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《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

《她乡舞曲》Dance In Herland入围了莱比锡Forms of Publication, printed publications 2026！

作者Author @lukayang
编辑&出版Edited and published by @te.editions
书籍设计Graphic design @infoandupdates

The exhibition is now on view. You can browse both the printed and digital publications from Forms of Publication 2026, including shortlisted and award-winning titles.

March 21 – June 14, 2026
Neubau, Karl–Tauchnitz–Str. 9–11, 04107 Leipzig
@gfzk.leipzig @forms_of_publication

冲洗了在塔林 Niine 社区内空间小展时拍的那一卷胶卷。小展里是过去几年工作室的一些上机打样（湿样）、白样和印刷测试等材料。这些材料被装在一个笨重的行李箱里，从加拿大一路辗转来到爱沙尼亚。胶卷在将近一个月后才冲洗出来，但当影像显现时，所有的事情却忽然变得很近，像是刚刚发生过一样。

We’ll just call it the show of rough cuts, outtakes and dummies at the Niine GD community center.

EKA GD – the place to be.

What you see in the first image on the left, hanging on the wall, is a large print produced using a proper blueprint plotter during another workshop with students at Hunan Normal University. Also on the wall, to the right, are printed sheets from a book made much earlier, using FM screening for halftoning black-and-white images. On the right side are wet proofs printed during the making of “Yúqiáo.” On the table are various blank dummies, some of which were used in the final decision of a particular project, and others that were not.

@ekagd_ma

冲洗了在塔林 Niine 社区内空间小展时拍的那一卷胶卷。小展里是过去几年工作室的一些上机打样（湿样）、白样和印刷测试等材料。这些材料被装在一个笨重的行李箱里，从加拿大一路辗转来到爱沙尼亚。胶卷在将近一个月后才冲洗出来，但当影像显现时，所有的事情却忽然变得很近，像是刚刚发生过一样。

We’ll just call it the show of rough cuts, outtakes and dummies at the Niine GD community center.

EKA GD – the place to be.

What you see in the first image on the left, hanging on the wall, is a large print produced using a proper blueprint plotter during another workshop with students at Hunan Normal University. Also on the wall, to the right, are printed sheets from a book made much earlier, using FM screening for halftoning black-and-white images. On the right side are wet proofs printed during the making of “Yúqiáo.” On the table are various blank dummies, some of which were used in the final decision of a particular project, and others that were not.

@ekagd_ma

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

Kyoto ICC in December

The second leg of Stay Connected

From Taikwun:

「保持在線：全球供應」Stay Connected: Supplying the Globe

「保持在線：2008年後的藝術與中國」系列展覽的第二章「全球供應」匯集逾40位藝術家，透過披露個人故事、家族歷史及鮮為人知之處，重新檢視中國作為世界生產及物流中心的角色，如何維繫現代生活。上承首章「雲中遊蕩」以人為本的手法，展覽將視線從數碼世界拉回物質現實，藉此提供全景視角，呈現廿一世紀大中華地區關注社會現實的當代藝術。

The second chapter of Stay Connected: Art and China Since 2008, Supplying the Globe features more than 40 participating artists, whose insights into individual stories, family histories, and lesser-known places re-examine China’s role as the world’s centre of production and logistics that sustain modern life. Continuing the human-centred approach of the first chapter, Navigating the Cloud, this exhibition shifts our focus from the digital world to the material one, together offering a panoramic presentation of contemporary art addressing social realities of twenty-first century Greater China.

