Fang Lijun (b. 1963, Handan, Hebei) graduated from the Central Academy of Fine Arts,  Printmaking Department  in 1989. In July of the same year, he resided in the Yuanmingyuan area, becoming a key advocate of the "Yuanmingyuan Artists' Village." In 1993, he established the Songzhuang studio, contributing to the formation of the  "Songzhuang Artists' Village." In 2014, he founded the "Archive of Contemporary Art of China," systematically organizing the development of Chinese contemporary art. Since 2004, Fang Lijun has been appointed as a guest professor and graduate mentor at more than twenty institutions, including the Central Academy of Fine Arts, Sichuan Academy of Fine Arts, Jingdezhen Ceramic University, Xi’an Academy of Fine Arts, Wuhan University, and Hubei Academy of Fine Arts.

Fang Lijun’s solo exhibitions have been held in major art institutions worldwide,  including the Ashmolean Museum Oxford, Ludwig Museum,  Stedelijk Museum Amsterdam, The Japan Foundation, Civic Gallery of Modern and Contemporary Art, and Musée Ariana, et cetera. Domestic retrospectives have been mounted at the Shanghai Art Museum, Hong Kong Arts Centre, Macau Museum of Art, Taipei Fine Arts Museum, Hunan Provincial Museum, United Art  Museum, Minsheng Art Museum, and He Art Museum, among other significant venues. Additionally, he has been consistently invited by mainstream international exhibitions, such as the Venice Biennale, Gwangju Biennale, São Paulo Art Biennial, and Shanghai Biennale.

Fang's works are permanently collected by  international museums, in particular the Museum of Modern Art, Centre Pompidou, San Francisco Museum of Modern Art, Seattle Art Museum, Art Gallery of New South Wales, Queensland Art Gallery, Hiroshima City Museum of Contemporary Art, Museum of Contemporary Art Tokyo, and Fukuoka Asian Art Museum. Within China, his works are held by the National Art Museum of China, Contemporary Academy of Fine Arts Art Museum, He Xiangning Art Museum, and Guangdong Museum of Art.

Furthermore, through his artistic career, Fang Lijun has published over 50 monographs, including Fang Lijun: Chronological Notes, Fang Lijun: Works Catalogue, Fang Lijun: Cliff in the Clouds, Fang Lijun: Forbidden Zone, Fang Lijun Prints, and Surviving Like a Stray Dog.  In 1993, his work Series Two No. 2 appeared on the cover of The New York Times.

Guan Yinfu, born in 1975 in Heilongjiang Province, China, graduated from the Department of Theatre Arts at the Central Academy of Drama in 2002. He currently lives and works in Beijing.Throughout his career, Guan Yinfu has continuously explored the multi-dimensional material properties of pigments. The sensory qualities carried by the pigments are fully manifested as he constructs spatial order through establishing color relationships. Simultaneously, the interaction of gravity and tension on the substrate results in either thin or thick patches of color. A soothing, sluggish rhythm forms a unique "aesthetics of inertia" on his canvases. This aesthetic transforms the paintings into corporeal entities. Different thicknesses of color patches resemble skin and muscle, corresponding to the two threads of lightness and heaviness in Guan Yinfu's creations. His recent explorations in "The Ontological Turn" subtly echo the forefront of "New Materialism" trends. He also endeavors to penetrate beyond the surface of painting, delving into the depths of the spiritual realm. These varied forms of color blocks step onto the stage of spiritual drama.

Ji Dachun was born in 1968 in Nantong, Jiangsu, China. He graduated from Central Academy of Fine Arts, Oil Painting Department, Beijing, China in 1993. As one of the most representative Chinese contemporary artists, Ji Dachun is widely noticed for his distinctive personal style. His paintings are witty, humorous, ethereal and tranquil, and full of romantic poetry and Zen. In particular, his choice and persistence in easel painting, in an environment where installations, images, pictures, and multimedia methods are becoming more popular, it highlights its unique expressive charm and profound significance.

After having produced many of his now-widely recognized figurative paintings from his early career, Ji Dachun (b. 1968) begins to gravitate towards acrylic, a medium that is comparatively lighter and less saturated than oil paint.  Initially he was obsessed with the viscous pictorial effect of acrylic, and later on there were his serial explorations of the themes of “Black” and “White”. Throughout this entire process, he has experimented with Payne’s gray—which he considered an unstable pigment color—in terms of how it presents different shades of transparencies, textures, and tonal layers on the canvas.  He experimented so as to grasp the relationship between the subject of paint, the residue, and the image.  Through this project, Ji Dachun endeavors to grasp his own position within the coordination of (art) history and reality and comes up with his own rationales to experiment with—or deconstruct—paint in a perhaps attempt to approximate the boundaries of finite things.

Ji has held solo exhibitions at LudwigMuseum (Koblenz,Germany), MACRO Museo d‘Arte Contemporanea Roma (Rome, Italy), Ullens Center for Contemporary Art (Beijing, China), Kunstmuseum Bern (Bern, Switzerland), Posco Museum (Seoul, South Korea) and other art institutions. His works have been exhibited in the 56th Venice Biennial, 2012 Gwangju Biennale Special Exhibition, The First Triennial of Chinese Arts, 2001 Chengdu Biennale, 2000 Shanghai Biennale, the 1st China Oil Painting Biennale and the 2nd 2ed Annual China Oil Painting Exhibition.

Zhang Kai was born  in 1985 in Shanxi, China. He graduated from the School of Arts, Shanxi Normal University, currently works and lives in Beijing. 

In his painting, the protagonists are personified and spiritualized cats and rabbits, which present the tranquil, mysterious and poetic atmosphere. Through the synthesis and reconstruction of the classical and the contemporary, Zhang Kai presents his thinking on time, spirit, appearance and essence, starting from his analysis of art history from the contemporary perspective, and his own aesthetic tendencies.