Gallery Dynamic
TRIUMPH｜Beijing Dangdai Art Fair Booth C22
2025.05.17
Artists
Fang Lijun
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.
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.
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Artists
Guan Yinfu
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.
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Artists
Han Yong
Han Yong was born in 1978 in Yanbian, Jilin, China. He graduated from the Fine Arts Department of Yanbian University in 2000 with a bachelor's degree. He graduated from the Fourth studio of the Oil Painting Department of the Central Academy of Fine Arts in 2008 with a master's degree. Han Yong currently lives and works in Beijing.
For Han Yong, such innocent and effortless painterly expression is perhaps hisresistance to our time and his persistence towards the fond memories and imagination deep-down. This quality has always been there since the dawn of Han Yong's career. Han Yong's paintings has something that parallels temporal categories such as "fashion," "trend," or "movement," or they rather exist as a poetic entity that doesn't govern by temporality. Han Yong's paintings are the maximum expression of his sensibility and even, his nature under the control of reason. Narratives are laid bare in the compositions with ease, lacking any "useless" tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.
For Han Yong, such innocent and effortless painterly expression is perhaps hisresistance to our time and his persistence towards the fond memories and imagination deep-down. This quality has always been there since the dawn of Han Yong's career. Han Yong's paintings has something that parallels temporal categories such as "fashion," "trend," or "movement," or they rather exist as a poetic entity that doesn't govern by temporality. Han Yong's paintings are the maximum expression of his sensibility and even, his nature under the control of reason. Narratives are laid bare in the compositions with ease, lacking any "useless" tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.
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Artists
Ji Dachun
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.
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.
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Artists
Lars Elling
Lars Elling was born in Trondheim, Norway in 1966. He attended Statens Høgskole for Kunsthåndverk og Design, Bergen, from 1988 to 1993. His artworks have been exhibited worldwide, including in various countries such as Germany, Italy, Norway, Austria, Denmark, France, and the United States. They have been widely featured in reviews, articles, and publications, receiving high acclaim from both domestic and international public institutions as well as private collectors. Public collections housing his work include the National Gallery, Oslo, Haugar Museum of Art, Trondheim Kunstmuseum, Arts Council Norway, Oslo, and Oslo Municipality. Lars Elling currently resides and works in Oslo, Norway.
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Artists
Liang Ying
Liang Ying was born in Beijing, China in 1961, studied in the Department of Chinese Painting, Guangzhou Academy of Fine Arts from 1981 to 1982, and studied at the Art Department of the Academy of Fine Arts in Hamburg in Germany from 1983 to 1993, and received an art scholarship from the Rotary Club of Hamburg and the North German State. In 1991 received a Master of Fine Arts.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
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Artists
Liu Fengzhi
Liu Fengzhi was born in 1964 in Harbin, China. He graduated from art department of Harbin Normal University in 1984, and died in 2017.
His works have been widely collected by collectors around the world. Whether it is landscape painting or portrait, Liu Fengzhi's works contain strong subjectivity and emotional features. With free and loose brushstrokes and lines, he pulls away the original volume of the object, especially with the help of lines that twists, turns, hovers, reciprocates, sways, and gathers, closely responding to the transient emotional changes. He further presents and delineates the subtle and unobservable mental process, in which, reaching a highly abstract state. Liu Fengzhi faces the real world with a heart full of passion and humanistic care. In the poetic dismantling and combination of the external world, it hints at his deep reflection on the living conditions of human beings.
His works have been widely collected by collectors around the world. Whether it is landscape painting or portrait, Liu Fengzhi's works contain strong subjectivity and emotional features. With free and loose brushstrokes and lines, he pulls away the original volume of the object, especially with the help of lines that twists, turns, hovers, reciprocates, sways, and gathers, closely responding to the transient emotional changes. He further presents and delineates the subtle and unobservable mental process, in which, reaching a highly abstract state. Liu Fengzhi faces the real world with a heart full of passion and humanistic care. In the poetic dismantling and combination of the external world, it hints at his deep reflection on the living conditions of human beings.
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Artists
Nashunbatu
Nashunbatu was born in 1969 in Ordos, Inner Mongolia, China. He graduated from the Fine Arts Department of Inner Mongolia Normal University in 1989. From 2000 to 2006, he studied at the University of Fine Arts in Braunschweig, Germany, Where he was awarded the Scholarship of the Foundation for Cultural Heritage of Braunschweig (SBK) in 2006. Currently lives and works in Frankfurt am Main, he mainly works with contemporary oil paintings.
