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Times Museum, Times Rose Garden III, Huangbianbei Road, Baiyun Avenue, Guangzhou (2026)

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

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

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

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

28/04/2026

Focus of the residency and public program:Women’s histories, hauntology, social regulation, folklore, collective memoryDate: May 2, 2026 (Saturday) 3pm-5pmLanguage: Chinese & EnglishParticipants: Céline Manz .manz , Tan Jing (Sophy) , Xuyi Yao (Selicia)Moderator: Nikita Cai Venue: East Hall, 19th Floor, Guangdong Times Museum*Admission with exhibition ticketCoordinator: Wang Jiayi

For more info, please see pic 9-13.

01
Murmurs of the Pearl, concept collage. Image provided by the artist Celine Manz.
02
Anonymous – Title Page: Witches Apprehended, Examined and Executed for notable villainies (1613): Wellcome Collection. Attribution 4.0 International (CC BY 4.0). Image provided by the artist Celine Manz.
03
Melusine’s secret discovered, from Le Roman de Mélusine. illumination on parchment, between circa 1450 and circa 1500. Collection: Bibliothèque nationale de France. Image provided by the artist Celine Manz.
04
Illustration from The Snail Maiden. Image provided by the artist Tan Jing.
05
Cover of Bodies that Blee. Image provided by the artist Tan Jing.
06
The devil takes the body, only her skin remains (from: Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library, F 19, fol. 121v.). Image provided by the artist Celine Manz.
07
Leizu on Nanyang Han Stone Reliefs. Image provided by the artist Tan Jing.
08
Agatha Studer, condemned as a witch, is drowned in the Limmat River.Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library. Image provided by the artist Celine Manz.

28/04/2026

Focus of the residency and public program:Women’s histories, hauntology, social regulation, folklore, collective memoryDate: May 2, 2026 (Saturday) 3pm-5pmLanguage: Chinese & EnglishParticipants: Céline Manz .manz , Tan Jing (Sophy) , Xuyi Yao (Selicia)Moderator: Nikita Cai Venue: East Hall, 19th Floor, Guangdong Times Museum*Admission with exhibition ticketCoordinator: Wang Jiayi

For more info, please see pic 9-13.

01
Murmurs of the Pearl, concept collage. Image provided by the artist Celine Manz.
02
Anonymous – Title Page: Witches Apprehended, Examined and Executed for notable villainies (1613): Wellcome Collection. Attribution 4.0 International (CC BY 4.0). Image provided by the artist Celine Manz.
03
Melusine’s secret discovered, from Le Roman de Mélusine. illumination on parchment, between circa 1450 and circa 1500. Collection: Bibliothèque nationale de France. Image provided by the artist Celine Manz.
04
Illustration from The Snail Maiden. Image provided by the artist Tan Jing.
05
Cover of Bodies that Blee. Image provided by the artist Tan Jing.
06
The devil takes the body, only her skin remains (from: Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library, F 19, fol. 121v.). Image provided by the artist Celine Manz.
07
Leizu on Nanyang Han Stone Reliefs. Image provided by the artist Tan Jing.
08
Agatha Studer, condemned as a witch, is drowned in the Limmat River.Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library. Image provided by the artist Celine Manz.

28/04/2026

Focus of the residency and public program:Women’s histories, hauntology, social regulation, folklore, collective memory
Date: May 2, 2026 (Saturday) 3pm-5pm
Language: Chinese & English
Participants: Céline Manz .manz , Tan Jing (Sophy) , Xuyi Yao (Selicia) .xu_
Moderator: Nikita Cai
Venue: East Hall, 19th Floor, Guangdong Times Museum
*Admission with exhibition ticket
Coordinator: Wang Jiayi

Generously supported by Swiss Arts Council Pro HelveSa Shanghai.

More info please see picture 2-5

01
Murmurs of the Pearl, concept collage. Image provided by the artist Celine Manz.

06
Anonymous – Title Page: Witches Apprehended, Examined and Executed for notable villainies (1613): Wellcome Collection. Attribution 4.0 International (CC BY 4.0). Image provided by the artist Celine Manz.

07
Melusine’s secret discovered, from Le Roman de Mélusine. illumination on parchment, between circa 1450 and circa 1500. Collection: Bibliothèque nationale de France. Image provided by the artist Celine Manz. #

08
Illustration from The Snail Maiden. Image provided by the artist Tan Jing.

09
Cover of Bodies that Blee. Image provided by the artist Tan Jing.

10
The devil takes the body, only her skin remains (from: Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library, F 19, fol. 121v.). Image provided by the artist Celine Manz.

