斯图尔特·乌：袍与虱子,陈文辉,王韬程：浪漫主义的白日梦,闯入者刘伟伟：“我越来越具体了”,少年小赵，消失的少年,海市蜃楼（下）失去发声阵地的后北京之声,艺术长沙：“谭国斌金”黎清妍：一代人的一个声音

黛伽·格兰缇娜：下坠 DAIGA GRANTINA: FALL OUT 邓祖儿 Jo-ey Tang, 马丁·希姆斯：重新编码 MARTINE SYMS: DECODE TO RECODE 知念露西 Lucy Chinen, 梁远苇：自律与重复 LIANG YUANWEI: REPETITION AND RESTRAINT 吴建儒 Wu Jianru...

四月刊“大使命”泛观后社会主义现实主义，将目光投向一些明显的现象：在当代绘画语言中依然深受社会主义现实主义影响的一些个案，以及从集体主义文化——社会主义现实主义风格的衣食父母——的遗迹中取材的观念项目。本期的上版聚焦11位全球各地的艺术家近期的实践，并特邀艺术小组斯拉夫与鞑靼为杂志撰文。中版艺术家专题介绍了关小和曾吴这两位活跃于国际舞台的年轻艺术家。本期下版中带来汪晖的书评和24篇全球展览评论。April issue examines post-socialist-realisms to discover what this antiquated yet still vivid visual tradition can contribute to an international art world that has recently turned from abstract painting to a diverse range of approaches to figuration. Top section features the recent practice of eleven artists around the globe, with a special commission by the group Slavs and Tatars. Upper middle section profiles two young artists active on a global scene—Guan Xiao and Wu Tsang. Bottom section reviews Wang Hui’s latest research and it also includes 24 reviews on exhibitions around the world.

杨嘉辉：作曲家的面具,西普瑞安·盖拉德：被图像冲散的历史,刘慧德：无处为家,叶甫纳：窥视者的狂欢,刘窗：暂时性反熵,徐文恺：在发生,戴安娜·塔特尔：为什么凝视动物？,张光宇：大师与杂家,游牧的共同体

CHALK CIRCLES,《策展研究期刊》特辑：《中国当代展览文化》
CHINA: EXHIBITIONS AND DISPLAY CULTURE, 图像，历史，诗歌：乔治·迪迪-于贝尔曼北京讲座记录
THREE LECTURES BY GEORGES DIDI-HUBERMAN, 陆明龙：不真实的财产
LAWRENCE LEK: UNREAL ESTATE , 安妮卡·伊：刮过的海虱和紧张的桃子
PALPABLE AND PRESENT: ANICKA YI

May - June 2016

March - April 2016

January - February 2016

November - December 2015

July - August 2015

LEAP is the international art magazine of contemporary China, a bimonthly Chinese-English publication with global distribution. It presents a winning mix of contemporary art coverage and cultural commentary from the cutting edge of the Chinese art scene.

LEAP devotes its efforts to providing our readers with meticulously planned, fresh, and authoritative information from the art world, including thorough commentary on exhibitions, commissioned artworks, and a refreshing visual design.  Not only do we satisfy the growing Chinese appetite for art and collection, we have also become a specialized publication for Chinese-Western understanding of Chinese contemporary art. 

LEAP is a part of top domestic media group Modern Media, and has accumulated a strong international reputation after its launch in 2010. Each year we attend a number of major international art fairs, such as Art Basel, Frieze, and so on. The content of each issue of LEAP is divided into three sections: Top, Middle, and Bottom.

Top
The top section consists of a number of regular columns and concise articles, generally from one to four pages in length, with different viewpoints and emphases on various aspects of the domestic and international art worlds.

Middle
The middle section is formed by our cover feature, artist features, and a visual component, and offers concerted commentary on artists, artworks, and the art system, often in profound exploration of even broader contemporary cultural phenomena. Each issue takes on one particular theme, on which dedicated reportage and commentary is offered, sometimes alongside artworks commissioned for the issue.

Bottom
The bottom section offers introductions and commentary on at least 15 new exhibitions from around the world. Over time, these articles have come to represent an ever-increasing archive of information on Chinese contemporary art history. Our appraisals have gained wide ranging credibility among both artists and curators, and are also frequently consulted by local and international collectors who are seeking authoritative, neutral information on the latest trends in Chinese contemporary art.

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LEAP - November - December 2015

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