Formal analytic and thematic consideration of Nashunbatu’s work shows that the works articulate their quality at the two levels that are relevant to the medium of painting. A reflexive approach to the possibilities of painting after the end of painting, and a unique experience associatively legible at the thematic level, which can be read as a critical commentary on the current state of our relation to subject/self and the world, come together. The twin poles of the horizon of meaning in Nashun Nashunbatu’s art illustrates the potential of a contemporary approach to painting that interrelates a wide spectrum of relational fields and gives pictorial expression to virulent experiences of our condition as contemporary individuals.
Formal analytic and thematic consideration of Nashunbatu’s work shows that the works articulate their quality at the two levels that are relevant to the medium of painting. A reflexive approach to the possibilities of painting after the end of painting, and a unique experience associatively legible at the thematic level, which can be read as a critical commentary on the current state of our relation to subject/self and the world, come together. The twin poles of the horizon of meaning in Nashun Nashunbatu’s art illustrates the potential of a contemporary approach to painting that interrelates a wide spectrum of relational fields and gives pictorial expression to virulent experiences of our condition as contemporary individuals.
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Artists
Wang Yabin
Wang Yabin was born in Henan Province in 1974 and graduated from the Art Department of Henan Normal University in 1994. Currently lives and works in Zhengzhou, Henan Province and Huangshan, Anhui Province.
As a leading figure in Chinese contemporary painting, Wang Yabin specializes in using western painting techniques to display eastern landscapes and figures. He says, "It is my artistic choice to draw on the forms and languages of Western art with Eastern aesthetic thought and Chinese culture as the core".
His paintings have always presented a rich look and coherent threads, starting from a keen inner experience, incorporating complex thoughts and emotions into the language of painting. Each stage of his works is unique, and he completes the transformation of his artistic language amidst different experiences and perceptions, with varied themes that keep advancing in the midst of extension.
As a leading figure in Chinese contemporary painting, Wang Yabin specializes in using western painting techniques to display eastern landscapes and figures. He says, "It is my artistic choice to draw on the forms and languages of Western art with Eastern aesthetic thought and Chinese culture as the core".
His paintings have always presented a rich look and coherent threads, starting from a keen inner experience, incorporating complex thoughts and emotions into the language of painting. Each stage of his works is unique, and he completes the transformation of his artistic language amidst different experiences and perceptions, with varied themes that keep advancing in the midst of extension.
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Artists
Wu Weijia
Wu Weijia (b.1960), was born in Nantong, Jiangsu Province, and currently lives and works in Nanjing, China. For over 40 years, his artistic creation has spanned Chinese and Western art forms, achieving excellence in oil painting, watercolor, Chinese painting, calligraphy, and seal - carving. Throughout his artistic career, his style has been diverse yet consistently unique. This style stems from his deep - seated drive for artistic innovation and exploration, combined with his ability to express genuine artistic pleasure. In 1995, Wu Weijia visited the US and Canada with a delegation and exhibited his works there. Over the years, he has been a active presence in the art world, holding solo and group exhibitions in various places such as Beijing, Shanghai, Nanjing, Jinan, Zibo, Taiwan, and Macau. His works are collected by many important art institutions, including the National Centre for the Performing Arts, Jiangsu Province Art Museum, Nanjing University of the Arts Gallery, and Tianning Zen Temple.
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Artists
Xu Hongxiang
Xu Hongxiang was born in 1984 in Changsha, Hunan, China. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 2007 with a bachelor´s degree, graduated from the Printmaking Department of the Central Academy of Fine Arts in 2011 with a master's degree, and now lives and works in Beijing.
Xu Hongxiang’s artistic practice often revolves around painting. Project-based painting series with narrative contents and oil paintings centered on landscapes are the two parallel creative approaches that punctuate his career. "Image", "body", and "the relationship between painting and reality" are the overarching themes he has been trying to explore in his multi-media painting projects throughout the years. The traits of his highly stylized painting, which included a signature saturated palette, are the fragments that reflect such themes.
