Featured Events in Shanghai in March, 2024 (April Updated)

Xuyan Shanghai Flagship Store is not a traditional scenic Attraction, but a place with high-end Dining experience as its core, a unique space that integrates food, culture and art. Located in the center of Shanghai, Xuyan attracts diners with its exquisite environment and innovative dishes. It not only provides a rich variety of Chinese and international cuisine, but also creates a double enjoyment of vision and taste for customers through carefully designed interior decoration and art furnishings. Xuyan's menu is inspired by the intersection of tradition and modernity. The chefs use their ingenuity to transform fresh ingredients into amazing delicacies. In addition to the Dining experience, Xuyan also regularly hosts art exhibitions and cultural events, providing customers with an opportunity to explore art and culture. Whether it is a business banquet or a private party, Xuyan can meet the needs of different guests with its unique atmosphere and high-quality service. When you come here, you can not only enjoy the food, but also feel the modern charm and cultural heritage of the city of Shanghai.

The multimedia theatrical spectacular “ERA Intersection of Time” has been performed since its debut at Shanghai Circus World in September 2005. It is unique and comparable to a Broadway musical. Shanghai Circus World is a large, permanent, indoor circus located in the north of the city near Shanghai's Daning Lingshi Park. The circus, with its unique golden roof, has become one of Shanghai's most well-known landmarks. “ERA Intersection of Time” provides a wonderful insight into China's ancient culture and civilization. The 90-minute performance shows not only artistic skills, but also creativity. Aided by multimedia including vision, original live music, sound effects, and lighting, you will feel yourself transported in every scene.

The highly anticipated sports event between Shanghai Port and Henan Songshan Longmen is set to take place at the iconic Pudong Football Stadium in Shanghai on March 30, 2024. Fans from all over are gearing up to witness these two powerhouse teams go head-to-head in a thrilling display of skill and strategy. The clash between Shanghai Port and Henan Songshan Longmen promises to be a nail-biting affair as both teams vie for victory on the field. Spectators can expect an electrifying atmosphere at the stadium as the players showcase their talents and compete for glory. With the backdrop of the bustling city of Shanghai, this event is sure to be an unforgettable experience for all those in attendance. So mark your calendars and make sure not to miss out on this epic showdown between Shanghai Port and Henan Songshan Longmen.

Willi Siber (Germany, b. 1949） Born in Upper Swabia, the center of Baroque art history, Willi Siber studied art history at the University of Stuttgart, Germany. His creations inherited the fluidity, theatricality, and splendid visual effects of Baroque art also incorporated a contemporary perspective and nature. Siber once said "My creations stem from change." Over the long artist career, he is known for abstract objects , installations, sculptures. Using wood, steel, epoxy resin, exploring the malleability of materials, focusing not just on the aesthetic expression of materials he constantly research, validation, and overturning of established perceptions, breaking through the limitations of materials. His playfulness with colors further highlights his concise style. Willi Siber's exhibitions have spanned across Europe and the United States, his works permanently collected by German Federal Parliament, the German Embassy in Argentina, Deutsche Bank, Staatsgalerie Stuttgart, Städtisches Kunstmuseum in Singen, and private art museums Kunstwerk Sammlung Klein, Museum Ritter and private collectors worldwide. In 2023 Siber received honor award "Oberschwäbischer Kunstpreis" in Germany.

