The artist’s first institutional presentation outside of Asia, at New York’s Swiss Institute, tells a story of industry and postcolonial culture in spare parts
The fraught US Pavilion reveals what has been true for some time, if not forever: the artworld is heavily politicised, though until recently almost always in ways that have suited liberal agendas
In a series of paintings that mix the old and the new, the profound and the mundane, the Guangzhou-based artist navigates the changing faces of everyday life in China
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
