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Kan Xuan

New Middle Class 2018, video, 3’27”. Photo: Studio Abbruzzese

Kan Xuan

New Middle Class 2018, video, 3’27”. Photo: Studio Abbruzzese

Kan Xuan

Or Everything 2005-2009, Video, variable dimensions. Photo: Dong Lin

Kan Xuan

Or Everything 2005-2009, Video, variable dimensions. Photo: Dong Lin

Kan Xuan

A monk 2005-2006, Video installation, Three videos (4'45"; 10'53"; 3'30") looped

Kan Xuan

A happy girl 2002, video, 1' 18''

Kan Xuan

A happy girl 2002, video, 1' 18''

Kan Xuan

One by One 2003, video, 3’ 

Kan Xuan

Kanxuan! Ai! 1999, video, 1' 22''

Kan Xuan

Island 2006-2009, Video installation - 4 videos (2 Yuan! 2 Yuan! / 1 Pound! 1 Pound! / 1 Euro! 1 Euro! / 1 Dollar! 1 Dollar!)

Kan Xuan

Looking looking looking for… 2001, video, 2' 42''

Kan Xuan

Looking looking looking for… 2001, video, 2' 42''

Kan Xuan

Racing Gravels 2018, video, 17’

Kan Xuan

Racing Gravels 2018, video, 17’

Kan Xuan

Object 2003, video 6' 25''

Kan Xuan

Object 2003, video 6' 25''

Kan Xuan

Sugar is white 2006, photograph, 120 x 95 cm 

Kan Xuan

InnerScapes Installation view 2018. Galleria Continua, Beijing. Photo Yang Hao

Kan Xuan

InnerScapes Installation view 2018. Galleria Continua, Beijing. Photo Yang Hao

Kan Xuan

100 times 2003, video, 11'

Kan Xuan

100 times 2003, video, 11'

Kan Xuan

Nothing! 2003 video, 1'56''

Kan Xuan

Nothing! 2003, video, 1'56'' 

Kan Xuan

Meng huang yu 2010, video, Sound, 6 minutes

Kan Xuan

Chorus 2001, video, 1’ 50’’ 

Kan Xuan was born in 1972 in Xuan Cheng, Anhui Province, China. Lives and works in Beijing and Amsterdam. Kan Xuan's video and installation works often incorporate static objects and enduring landscapes. She is interested in exploring the relationship between individuals' subjectivity and the external world, how these relationships form and dissolve, and if art making can provide ways to make new ones. Simple yet incisive, intelligent yet sensorial, her artistic language seeks the tension and balance between narratives and poetics. Kan applies a sincere and inquisitive self to her practice, whether by examining the prosaic details of quotidian life or engaging complex historical topics, she spends long periods of time with her subjects, an approach that lends her work a unique and focused tempo against the ever-accelerating, overwhelming rush of contemporary life.

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