Belgian modernist Antoine Mortier debuts in China with a grand exhibition, the result of loans from private collections from around the globe. Differing from most of his contemporaries, Mortier became famous for his knowing use of ink, with which he creates works that are both intimate and monumental. In the halls of the Tsinghua Art Museum, fifty of his works find new resonance in dialogue with the traditions and current trends of Chinese art. Always one of the principal expressive mediums of the vast Asian country, for Mortier ink was, rather, a conscious choice and a conquest that he made only after years of commitment and discipline. Closed in his studio in Brussels, he learned to master the complex technique, then putting it into works that fall somewhere between abstract and figurative art in which bodies and objects are merely a point of departure. Power, rapidity, spontaneity and precision harken back to the practices of Chinese calligraphy, while on the page, reality disintegrates and is transformed into sensations. Subjective interiority and universal themes meet in large works chosen for this winter’s event, demonstrating how art is a “magic door” capable of bringing distant worlds together.