藝術家 Artists

希薩.克魯茲. 巴卡尼 Xyza Cruz Bacani，陳榮輝 ChenRonghui，陳若璠 Chen Ruofan，陳維 Chen Wei，陳蕭伊 ChenXiaoyi，張逸斌 Gordon Cheung，程展緯 Luke Ching ChinWai，周俊輝 Chow Chun Fai，儲雲 Chu Yun，鍾正 MarkChung，崔潔 Cui Jie，董金玲 Dong Jinling, ForeignInvestment，韓倩 Han Qian，何采柔 Joyce Ho，何銳安 Ho RuiAn，胡慶泰 Hu Qingtai，胡尹萍 Hu Yinping，關尚智 KwanSheung Chi，林嵐 Jaffa Lam，林立施 Lap-See Lam，羅玉梅Law Yuk Mui，梁御東 Ocean Leung，厲檳源 Li Binyuan， 李景湖 Li Jinghu，李燎 Li Liao，李明 Li Ming，李怒 Li Nu，李然LiRan，李爽 Li Shuang， 李一凡 Li Yifan，廖國核 Liao Guohe，劉聲 Liu Sheng，龍盼 Long Pan，陸浩明 Andrew Luk，馬秋莎 Ma Qiusha，致穎 Musquiqui Chihying，石青 Shi Qing，沈綺穎Sim Chi Yin, S. 斯沃普 Samuel Swope，童文敏 TongWenmin，楊光南 Yang Guangnan，張如怡 Zhang Ruyi，鄭源
Zheng Yuan

策展人 Curators：皮力博士 Dr. Pi Li， 郭瑛 Ying Kwok
副策展人 Associate curators：秦文 Jil Angel Chun，主妹曼 Shuman Wang

28.2-31.5.2026
周二至日 Tue- Sun, 11am - 7pm
周一閉館 Closed on Mondays
AAZE JC Contemporary

w/ @notyourtypefoundry@wongxxchun

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

Production shots from the Yúqiáo book. Materials were tested, proofed, discussed and adjusted. Parts, chapters, different details are tested often independently from one another. The object slowly takes shape through conversation and making. Still, you only see it all materialized at the very end.

Duan Jianyu: Yúqiáo is now available through Mousse Publishing @moussemagazine, published by YDP @ydp_space and Mousse.

@xue_gaooo314

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

In the twentieth century, Western botanical illustrations were largely reproduced through lithographic printing, and scientific knowledge was disseminated through this technology. Similarly, Western “plant hunters” collected seeds during botanical expeditions around the world and brought them back to their home countries for cultivation, creating new resources through the introduction and replication of new species.

Cinchona, turmeric, Yunnan nutmeg, rubber tree, tobacco, horsfieldia, konjac, and rhododendron are eight plant species that grow along the southern frontier of Yunnan. In the 2024 exhibition Expeditionary Botanics (Long March Space Independent Project, Beijing), eight scientific botanical illustrations depicting these plants were selected by curator Dai Xiyun and commissioned researcher Jiang Yao (Plant South Salesroom) from archival materials dating from the 1930s to the 1970s. Pianpian He and Max Harvey used offset printing techniques to transfer these illustrations onto poster-sized grey aluminium plates (a high-quality processed aluminum sheets that carry printed images through a photosensitive coating). In offset printing, images are transferred onto paper via rubber blankets, the raw material of which is derived from the rubber tree itself.

The works published in this ArtReview issue continue to engage with the concept of “dissemination.” Pianpian He and Max Harvey reprocessed the designs originally created for the exhibition into offset-printed images that simulate the texture of grey aluminium plates. These images are divided into nine pages and arranged in a top-to-bottom, left-to-right sequence, and printed using Cyan and Black in the offset printing process. Embedded within the bound pages of the magazine, the process of botanical replication, translation, and re-presentation is re-enacted.

Thanks to the ArtReview China team, and curator Dai Xiyun and Jiang Yao for allowing us to use the images.

Day and night views of our Lunar Practice, in 2025.

@b09k.book

Imagine this is a land of the Moon.
It follows the lunar calendar, and at every
New moon, an artist, poet, or designer will come to this land. Every day at sunset (China, UTC+8), the land is lit up like the moon.

www.B09K.xyz

Day and night views of our Lunar Practice, in 2025.

@b09k.book

Imagine this is a land of the Moon.
It follows the lunar calendar, and at every
New moon, an artist, poet, or designer will come to this land. Every day at sunset (China, UTC+8), the land is lit up like the moon.

www.B09K.xyz

We collaborated with MZ on this “dual column” online reader of a peculiar format. This is kind of a beta version: for the best viewing experience please navigate the website on desktop while the mobile version is being optimized! Potential contributors can find more information on MZ’s “Engage”tab within the website.

