time, his artistic practice has gradually turned towards more grassroots forms of art. This edition of “Sharp Turn Open Ground” invites Chen Yifei to share his recent observations, reflections and creative practice.

CHEN Yifei

Chen Yifei is a wandering Potehi (glove puppetry) storyteller, a member of the Jasagala art collective, and an editor of Prickly Paper.

Beginning with zines as a point of departure, his practice engages with DIY culture and self-organization, consistently interested in how art can intervene in social movement processes.

In recent years, he has turned to puppetry as a medium, collaborating with people in different places to recover local memories and weave them into shared narratives and acts of storytelling.

“急转直上”系列活动｜跨越不同的地方，时空交错的团结

主讲人：陈逸飞

时间：2026年5月26日 15:00-16:30

地点 ：广东时代美术馆1楼多厅，免费参与（座位有限，先到先得）

艺术家陈逸飞近年来往返于亚欧之间，跨国流动的经验使他对当下世界的变化形成了独特的观察。与此同时，他的艺术实践也逐渐转向更草根的艺术形式。本期“急转直上”邀请陈逸飞分享他近年来的观察、思考与创作实践。

陈逸飞

游动的布袋戏说书人，夹山改梁Jasagala艺术小组成员，刺纸编辑之一，关心艺术如何在各种社会变革中发生作用。
以小志（zine）为起点实践DIY与自组织；
以人偶为媒与各地朋友们共同打捞记忆，编织故事。

Liu HuanzhangSummit, 1987Bronze22 x 11 x 8 cmpraying, 1982Jujube wood62 x 11 x 13 cmLynx, 2022Dark Jade49 x 12 x 24 cmPr...
18/05/2026

Liu Huanzhang

Summit, 1987
Bronze
22 x 11 x 8 cm
praying, 1982
Jujube wood
62 x 11 x 13 cm
Lynx, 2022
Dark Jade
49 x 12 x 24 cm
Preoccupied, 2014
Rosewood
38 x 18 x 13 cm
Bear, 2022
Ebony
36 x 18 x 16 cm
Ready to Rise, 1993
Granite
34 x 60 x 26 cm

Liu Huanzhang’s sculptures often center on the human body, animals, and quiet moments drawn from everyday life. Rather than pursuing descriptive realism, he uses condensed volumes, simplified contours, and direct carving marks to bring out weight, rhythm, and vitality. Whether in reclining or rising female figures, or in animal forms shaped from wood and stone, his works balance solidity with lightness, and retain both a raw immediacy and a sense of inner restraint. Rooted in the expressive spirit of Chinese carving while attentive to the modern sculptural concerns of mass, structure, and space, these works transform ordinary subjects into concentrated formal presences. Beneath their seemingly simple and unadorned forms lies a sustained reflection on life, feeling, and the quiet emotional force of the everyday.

Courtesy of the artist and Star Gallery

刘焕章

《峰》1987
青铜
22 x 11 x 8 cm
《祈祷》1982
枣木
62 x 11 x 13 cm
《猞猁》2022
墨玉
49 x 12 x 24 cm
《心事》2014
红木
38 x 18 x 13 cm
《熊》2022
乌木
36 x 18 x 16 cm
《欲起》1993
花岗岩
34 x 60 x 26 cm

刘焕章的雕塑多取材于女性人体、动物与日常情态，不追求细节写实，而以概括的体块、简练的线条和直接的刀痕，提炼出形体的重量、节奏与温度。无论是侧卧、欲起的人体，还是由木石自然生发出的动物形象，作品都在浑厚朴拙中保有轻盈与生气，既可见中国传统雕刻的含蓄神韵，也融入了现代雕塑对体积、空间
与结构的重视。在看似稚拙、平静的造型中，他始终关心的是生命本身的力量，以及人与日常世界之间朴素而深沉的情感联系。