Xu Hongxiang’s selected solo exhibitions and projects includes: "Xu Hongxiang: Wander" (Aurora Museum, Shanghai, 2024), "Xu Hongxiang: Ancient Posts" (Xie Zilong Photography Museum, Changsha, 2023), "Xu Hongxiang: Displaced Images" (Triumph Gallery, Beijing, 2022), "Xu Hongxiang: An Exuberant View" (Hubei Museum of Art, Wuhan, 2021), "Xu Hongxiang: One Night While Hunting for Faeries" (Loft8 Galerie, Vienna, 2019), "Not Dark Yet - Xu Hongxiang Solo Exhibition" (Triumph Gallery, Beijing, 2018), "Shuffling the Cards" (Parallel Vienna, Vienna, 2018), "Li Qiang" (Changsha, 2016), "In the Field" (Changsha, 2016), "Xu Hongxiang Solo Exhibition" (SZ Art Center, Beijing, 2014). Selected group exhibitions includes: "Follow the Rabbit - Talking stock of a collection and its reception through contemporary Chinese art" (Museum Liaunig, Austria, 2023), "History and Reality: Contemporary Art of China" (Bulgarian National Museum of Art, Sofia, 2018), "Visual Questions" (Guangdong Museum of Art, Guangdong, 2017), "Oriental Story" (National Art Museum of China, Beijing, 2017),"Centripetal Force" (SCA Galleries, Sydney, 2017), "In Silence - China Contemporary Art" (Sydney Town Hall, Sydney, 2014).
Xu Hongxiang’s artistic practice often revolves around painting. Project-based painting series with narrative contents and oil paintings centered on landscapes are the two parallel creative approaches that punctuate his career. "Image", "body", and "the relationship between painting and reality" are the overarching themes he has been trying to explore in his multi-media painting projects throughout the years. The traits of his highly stylized painting, which included a signature saturated palette, are the fragments that reflect such themes.
Xu Hongxiang’s selected solo exhibitions and projects includes: "Xu Hongxiang: Wander" (Aurora Museum, Shanghai, 2024), "Xu Hongxiang: Ancient Posts" (Xie Zilong Photography Museum, Changsha, 2023), "Xu Hongxiang: Displaced Images" (Triumph Gallery, Beijing, 2022), "Xu Hongxiang: An Exuberant View" (Hubei Museum of Art, Wuhan, 2021), "Xu Hongxiang: One Night While Hunting for Faeries" (Loft8 Galerie, Vienna, 2019), "Not Dark Yet - Xu Hongxiang Solo Exhibition" (Triumph Gallery, Beijing, 2018), "Shuffling the Cards" (Parallel Vienna, Vienna, 2018), "Li Qiang" (Changsha, 2016), "In the Field" (Changsha, 2016), "Xu Hongxiang Solo Exhibition" (SZ Art Center, Beijing, 2014). Selected group exhibitions includes: "Follow the Rabbit - Talking stock of a collection and its reception through contemporary Chinese art" (Museum Liaunig, Austria, 2023), "History and Reality: Contemporary Art of China" (Bulgarian National Museum of Art, Sofia, 2018), "Visual Questions" (Guangdong Museum of Art, Guangdong, 2017), "Oriental Story" (National Art Museum of China, Beijing, 2017),"Centripetal Force" (SCA Galleries, Sydney, 2017), "In Silence - China Contemporary Art" (Sydney Town Hall, Sydney, 2014).
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Artists
Xu Qu
Xu Qu was born in 1978 in Jiangsu, China. Xu Qu graduated with a MFA in Diplom of Fine Art and Film at Braunschweig University of Art, Germany in 2007. The artist is currently lives and works in Beijing.
Xu Qu conveys his attitude towards society and his understanding of the world through artistic practice. He focuses on exploring the interconnections among social systems in different dimensions and fields. Starting from a profound insight into social reality, Xu Qu uncovers the subtle aspects within his field of vision, revealing the macro through a grasp of the micro. He navigates through various value systems and aesthetic experiences, extending his reflections on the interplay of social systems. Guided by his pursuit of concise and clear presentation, Xu Qu employs diverse media to address different topics, resulting in a multidimensional artistic practice that encompasses painting, performance, video, installation, and sculpture.
Xu Qu's recent solo exhibitions include Emergence, Triumph Gallery, Beijing, China, 2024; No Evil, No Joy, Nanshan Society, Xi’an, China, 2023; Advent, Long Museum West Bund, Shanghai, China, 2023; Central Axis, Tang Contemporary Art, Seoul, Korea, 2023; Rejuvenation, Tang Contemporary Art, Beijing, China, 2021; Straight Line, Tang Contemporary Art, Hong Kong, China, 2021; Desert, Each Modern, Taipei, China, 2020; Fineness, Massimo De Carlo, Hong Kong, China, 2019; Chaos, Massimo De Carlo, Milan, Italy, 2019; Ache, Antenna Space, Shanghai, China, 2018. Xu Qu has participated in group exhibitions at renowned institutions both domestically and internationally, including Fondation Louis Vuitton (Paris, France), K11 Art Foundation (Hong Kong, China), UCCA Center for Contemporary Art (Beijing, China), Taikang Space (Beijing, China), OCAT Shanghai (Shanghai, China), 21st Century Minsheng Art Museum (Shanghai, China), Long Museum (Shanghai, China), Guangdong Times Art Museum (Guangzhou, China), Song Art Museum (Beijing, China), and He Art Museum (Foshan, China).