* * * From Metamorphic Zone * * *

Metamorphic Zone is an editorial inquiry and research network weaving together emerging practitioners across art, architecture, science, technology and media.

Our platform facilitates encounters that reimagine how aesthetic and creative modes shape collective ways of thinking and acting. The inquiry is organized through two parallel sections:

Matters of Concern: Shared subjects tracing overlapping interests across diverse disciplines.

Field Notes: Situated reflections emerging through the practices of our contributors

We view the editorial process not as the curation of finished works, but as a method of co-production: an ongoing articulation of relations from which new questions, vocabularies, and alliances emerge.

Explore the project via www.metamorphiczone.com

Editorial Team: Kan Li @k.a.n.li Haoge Gan @nogoodcaption 
Visual Identity & Web Design: Studio Pianpian He and Max Harvey @infoandupdates
Web Development: Mianwei Wang @aukewor 

With thanks to the contributors for their essential role in shaping this collective inquiry.

We collaborated with MZ on this “dual column” online reader of a peculiar format. This is kind of a beta version: for the best viewing experience please navigate the website on desktop while the mobile version is being optimized! Potential contributors can find more information on MZ’s “Engage”tab within the website.

* * * From Metamorphic Zone * * *

Metamorphic Zone is an editorial inquiry and research network weaving together emerging practitioners across art, architecture, science, technology and media.

Our platform facilitates encounters that reimagine how aesthetic and creative modes shape collective ways of thinking and acting. The inquiry is organized through two parallel sections:

Matters of Concern: Shared subjects tracing overlapping interests across diverse disciplines.

Field Notes: Situated reflections emerging through the practices of our contributors

We view the editorial process not as the curation of finished works, but as a method of co-production: an ongoing articulation of relations from which new questions, vocabularies, and alliances emerge.

Explore the project via www.metamorphiczone.com

Editorial Team: Kan Li @k.a.n.li Haoge Gan @nogoodcaption 
Visual Identity & Web Design: Studio Pianpian He and Max Harvey @infoandupdates
Web Development: Mianwei Wang @aukewor 

With thanks to the contributors for their essential role in shaping this collective inquiry.

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

2025 年咕噜咕噜

Perte Totale / Adieu Bazou / 退役（了）👋
@b09k.book

谢谢 @_yue.yuan_ @dddashun @zou_red
📸 @dddashun

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Thanks to Yuanyuan’s @lukayang “Dance in Herland” and te editions @te.editions for bringing us to TABF @tokyoartbookfair for the first time. The fair was so extensive that even after two afternoons, we still didn’t manage to see everything. 🥲

Thank you amazing Satoko @satokoyokoyam for the talk translation. And thanks to everyone who stopped by. 💖 xoxo

谢谢 @naa9issa 拍的靓照、还给我们当地陪🫂

Hi 🐦‍⬛ Tokyo! We’ll be in the city in the coming days for @tokyoartbookfair at @mot_museum_art_tokyo. We’re also excited to give a presentation with @pianpian.he @infoandupdates on the making of @lukayang’s Dance in Herland, from an editor’s and designer’s perspective—sharing how photographs, rare oral histories, creative writings, and conversations with scholars were woven together into a living archive.

If you‘re interested in the project, please join us (you can register via the link in bio, or drop by).

Book Talk
12/14 (Sun) 14:45–15:45
𝑊𝑒𝑎𝑣𝑖𝑛𝑔 𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑣𝑒 𝑀𝑒𝑚𝑜𝑟𝑦: 𝐹𝑟𝑜𝑚 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑡𝑜 𝐷𝑒𝑠𝑖𝑔𝑛 𝑖𝑛 𝐷𝑎𝑛𝑐𝑒 𝑖𝑛 𝐻𝑒𝑟𝑙𝑎𝑛𝑑

Book Fair
12/11 12:00-19:00
12/12-14 11:00-18:00
@mot_museum_art_tokyo

Hi 🐦‍⬛ Tokyo! We’ll be in the city in the coming days for @tokyoartbookfair at @mot_museum_art_tokyo. We’re also excited to give a presentation with @pianpian.he @infoandupdates on the making of @lukayang’s Dance in Herland, from an editor’s and designer’s perspective—sharing how photographs, rare oral histories, creative writings, and conversations with scholars were woven together into a living archive.