Veilhan, whose practice encompasses sculpture, painting, installation, and photography, situates himself at the nexus of artisanal craftsmanship and technological innovation, challenging and extending the boundaries of traditional artistic mediums into the digital era. His work critically engages with the concepts of representation and the physical manifestation of ideas, driven by a continuous pursuit of innovation and experimental rigor. When visiting the exhibition, visitors are greeted by blurred forms of human- shaped sculptures of varying heights and set against the backdrop of the artist's archetypical acrylic portraits on birch plywood, posits a critical counterpoint to the contemporary culture's voracious demand for high- resolution imagery. Whether through the tangible medium of sculpture or the ephemeral realm of images, Veilhan evokes a dreamlike aura of human presence, reminiscent of spectral figures haunting the urban environment, thereby challenging the primacy of pixelated precision in the current visual paradigm. Moreover, a series of small bird paintings ( series, 2022-2023), recurring motifs within his work, summon the presence of non-human agency, articulating not only a sense of physical scale but also imbuing the works with allegorical significance. Central to the exhibition is (2022), a monumental circular kinetic sculpture crafted from fiberglass, aluminum, and stainless steel, suspended from the ceiling. Its bold and compelling form engages in dialogue with the architectural dimensions of the gallery space, manifesting Veilhan's engagement with themes of modernity, technological progress, and mechanical systems. This 3.7-meter-long mechanical artwork, featuring colored lacquered discs, cryptically marks time with the activation of a metallic sphere within its apparatus. Veilhan's body of work is infused with a penchant for invention, a fascination with aerodynamic qualities, and a tribute to the lineage of kinetic art from the Futurism movement to the 1960s. Noticeably, in , a virtual reality work represents a significant moment in his exploration of unconventional exhibition methods, particularly advancing the examination of how visibility operates and the processes by which ideas are materialized. offers a semi-retrospective look at Veilhan's extensive career, combining five key elements from his public sculptures, the mobiles, project, light-based machinery, and early environmental works like () and (). These elements are not merely digitized but are re-imagined and placed within a virtual setting that invites the viewer into an immersive, interactive experience. This shift from traditional man-made forms to a digitized environment also highlights the evolving relationship between art and its audiences. Initiated nearly two years ago, the VR experience offers an unparalleled opportunity for viewers to navigate a succession of relational environments, effectively functioning as a hyper-textual space that challenges conventional notions of the "movie theater" and prompts a critical reassessment of our perceptions of spatiality, form, and the participatory role of the audience within the art experience. In the space titled "Island of Dogs," viewers are confronted with a monumental canine sculpture featuring a mysterious blue portal that ushers them into an exhibition realm of static sculptures. This entrance, however, marks merely the initial layer of a Russian Doll-like configuration, revealing a nested world that blurs the lines between reality and virtual fiction, a mise en abyme that contemplates the duality of public and private spheres through the contrasting textures of the dog's silky exterior and its complex internal matrix. Progressing to "The Cité Radieuse," viewers are invited into a virtual iteration of Le Corbusier's iconic Marseille residential complex (1947- 1952), where a blue cube on a yellow stage within a gymnasium serves as a portal to an unfolding scene. Entering the cube, the walls ascend to disclose an assembled audience, mirroring the gathering at the 2013 "Architectones" exhibition in the MAMO, the art center of the Cité Radieuse. This recursive staging and re-staging of modernist architectural spaces and their observers underscore human presence's silent yet profound influence on our collective psyche, often exerting a deeper psychological impact beneath our conscious awareness. Veilhan's engagement with filmmaking, traceable to his debut, "Le Film du Japon," intertwines personal narratives with architectural locales, situating the artist within a dialogue that bridges individual stories with constructed environments. Furthermore, the soundscape curated by I: Cube for extends Veilhan's fascination with auditory experiences and their capacity to surpass the confines of the purely visual, a preoccupation manifest in his celebrated environmental installation at the 57th Venice Biennale. Within the ambit of , the soundtrack dynamically responds to the viewer's engagement and layering an additional psychological dimension over tangible and virtual environments. This aural intervention destabilizes the sleek modernist exteriors and the profound, often unavoidable, interior spaces' sensations, mirroring pop music's pervasive influence and cultural resonances. Veilhan's oeuvre navigates the visible and invisible territories, crafting an immersive realm that prompts a reconsideration of prior works through the prism of our perceptual boundaries. This effort into realms beyond the human, articulating a fluid and open conceptualization of the body as a site of unforeseen encounters and narratives, diverges from established societal conventions and the static identities typically imposed. His exploration of virtual domains unveils our cognitive landscapes, resonating with Gilles Deleuze's philosophy of an "ethics of becoming not unworthy of the event," advocating for a posture of receptivity and engagement with the transformative potentials that beckon us. The confluence of humanity and technology within the exhibition "Sculpture Park" encapsulates the intricate challenges and opportunities of navigating a world saturated with technological innovation. Coupled with the virtual reality experience, this new body of works collectively underscores the immense possibilities for augmenting human capability and comprehension while necessitating a vigilant awareness of how technology can contour, constrain, and define our perceptions and interactions. Text by Yuan Fuca The VR experience by Xavier Veilhan is commissioned by VIVE Arts, a global arts and technology initiative that supports artistic experimentation with nascent technologies, and developed by award-winning production company Atlas V. About the artist Xavier Veilhan, born in 1963, France, lives and works in Paris, France. Xavier Veilhan has since the late 1980s created an acclaimed body of work inspired by both formal classicism and high technology, including a range of mediums (sculpture, painting, installation, performance, video, and photography). His exhibitions question our perception and often generate an evolving ambulatory space in which the audience becomes an actor. For example, in Veilhan Versailles (2009), his series Architectones (2012-2014) or his proposition for the French Pavilion at the Biennale di Venezia, titled Studio Venezia (2017). Xavier Veilhan’s work is often showcased in the public space, with sculptures occupying numerous cities across France and abroad, including Paris, Stockholm, New York, Shanghai and Seoul, among others. His work has been shown in various acclaimed institutions across the world, such as the Centre Georges Pompidou (Paris), Mamco (Geneva), the Phillips Collection (Washington), Mori Art Museum (Tokyo), and MAAT (Lisbon).

