
For Allora & Calzadilla’s solo debut in China, the Puerto Rico-based artists will explore the notion of Ganying or ‘sympathetic resonance’—a concept originating in ancient Chinese cosmology that is also used in contemporary language to signal the entanglement of forces and beings in everyday life events. Drawing upon wind and ocean currents through human and more-than-human history, the artists will present Aeolian Charts (2023), a new series of works on paper which consider the poetic potential inherent in climate modeling and the visualisation of global, atmospheric phenomena. Accompanying this new body of work is Penumbra (2020), a projected digital animation that recreates in the gallery the effect of light passing through foliage in the Absalom Valley of Martinique. The work is projected at an angle based on a real-time simulation of the sun’s location over the exhibition space and is complemented by ‘shadow tones,’ a psycho-acoustic phenomenon perceived when two real tones create the semblance of a third. The exhibition highlights Allora & Calzadilla’s inventive practice where the intersections of philosophy, history and ecology find formal expression and are held in a graceful and paradoxical balance. A companion publication, featuring a newly commissioned study by the Barcelona-based research group einaidea, will further elaborate on Ganying as an eco-political model for speculative, decolonial, and transnational cosmologies.






Allora & Calzadilla magnify areas of political tension in the public realm through a wide-ranging body of work. They identify and stress the hairline fractures in societal systems – nationhood, environmentalism, states of war and resistance – through performance, sculpture, sound, video and photography. Meticulous researchers both, an understanding of material is central to their practice and they home in on its symbolic dimension, tracing the many marks of history, culture and politics. In the alternative monument Chalks, 1998–2006, pieces of this most fragile and soluble of materials were scaled up to man-size and placed in public squares in Lima, New York and Paris, inviting passersby to take part in a collective drawing that would quickly disappear underfoot. Elsewhere the human body itself bears the marks of history: in the series of videos about the Caribbean island of Vieques, controlled by the US government since the 1940s and where locals were displaced for an environmentally disastrous military exclusion zone. In Half Mast\Full Mast, 2010, a split channel video is unified by a flagpole aligned between two images that show sites of victory or loss; one gymnast at a time enters either top or bottom screen and physically raises his body to a 90-degree angle, a human flag at either full or half-mast. This image, like many of the duo’s works, balloons with irony or absurdity to what the artists call a ‘monstrous dimension’.




Established in 1967 in London, Lisson Gallery is one of the most well-known galleries operating globally. Boasting an influential and continuing legacy, including playing a pivotal role in the careers of many pioneers of historically important art movements, the gallery works with some of the most significant contemporary artists today.

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