刘焕章1930年生于今内蒙古自治区八里罕，是新中国培养的第一代雕塑家之一。早年曾学习篆刻与印钮雕刻，后就读于中央美术学院雕塑系及研究班，毕业后留校从事专业创作，并参与多项国家重要建筑的雕塑工作。20 世纪60年代起，他在吸收中国石窟雕塑与传统造型经验的基础上，逐步摆脱单一写实模式，形成含蓄、洗练而富于体量感的个人语言。此后数十年，他始终坚持独立探索，在中国现代雕塑的发展脉络中开辟出一条兼具传统精神与现代形式意识的道路。

作品由艺术家和星空间惠允

“Still as a Stone: The Persistent Body in Mediation” Exhibition view
“身如磐石”，展览现场

Image by PJ
照片由彭靖拍摄

Liu DongxuColumn of the Eye II, 2023Bronze27 x 27 x 147 cmTemple of Eyes, 2025Bronze31.5 x 31.5 x 30.5 cmPlinth: Forest,...
11/05/2026

Liu Dongxu

Column of the Eye II, 2023
Bronze
27 x 27 x 147 cm
Temple of Eyes, 2025
Bronze
31.5 x 31.5 x 30.5 cm
Plinth: Forest, 2025
Bronze
42 x 38 x 23.5 cm
Plinth: Flower, 2025
Bronze
32 x 29 x 13 cm
The Prodigal Son on Crutch, 2025
Brass
20 x 16 x 35 cm
The Left Foot Entering the Temple, 2024
Bronze
43 x 56 x 15 cm
Lassitude Took Hold, 2024
Bronze
21 x 30 x 10 cm
Face, 2025
Aluminum
20 x 22 x 7.5 cm
Sourness Dancing on the Steps, 2025
Bronze
49 x 10 x 23 cm

Liu Dongxu takes everyday objects as his entry point — eyeglass temples, milk-cap rings, banana peels, vinegar-pot spouts — dismantling and reassembling these things that touch the body or pass through daily life, transforming them into sculptural structures that hold order and strangeness in equal tension. His work is drawn to the body’s extensions
and remnants: glasses are prosthetics of vision, banana peels are what consumption leaves behind, spouts are severed limbs of objects — each finds a new formal logic under the artist’s hand, yet maintains an ambiguous proximity to bodily sensation, organ, and posture. The works move between classical reference and contemporary perception — the interlocking timber logic of the Yingxian Pagoda, the gestural archetypes of Rodin, the concrete courtyard of Louis Kahn’s Salk Institute — embedding discordant intruders within rigorous structural order, using localised rupture to resist homogenised wholes. Between humour and unease, they quietly point toward a body that has been disciplined and exhausted, yet still harbours dissent.

Liu Dongxu born in Xi’an in 1983, lives and works in Beijing. His work is centered around sculpture, and his works aim to reflect and explore the relationship between sculpture-architecture, spatial structure, physical behavior, and wider contexts, integrating multi-dimensional reflections on architecture, design, the body, and the environment, including social and cultural life, as well as the use and transformation of various materials and media in different contexts.

Courtesy of the artist

“Still as a Stone: The Persistent Body in Mediation” Exhibition view
“身如磐石”，展览现场

Image by PJ
照片由彭靖拍摄

“身如磐石”展览公教系列讲座：《寻找不朽的支点：道教身体实践与中国艺术》主讲人 谢波（广州美术学院艺术与人文学院副教授）主持人 杨天歌（策展人） 时间 2026年5月8日 15:00-16:30
08/05/2026

“身如磐石”展览公教系列讲座：《寻找不朽的支点：道教身体实践与中国艺术》

主讲人 谢波（广州美术学院艺术与人文学院副教授）

主持人 杨天歌（策展人）

时间 2026年5月8日 15:00-16:30

Li RanPersona Swap, 2017–2019Synchronous dual-channel 2K video (black andwhite & color, 4.0 stereo channel)15’ 30“Person...
04/05/2026

Li Ran

Persona Swap, 2017–2019
Synchronous dual-channel 2K video (black and
white & color, 4.0 stereo channel)
15’ 30“