From her Massachussetts studio, Danielle Orchard paints quietly charged, domestic scenes of solitude. If there’s an immediate sense of familiarity to her paintings, it’s because she riffs on the great modern masters: Matisse, Picasso, Hopper. But, with a disruptive brush, she assimilates their symbolism only to reclaim reality through her own contemporary lens. Central to Orchard’s practice are notions of the muse, represented as a reclining female nude throughout centuries of art history. Having previously life modelled herself, Orchard complicates traditional ideas of women as passive objects of desire. Instead, her sculpturally-formed figures – pictured from surprising viewpoints and often from above – are unposed, and unguarded. However, in this new series, women are curiously, and strikingly, absent. It’s as if the missing subject has just walked away from her dressing table, departed the kitchen table, or left her unmade bed, as is the case in (2024), from which the exhibition takes its title. Illuminating the space is a glowing oil lamp, which has been lifted from a Balthus painting. Frequently taking such art historical references as her starting point, Orchard asks, ‘what could I add to this?’. On this occasion, the flame has attracted a fragile, white moth, bringing quiet tension to the empty bed scene in which there is no dreaming muse to be found within the sheets. On the surface, Orchard’s sitter has evaded all depiction. Yet, as the artist points out, “The female protagonist is still present” throughout the series. She appears in a framed photograph, a lipstick-stained wine glass, a red jacket. With such signs of life, it’s as if she has just stepped outside of the frame, adding mystery to the tableaux she’s left for the viewer to interpret. Removing bodies has also given Orchard the freedom to emphasise other psychological elements in these compositions, in which she has brought previously background items to the fore. Still life has always been important to the artist, who imbues common objects with drama and meaning, allowing them to convey emotion, as they do more than ever in this series of moments between events. The table set theatrically for two in (2024) creates an eerie atmosphere. Placed on a crisp plain tablecloth are no forks, only knives, their sharp ends painted red. Is this jam or something more sinister? The viewer is left to wonder. A single, staining drop suggests there is more to this breakfast than first meets the eye. Served up on small plates, eggs hold yet more powerful symbolism, continuing an earlier theme from Orchard’s figurative works in which she used such iconography to address fertility. Yet, there is a timeless quality to her paintings, indicating that it is women’s experiences, more broadly, that she is interested in portraying. In other images, still life objects stand in more directly for the female form. The human-sized tulips in (2024) have sprung to anthropomorphic life, blooming huge and heavy heads, which wilt as it rains outside. Meanwhile false eyelashes discarded in a small dish in (2024) act as a metonymic portrait, holding noirish potential. Light,too,assumesametaphoricalroleinsideOrchard’srooms,playingon walls like thoughts inside the mind. Slicing through each of the lusciously painted scenes are geometric shadows and angular light patterns, their dividing lines seeming to represent half-remembered, half-told memories or dreams. Having developed a more metaphysical and abstracted approach for this body of work, the artist has consciously sought to invoke “sensations of the dream” by making unusual colour choices, disorienting her viewers. The loud yellow walls of a bathroom, in which the taps have been left running, contrast with a bedroom painted hot pink. At times, she has added to ambiguity sources of artificial light, inviting questions about the time of day or night: is someone up early or late? Orchard has also conjured notions of the uncanny and unease by casting symbolic creatures as sidekicks to the furtive heroines within her enigmatic interiors: a black cat stalks between several scenes, while a lifeless bird appears to have drowned in its own water bath in (2024), carrying the feel of a dark fairy tale. In (2024), torn and overlapping drawings reveal chimeric faces in an open sketchbook. Formed by chance, these composite creatures invoke the surrealist artists who allowed images to emerge from automatic drawings or rubbings. Representative of the potential of the unbridled imagination, they also point to Orchard herself, a painter who stays up late to work. Like her subjects, Orchard is not represented directly in the frame. Freeing women from all possibilities of a voyeuristic gaze, the artist reveals more about their interior lives. Painting psychological portraits – defined by an interplay of dark and light, the real and imagined, visible and hidden – she unsettles viewers’ expectations through disquieting narratives from, and about, the female perspective. Text by Ruth Millington Art historian, critic and author of About the artist Danielle Orchard was born in 1985 in Michigan City, IN, USA, now lives and works in Pelham, MA, USA. Nodding to the great painters of the modern era including Picasso and Matisse, Orchard’s paintings often reference their styles and subject by portraying female nudes in a more abstract manner; the figures are portrayed in multi-perspectival Analytic Cubist style or abbreviated otherwise into solid contours and saturated colors. As she tackles depiction plane by plane, or each abstract part that she sculpts with thick impasto, Orchard is exploring the female corporeal representation. While the concept of female nude finds itself deeply ingrained in art history as a muse and more recently being established as a subject of study, Orchard adds depth by infusing her own experiences as a female artist, having trained, posed, and even taught in life drawing classes. In narratives ranging from art historical tropes to contemporary leisure activities, the viewers can expect to find scenes of familiarity in Orchard’s work. By using popular motifs, Orchard eliminates the viewers’ guesswork in discerning the subject, directing their attention to her mode of expression instead. As the backgrounds or accompanying objects echo the body language of the women, depicted with muted emotions, the artist invites the viewers to empathize and contemplate on the interiority of the models.