11
Leizu on Nanyang Han Stone Reliefs. Image provided by the artist Tan Jing.

12
Agatha Studer, condemned as a witch, is drowned in the Limmat River.Johann Jakob Wick: Collection of news on contemporary history from the years 1560-87. Zurich Central Library. Image provided by the artist Celine Manz.

22/04/2026

Prinz Gholam

Stone Faces (Jin Shang Ling), Passage, 2023
Stones, glue

Stone Faces (Jinshanling) is an installation made during Prinz Gholam’s residency at the Aranya Plein Air Art Festival at Jinshanling, consisting of stones gathered on site and bonded with glue. The Great Wall at Jinshanling — a layered remnant of geological and human time — provides the work‘s specific site-logic: stone as both material archive and witness to historical power. By reassembling these found stones into new configurations, the artists generate unexpected faces and forms from the landscape, extending their longstanding inquiry into the relationship between body, gesture, and the weight of historical image.

My Heart is a Poised Cithara, 2020
Perfomance
32‘ 10“

Performance at Palazzo Altemps, Rome, 2020 as part of exhibition Hidden Histories. In the house of Palazzo Altemps the sculptures represent mythological authorities. These sculptures are prototypes of depictions repeated and copied centuries over centuries. Over time they became fantasies and phantasms which are used to insist on historical continuity and normative standards. Establishing societies which look the same because they have been given the certainty that they are in direct lineage of something outstanding. These aesthetics are reproduced without considering geography, time, society, and the individual. Buildings, pillars, towers, flanked with beautiful sculptures. In the performance our physical activity as two contemporary individuals will generate issues which are psychological and physical. They bring up questions on age, on character, on being educated in a certain way, on social background, on geographical or communal origins. All they have seen, all they have memorised and internalised is transformed through the living human presence, through gestures, timing, and sound.

Prinz Gholam is a Berlin-based artist duo, consists of Wolfgang Prinz (born in Leutkirch, Germany, 1969) and Michel Gholam (born in Beirut, Lebanon, 1963).

Courtesy of the artist and Meyer Riegger Wolff

“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

16/04/2026

Kong Qian

Laolongtou Railway Station, 2017
Oil on canvas
120 × 150 cm

Walking on the Skyline, 2009
Oil on canvas
162 × 216 cm

In Walking on the Skyline, completed in 2009, an avenue reaching to the sky divides all kinds of Chinese and Western buildings, all seemingly quivering like living organisms. The person walking the tightrope in the sky symbolizes the faceoff and in*******se between these two great cultural beasts. All of the buildings in the painting are distinctive buildings found around Tianjin, alluding to the struggles between these two very different cultures that unfolded in this city in the 20th century. This painting appears like a model for all of Kong Qian’s architectural paintings.

Wenchang Pavilion, 2016
Charcoal powder, sketch on paper
54.5 × 39 cm

Behind the Church, 2016
Charcoal powder, sketch on paper
31 × 34.5 cm

Crowd in the Square, 2016
Charcoal powder, sketch on paper
33 × 41 cm

Flyover, 2016
Charcoal powder, sketch on paper
52 × 55.5cm

Toward the North of the City, 2016
Charcoal powder, sketch on paper
28.5 × 34.5cm

In shaping these buildings and their surroundings in a series of works on paper, Kong Qian pays great attention to their functional significance, but he also strives to bestow these buildings and urban spaces with a magical feel. The nameless passersby are like lost lambs, blindly chasing after unknown desires amidst intangible anxieties.

Kong Qian was born in Tianjin in 1956, with family roots in Shandong. Kong Qian has established a reputation for his distinctive stylistic language. Kong’s exceptionally exuberant creative force, highly distinctive and specific stylistic preferences, and narrative approaches have fostered him into a gifted and extraordinary painting maverick, moreover, a unique and treasured paradigm of contemporary Chinese art.

Courtesy of the artist and Hive Center for Contemporary Art

16/04/2026

Guo Fengyi

Suiren (The Fire Maker), 2007
Inkjet prints, sound
390 × 70 cm

Dipamkara Buddha, 2007
Colored ink on ricepaper
386.5 × 69.5 cm

The Evolving History of Natural Superpower, 1992
Colored ink on ricepaper
362.5 × 67 cm

In The Evolving History of Natural Superpower, the artist uses red and yellow colored ink to construct a morphological structure that extends from top to bottom. Dense and continuous lines form a trajectory of energy moving from within to without on the picture plane. The forms in the image resemble both human anatomy and continuously growing, transforming life forms, embodying the artist’s early visualization of the “Natural Superpower” experience. Dipamkara Buddha and Suiren (The Fire Maker) were created in 2007. During this phase, the artist began to more explicitly incorporate Chinese mythological and religious figures into her complex pictorial system. In these three works, Guo Fengyi consistently constructs images with extremely fine and repetitive lines. As a result, human bodies, mythological figures, and cosmic energy are interwoven on the canvas by countless flowing energy lines.