If you‘re interested in the project, please join us (you can register via the link in bio, or drop by).

Book Talk
12/14 (Sun) 14:45–15:45
𝑊𝑒𝑎𝑣𝑖𝑛𝑔 𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑣𝑒 𝑀𝑒𝑚𝑜𝑟𝑦: 𝐹𝑟𝑜𝑚 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑡𝑜 𝐷𝑒𝑠𝑖𝑔𝑛 𝑖𝑛 𝐷𝑎𝑛𝑐𝑒 𝑖𝑛 𝐻𝑒𝑟𝑙𝑎𝑛𝑑

Book Fair
12/11 12:00-19:00
12/12-14 11:00-18:00
@mot_museum_art_tokyo

Hi 🐦‍⬛ Tokyo! We’ll be in the city in the coming days for @tokyoartbookfair at @mot_museum_art_tokyo. We’re also excited to give a presentation with @pianpian.he @infoandupdates on the making of @lukayang’s Dance in Herland, from an editor’s and designer’s perspective—sharing how photographs, rare oral histories, creative writings, and conversations with scholars were woven together into a living archive.

If you‘re interested in the project, please join us (you can register via the link in bio, or drop by).

Book Talk
12/14 (Sun) 14:45–15:45
𝑊𝑒𝑎𝑣𝑖𝑛𝑔 𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑣𝑒 𝑀𝑒𝑚𝑜𝑟𝑦: 𝐹𝑟𝑜𝑚 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑡𝑜 𝐷𝑒𝑠𝑖𝑔𝑛 𝑖𝑛 𝐷𝑎𝑛𝑐𝑒 𝑖𝑛 𝐻𝑒𝑟𝑙𝑎𝑛𝑑

Book Fair
12/11 12:00-19:00
12/12-14 11:00-18:00
@mot_museum_art_tokyo

Hi 🐦‍⬛ Tokyo! We’ll be in the city in the coming days for @tokyoartbookfair at @mot_museum_art_tokyo. We’re also excited to give a presentation with @pianpian.he @infoandupdates on the making of @lukayang’s Dance in Herland, from an editor’s and designer’s perspective—sharing how photographs, rare oral histories, creative writings, and conversations with scholars were woven together into a living archive.

If you‘re interested in the project, please join us (you can register via the link in bio, or drop by).

Book Talk
12/14 (Sun) 14:45–15:45
𝑊𝑒𝑎𝑣𝑖𝑛𝑔 𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑣𝑒 𝑀𝑒𝑚𝑜𝑟𝑦: 𝐹𝑟𝑜𝑚 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑡𝑜 𝐷𝑒𝑠𝑖𝑔𝑛 𝑖𝑛 𝐷𝑎𝑛𝑐𝑒 𝑖𝑛 𝐻𝑒𝑟𝑙𝑎𝑛𝑑

Book Fair
12/11 12:00-19:00
12/12-14 11:00-18:00
@mot_museum_art_tokyo

Hi 🐦‍⬛ Tokyo! We’ll be in the city in the coming days for @tokyoartbookfair at @mot_museum_art_tokyo. We’re also excited to give a presentation with @pianpian.he @infoandupdates on the making of @lukayang’s Dance in Herland, from an editor’s and designer’s perspective—sharing how photographs, rare oral histories, creative writings, and conversations with scholars were woven together into a living archive.

If you‘re interested in the project, please join us (you can register via the link in bio, or drop by).

Book Talk
12/14 (Sun) 14:45–15:45
𝑊𝑒𝑎𝑣𝑖𝑛𝑔 𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑣𝑒 𝑀𝑒𝑚𝑜𝑟𝑦: 𝐹𝑟𝑜𝑚 𝐴𝑟𝑐ℎ𝑖𝑣𝑒 𝑡𝑜 𝐷𝑒𝑠𝑖𝑔𝑛 𝑖𝑛 𝐷𝑎𝑛𝑐𝑒 𝑖𝑛 𝐻𝑒𝑟𝑙𝑎𝑛𝑑

Book Fair
12/11 12:00-19:00
12/12-14 11:00-18:00
@mot_museum_art_tokyo