Xu Qu conveys his attitude towards society and his understanding of the world through artistic practice. He focuses on exploring the interconnections among social systems in different dimensions and fields. Starting from a profound insight into social reality, Xu Qu uncovers the subtle aspects within his field of vision, revealing the macro through a grasp of the micro. He navigates through various value systems and aesthetic experiences, extending his reflections on the interplay of social systems. Guided by his pursuit of concise and clear presentation, Xu Qu employs diverse media to address different topics, resulting in a multidimensional artistic practice that encompasses painting, performance, video, installation, and sculpture.
Xu Qu's recent solo exhibitions include Emergence, Triumph Gallery, Beijing, China, 2024; No Evil, No Joy, Nanshan Society, Xi’an, China, 2023; Advent, Long Museum West Bund, Shanghai, China, 2023; Central Axis, Tang Contemporary Art, Seoul, Korea, 2023; Rejuvenation, Tang Contemporary Art, Beijing, China, 2021; Straight Line, Tang Contemporary Art, Hong Kong, China, 2021; Desert, Each Modern, Taipei, China, 2020; Fineness, Massimo De Carlo, Hong Kong, China, 2019; Chaos, Massimo De Carlo, Milan, Italy, 2019; Ache, Antenna Space, Shanghai, China, 2018. Xu Qu has participated in group exhibitions at renowned institutions both domestically and internationally, including Fondation Louis Vuitton (Paris, France), K11 Art Foundation (Hong Kong, China), UCCA Center for Contemporary Art (Beijing, China), Taikang Space (Beijing, China), OCAT Shanghai (Shanghai, China), 21st Century Minsheng Art Museum (Shanghai, China), Long Museum (Shanghai, China), Guangdong Times Art Museum (Guangzhou, China), Song Art Museum (Beijing, China), and He Art Museum (Foshan, China).
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Artists
Yang Maoyuan
Yang Maoyuan was born in Dalian in 1966, Yang Maoyuan graduated from the Central Academy of Fine Arts in Beijing and currently lives and works in Beijing. He has been exhibited in important institutions within China and abroad, representing China at the 54th Venice Biennale and participating in exhibitions at the National Museum in Warsaw, Poland, Pompidou Centre in Paris, Hunan Provincial Museum, Today Art Museum, Martin-Gropius-Bau Museum, Ordos Art Museum, Villa Breda Museum in Padua, Medici Riccardi Palace, etc.
Yang Maoyuan is a Chinese contemporary artist producing sculptures, installations, drawings, and paintings. He is principally interested in the combination and transformation of different aesthetic genres, often mixing western and eastern objects or forms and approaching one with the other's perspective. Fond to quote freely from art history, Yang frequently stirs his audience to come to grips with their own certainties by fundamentally altering both the context of famous icons and the manner in which they are perceived. This often results in idiosyncratic pieces that are both humorous and meditative. Eschewing the application of any overarching "concept", Yang Maoyuan's artistic practice consists of practical experiments that are conducive to more profound questions.
Besides, Yang Maoyuan maintains a keen interest in history and in the visual heritage of traditional communities. Having directed documentaries himself, he likes to conduct his research himself and to experience different environments first hand. Once again, he abstains from any judgement on this heritage, but instead absorbs it as the starting point of further artistic experiment, adapting and bending its generic constraints to his own style and technique.
Yang Maoyuan is a Chinese contemporary artist producing sculptures, installations, drawings, and paintings. He is principally interested in the combination and transformation of different aesthetic genres, often mixing western and eastern objects or forms and approaching one with the other's perspective. Fond to quote freely from art history, Yang frequently stirs his audience to come to grips with their own certainties by fundamentally altering both the context of famous icons and the manner in which they are perceived. This often results in idiosyncratic pieces that are both humorous and meditative. Eschewing the application of any overarching "concept", Yang Maoyuan's artistic practice consists of practical experiments that are conducive to more profound questions.
Besides, Yang Maoyuan maintains a keen interest in history and in the visual heritage of traditional communities. Having directed documentaries himself, he likes to conduct his research himself and to experience different environments first hand. Once again, he abstains from any judgement on this heritage, but instead absorbs it as the starting point of further artistic experiment, adapting and bending its generic constraints to his own style and technique.
