In this issue

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

LEAP Magazine Description:

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.