As an immigrant from Seoul who was raised in America, Shin views the celadon fragments as a metaphor of the Korean diaspora, vibrant artifacts of the Korean people, their history and culture that are scattered all over the world to form new identities elsewhere.

The Biennale is now 120 years old, and year after year it moves forward and builds on its own history, everything here is exhibited against the backdrop of the Biennale’s 120-year history. Fragments of the past of various kinds may be found in every corner, given also the fact that the Biennale is active in Art, Architecture, Dance, Theatre, Music, and Cinema.

Jean Shin: Inclusions presents a selection of Shin’s work in video, installation, photography, and mixed media.  The title of the exhibition draws attention to the inclusive nature of her artistic practice, which relies heavily on accumulating large quantities of material or objects that would otherwise be considered humble remnants, useless cast-offs, or unnoticed entirely.

The exhibition is set against the background of hopes inspired by the interrupted Arab Spring, the significance of which has yet to be fully described and the profound consequences of which remain ambiguous.

With the support of Ambassador to the Philippines Mr. Jose L. Cuisia, Jr. and his wife, Mrs. Jose L. Cuisia, Jr., Zenith Gallery proudly presents a collection of jars, wall sculptures, vases, sculpture in the round, musical instruments and other ceramic works by Hadrian Mendoza.

Un-Scene III is a group exhibition of 13 emerging artists in or from Belgium. It presents a slice of a scene at a particular moment, and reveals the position of WIELS as an international institution firmly rooted in the Belgian landscape. The works presented include new and existing pieces, and range across all media.

Performance and video work that absurdly amplifies minor incidents into major social signifiers.

The three artists, Gimhongsok, Chen Shaoxiong, and Tsuyoshi Ozawa, who have all pondered ways to address the contradictions they have faced between life and institutional systems, agreed to create a fictitious city, Xijing, and call themselves Xijing Men. As a group, they make critical yet comic plays about the falsity of contemporary life.

These artists, who formed Polit-Sheer-Form on the basis of their similar backgrounds as well as their reflections on the disappearance of China's cultural character as a result of development, have raised a wave after wave of shared creativity and touring exhibitions.

The Moritzburg Kunstmuseum shows a group show of contemporary art movement in Japan in cooperation with the National Museum of modern art Tokyo.

This exhibition showcases several selected young artists from Indonesia, Malaysia, The Philippines, and Singapore. Each artist represents different techniques and characteristics in their artistic practice.

The selection of video and photography works by the eight artists included in this exhibition illuminate the great changes that have occurred as a result of China’s race to establish itself on the world stage, and the increasingly stark contrast between the development in urban centers and the stagnation of the rural countryside.

The exhibition, curated by LA based artist Kio Griffith, includes the work of more than 30 artists and mirrors Griffith’s success in taking an exhibition of Los Angeles artists to the 2014 Yokohama Triennale for its satellite programming.