Organizers: Fosun Foundation, Fosun Foundation Shanghai
Support: FOLIDAY, Atlantis Sanya
Curator: Robin Peckham
Location: Atlantis Sanya
aaajiao / Cao Fei / Chen Wei / Cui Jie / Victoria Fu / Gao Ludi / John Gerrard / Guan Xiao / Han Bing / Jian Ce / Jiang Pengyi / Kong Lingnan / Firenze Lai / Li Ming / Li Shurui / Liao Guohe / Lin Ke* / Liu Chuang / Map Office / Nabuqi / Shen Xin / Timur Si-Qin / Su Yu-Xin / Tang Dixin / Wang Guangle / Wang Shang / Wong Ping / Xie Molin / Xu Qu / Yang Xinguang / Samson Young / Ye Funa / Zhang Ding / Jon Rafman* / Zhang Ruyi / Robert Zhao Renhui / Zhao Yao / Zheng Guogu / Zheng Mahler / Zhou Siwei
* A new work commissioned from the artist
On the 30th anniversary of the establishment of Hainan as a Chinese province, the Atlantis Sanya hotel will hold its grand opening. A Fosun Group investment, it is the first Atlantis hotel in China and the third worldwide. Transforming Hainan into an international destination for island tourism is part of China’s national strategic development plan. With its consistent mission to promote “health, happiness, and wealth,” and under the strategic directive of its family-focused C2M (Customer to Maker) global happiness ecosystem, the Fosun Foundation unveils its first collection exhibition. The exhibition invites curator and LEAP magazine Editor-in-Chief Robin Peckham to explore and array the corporate collection of the Fosun Group, administered by the Fosun Foundation. He has selected forty young and mid-career artists from China and abroad under the title “A World in a Grain of Sand: Mapping Shapes and Sites for Social Geometries.” Through the relationship between three aspects of this theme—Architecture and the Body, Network Ecologies, and Capital and Labor—Peckham analyzes the social geometries reflected by the art ecology, a microcosm for external society as a whole.
The organization of this exhibition also reflects the longstanding considerations of Fosun Foundation President Jenny Jinyuan Wang. As she writes in the catalogue, “Among the artists, the main contingent is the new generation of Chinese practitioners. These artists have received top-rate educations in China and abroad, and have a vast amount of experience with international exhibitions and projects. In today’s China, with major developments in society, the economy, science, and technology, we look to this new generation: What questions are they considering? What are they expressing? What are they creating? Within a globalized formation, where is Chinese contemporary art coming from, and where is it going? These are all questions we attempted to raise and explore while organizing this exhibition.”