Persona Swap constructs a theatrical dimension parallel to the history of art through its stage art, costumes and make-up, performance. In the three chapters of the video, “Thinking in front of the mirror”, “The fox and the grizzly bear, the vulture and the crocodile” and “Besides the indistinguishable illusion, who the hell are you?”, an “abstract realism” is reconstructed out of the photo archive
collection, the juxtaposition of roles and scenes, voice-over monologues, and dynamic playwright. The film began in 1958 when the Soviet expert V. V. Terevtzov came to Shanghai Theatre Academy to open a makeup workshop, by the early 1980s, China‘s stage art design advocated breaking away from the “illlusionism” in the 19th century European stage art system, and promoting and admitting the “assumption of stage”. At the moment when this “assumption” did not have self-analysis, the tone ofrealism once again brought it to an abrupt end. Just like those “supporting roles” in the film, no matter in which gesture they fall down, it was just a sort of disguised “game”, that nationalist “wandering soul” never exits.

Li Ran ’s practice ranges across multiple media from video, performance and painting, to installation and writing, using techniques such as mimicry, repetition and satire to blur the boundaries between reality and fiction. In recent years, he has been researching antagonist roles in theatre, stage art, make-up design, the production of foreign films and espionage films produced in China since the 1950s. Based on archival photos, character scenes and dubbed monologues, Li develops subjective and personalised narratives and expands upon themes including politics, ideology and performativity, as well as notions of time and space, through his writing painting, sound, and installation. Li held a solo exhibition at BeiQiu Museum of Contemporary Art, Nanjing, China (2025); OCT Contemporary Art Terminal
(OCAT), Xi’an, China (2015).

Courtesy of the artist

“Still as a Stone: The Persistent Body in Mediation” Exhibition view

Image by PJ

Hu XiangqianThe Birds Are Unafraid, 2025Performance video13‘ 43“Once, while passing by a farmland, the artist noticed cr...
30/04/2026

Hu Xiangqian

The Birds Are Unafraid, 2025
Performance video
13‘ 43“

Once, while passing by a farmland, the artist noticed crops adorned with shimmering CDs, which he found quite intriguing. Even though he understood that farmers use the strong reflective properties of CDs to scare away birds, he sensed there was far more to it than that. In this era of runaway technology, objects like CDs are quickly becoming obsolete, reaching the end of their life cycle. Yet interestingly, CDs can find a kind of resurrection in a farmland, discovering a new purpose. From this, the artist realized that perhaps this mirrors the human body: in the face of technology and science, we too are quickly rendered obsolete, soon becoming a heap of waste. Before our bodies turn into waste, we must act quickly. Just like the title of this
work The Birds Are Unafraid by chanting it over and over, can we awaken this ancient poem? The artist himself has yet to find an answer; he is merely attempting, through action, to delay the fate of his body becoming obsolete.

Hu Xiangqian born in Leizhou, Guangdong in 1983. Hu Xiangqian graduated from the 5th Studio of the Oil Painting Department at the Guangzhou Academy of Fine Arts in 2007. Currently, he lives and works in Guangdong Shanwei. Hu Xiangqian is best known for his performances, which are usually transmitted through video. His works usually stem from an intuitive desire, and he always holds the belief that only by experiencing the surrounding reality in a straightforward and authentic manner can one discover the unknown. Hu’s performance art is usually conveyed through video. The environment he has personally experienced and his reflection on the connection between the body, the performing artist, and performance itself serve as his sources of inspiration. With a heightened sensitivity to the contradictions and absurdities of life, his works skillfully emphasise the various differences present in our society, magnifying seemingly minor events into social signifiers.

Courtesy of the artist

胡向前

《春去花还在人来鸟不惊》2025
行为录像
13‘ 43“

“Still as a Stone: The Persistent Body in Mediation” Exhibition view
“身如磐石”，展览现场

Image by PJ
照片由彭靖拍摄

Address

Times Rose Garden III, Huangbianbei Road, Baiyun Avenue
Guangzhou
510440

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Wednesday 10:00 - 18:00
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