Tag: Chinese contemporary art

Judith Neilson Interview: The White Rabbit Collection Story

Judith Neilson first discovered contemporary Chinese art while visiting China in 1999. From that moment, her fascination has driven the White Rabbit Collection. Today it is the largest ongoing private collection of contemporary art from Greater

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Invasive Species, Global Trade Routes: Chen Hangfeng in Conversation

This blog post is excerpted from an article published in 'The Art Life' on 25 June 2019, and is based on several conversations between the artist and White Rabbit Collection Manager of Research, Luise Guest, that took place in 2011, 2015 and 2019.

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Past meets present in Jingdezhen: Geng Xue and ''Mr Sea''

An extract from a quarterly essay:

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The fast train to Hangzhou: Zhang Peili, Longjing tea and video art

An interview with the pioneer of Chinese video art in Hangzhou

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In Beijing and Shanghai with White Rabbit

If there were any doubt that the art scene in China is as relentlessly creative, taboo-breaking, entrepreneurial and just plain exciting as ever, you need look no further than the April research trip to China undertaken by White Rabbit Manager of

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Mao's Mangoes

Q: When is a mango more than a mango? A: In China, during the Cultural Revolution

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He Yunchang’s firewood in the White Rabbit Collection Archive

In 2018, performance artist He Yunchang donated a bundle of chopped wood to the Judith Neilson/White Rabbit Collection Archive, considering this to be the most appropriate documentation of his artistic practice. He Yunchang began chopping firewood

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Shoes & The City: Lu Xinjian, Nike and the White Rabbit Collection

In early 2011 two paintings by an emerging Chinese artist were acquired for the White Rabbit Collection. They used an unusual technique derived from the aerial mapping of cities to produce large, apparently abstract canvases with grids and formalist

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"Paradise will be a kind of library" (Jorge Luis Borges): Establishing the White Rabbit Collection Research Library

Developing a research library in the highly specific field of Chinese contemporary art from scratch is no mean feat, and when I began this work two years ago I was keenly aware of the problems I would encounter: key texts may prove to be out of

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