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Artists
Zhang Kai
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.
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.
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Artists
Zhu Ziwei
Zhu Ziwei was born in 1997 in Yichang, Hubei Province, China. She attended the Fine Arts School Affiliated to China Central Academy of Fine Arts from 2012-2016, graduated from the Central Academy of Fine Arts from with a BFA in 2020, and graduated from the Central Academy of Fine Arts with an MA in 2023, and currently lives and works in Beijing.
Zhu Ziwei’s artistic practice functions as a kinetic textual spectrometer, transmuting literary radiations into undulating celluloid visions. Those latent tremors embedded in feminine écriture—the drifting whalebones from Tokarczuk’s mythoscapes, the convulsive pendulums in Plath’s confessional verse, the sanguine vascular systems within Han Kang’s botanical metaphors—undergo chromatic decryption through her brush, emerging as novelistic climaxes rendered in chromatographic revelations. Thus transfigured, the stratified textures construct archaeological theaters of memory, while abraded brushstrokes index emotional micro-fragments, and ruptured edges expose cognitive rifts of the subconscious.
The artist inherits the Pre-Raphaelites’ devotional approach to literature, weaving pictorial lexicons into constellations of metaphor. As the gaze navigates between abstract color fields and figurative fragments, the warp and weft of cognition quietly spin a new web of significance—Proustian epiphanies materializing like madeleines of memory dissolving into retinal afterglow. These textual stardust particles suspended above pigment swamps constitute both clandestine dialogues with literary precursors and relentless probes into visual potentiality. During protracted moments of contemplation, when symbolic nebulae within the canvas begin their celestial rotation, the conversation between painting and literature persists eternally—yet Zhu Ziwei seeks her own grammatical whispers within the folds of spacetime.
The artist's solo exhibitions includes: "Echoes of Planes, Flows of Geometry" (HKE Art Museum, Ningbo, 2024), "Mirrors in Splinters" (SKP RENDEZ-VOUS, Beijing, 2023). Group exhibitions includes: "The Shadow of Reading: Art in the Pages" (Hanmo S Gallery, Beijing, 2024), "ART021 Shanghai Contemporary Art Fair" (Triumph Gallery, Shanghai, 2024), "Dialog: East meets East, Chinese Contemporary Art and Leizig School" (CSR.ART, Berlin, 2024), "Trio - The Power of Life" (Awake Gallery, Shenzhen, 2024), etc.
Zhu Ziwei’s artistic practice functions as a kinetic textual spectrometer, transmuting literary radiations into undulating celluloid visions. Those latent tremors embedded in feminine écriture—the drifting whalebones from Tokarczuk’s mythoscapes, the convulsive pendulums in Plath’s confessional verse, the sanguine vascular systems within Han Kang’s botanical metaphors—undergo chromatic decryption through her brush, emerging as novelistic climaxes rendered in chromatographic revelations. Thus transfigured, the stratified textures construct archaeological theaters of memory, while abraded brushstrokes index emotional micro-fragments, and ruptured edges expose cognitive rifts of the subconscious.
The artist inherits the Pre-Raphaelites’ devotional approach to literature, weaving pictorial lexicons into constellations of metaphor. As the gaze navigates between abstract color fields and figurative fragments, the warp and weft of cognition quietly spin a new web of significance—Proustian epiphanies materializing like madeleines of memory dissolving into retinal afterglow. These textual stardust particles suspended above pigment swamps constitute both clandestine dialogues with literary precursors and relentless probes into visual potentiality. During protracted moments of contemplation, when symbolic nebulae within the canvas begin their celestial rotation, the conversation between painting and literature persists eternally—yet Zhu Ziwei seeks her own grammatical whispers within the folds of spacetime.
The artist's solo exhibitions includes: "Echoes of Planes, Flows of Geometry" (HKE Art Museum, Ningbo, 2024), "Mirrors in Splinters" (SKP RENDEZ-VOUS, Beijing, 2023). Group exhibitions includes: "The Shadow of Reading: Art in the Pages" (Hanmo S Gallery, Beijing, 2024), "ART021 Shanghai Contemporary Art Fair" (Triumph Gallery, Shanghai, 2024), "Dialog: East meets East, Chinese Contemporary Art and Leizig School" (CSR.ART, Berlin, 2024), "Trio - The Power of Life" (Awake Gallery, Shenzhen, 2024), etc.
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