Guo Fengyi born in Xi’an in 1942, and died in 2010,
was a self-taught artist whose work explored spiri-
tual and metaphysical themes rooted in Chinese
folk traditions. Her intricate brush-and-ink drawings
on paper combine controlled, flowing lines to form
luminous images that evoke both human figures and
otherworldly beings.

Courtesy of the artist and Long March Project /
Long March Space

郭凤仪

《燧人氏》2007
彩墨、宣纸
390 × 70 cm

《燃灯佛》2007
彩墨、宣纸
386.5 × 69.5 cm

《自然超能功发展史》1992
彩墨、宣纸
362.5 × 67 cm

在《自然超能功发展史》中，艺术家以红黄双色彩墨构建出自上而下延展的形态结构。密集而持续的线条在画面中形成自内向外的能量运行轨迹。画面中的形态既像人体结构，又像不断生长变化的生命体，体现了艺术家早期对“自然超能功”这一经验的视觉化表达。《燃灯佛》与《燧人氏》创作于 2007 年，在这个阶段艺术家开始更加明确地将中国神话与宗教人物纳入其复杂的图像系统之中。在这三件作品中，郭凤怡始终以极为细密而重复的线条构建图像，使人体、神话形象与宇宙能量在画面中由无数流动的能量线交织。

郭凤怡 1942 年生于中国西安，去世于 2010 年，是一位自学成才的女艺术家。她的艺术实践关注精神和形而上学层面的意义，这些元素反映了她这一代人对于中国传统民间艺术的热爱，并且这些民间艺术赋予了我们特殊的历史，神话和神秘气质。她用毛笔在纸上描绘的作品，笔力深厚、精细飘逸，所绘形象不仅与人类的身心息息相关，同时也描绘暗示了某种精神世界的存在。

作品由艺术家和长征计划 / 长征空间惠允

“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

07/04/2026

Feng Guodong

Wood sculpture 1997–1999
Dimensions variable

These wood sculptures were created during Feng Guodong’s “Beigao period.” In 1997, the artist concluded his seven-year antique business and moved to Beigao, dedicating all his time to wood carving. This period resulted in a large collection of wood sculptures that are diverse in style and texture, yet distinctly reflective of Feng’s unique style.

Feng Guodong was one of the most idiosyncratic artists of a generation active outside the official Chinese art world in the 1980s. Born in 1948, and died in 2005 in Beijing. He began to learn painting by himself in 1964 while working as a cleaner in a textile factory. In the mid-1970s, he was enrolled in the art training class at the Beijing Working People’s Cultural Palace, where he met Zhong Ming, Ma Kelu, and other artists from the No Name and Stars groups, whose circles he frequented without joining. He took part in the 1979 New Spring Painting Exhibition and then the Beijing Oil Painting Research Association exhibitions, and in 1981 published a much-discussed article in the magazine Meishu (Fine Arts), titled “A Sweeper’s Dream,” in which he told of his difficulties surviving as an amateur painter and the danger of losing his work over his passion for art. Leaving behind different manners of post-impressionist, post-cubist, and symbolist styles, his work became fully abstract in the early 1980s, influenced by traditional Chinese ink painting. During this time, he was part of the Beijing Abstractionist movement that included Ma Kelu, Qin Yufen, Zhang Wei, and Zhu Jinshi. By mid-decade, he was making his first wood sculptures, and when he participated in the China/Avant-Garde exhibition in the then National Art Gallery in Beijing in 1989, he showed sculpture and installation works, including the Clock series. In the 1990s, he turned to figurative wood sculpture, freely reshaping the human body, often with a touch of eroticism.

Courtesy of Feng Xi and SPURS Gallery

冯国东

木雕创作1997—1999
尺寸不一

作品由冯兮和马刺画廊惠允

“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

Times Museum

11/05/2026

08/05/2026

04/05/2026

30/04/2026

28/04/2026

28/04/2026

28/04/2026

22/04/2026

16/04/2026

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07/04/2026

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Tuesday	10:00 - 18:00
Wednesday	10:00 - 18:00
Thursday	10:00 - 18:00
Friday	10:00 - 18:00
Saturday	10:00 - 18:00
Sunday	10:00 - 18:00