Friends in the Arts: Exhibition of Chinese Collectors’ New Contemporaries

Jordan, the director of the Shanghai Tank Art Center. He once studied at the School of the Art Institute of Chicago and co-founded the non-profit space “Gallery Without People” in Chicago. After graduating in 2019, I joined the Shanghai Oil Tank Art Center and successively organized and presented the exhibition “Sister Gates: Bad Neon”, as well as events such as “Oil Tank Player Art Festival” and “Oil Tank New Year’s Eve”.

Evonne Jiawei Yuan is a writer and curator based in Shanghai. She graduated from Fudan University with B.A. in Museology, The Courtauld Institute of Art, University of London with M.A. in History of Art, and the Architectural Association School of Architecture with M.A. in History & Critical Thinking. Recent curations include “Shanghai Dandy” (Don Gallery, Shanghai, 2017), “Steadfastly Raise the Standards in Nonproductive Construction” (Don Gallery, Shanghai, 2018), “Going Viral: Zombies, Pluribiosis, and Love of the Living Dead” (totalab, Shanghai, 2022), “Steadfastly Revise For the Standards in Nonproductive Construction (Part I: Solid Molds; Part II: Liquid Circulates)” (Long March Independent Space, Beijing, 2022–23), “Entangled, Ensnared, Entwined – Carol Bove, Hu Xiaoyuan, Alicja Kwade” (Longlati Foundation, Shanghai, 2023), etc. Contributing articles also featured in artforum.com.cn, ArtChina, LEAP, etc. Current research interests include the architectural media in-and-of contemporary art, (post)modern spatial concepts, border aesthetics and its geopolitics. She has been Guest Curator of Longlati Foundation and Head of its Writers’ Acquisition Committee (Shanghai) since 2021, producing solo exhibitions “Ma Qiusha: The Mirror(-scape) of Your Skin” (2022), “Laure Prouvost: Theatergarden and A Be(a)stiary of the Anthropocene” (2022), etc. In 2022, she co-founds totalab, an independent curatorial office and art space in Shanghai with artist-curator Julian Junyuan Feng.

Delora Xuanqiao Che, the founder of Macalline Art Center, is a Chinese art patron. She is the Vice President of Red Star Macalline Group and the founder of the design furniture brand THE SHOUTER. 
Macalline Art Center’s physical space in Beijing’s 798 Art District formally opened to the public on January 15, 2022. Macalline Art Center is a non-profit art institution founded by philanthropist Che Xuanqiao and supported by the Red Star Macalline Holding Group Co., Ltd. Based in a 900-square-meter, two-story building, Macalline Art Center will bring together artists, curators, and cultural professionals from around the world working in a range of forms. The Center will build a practice-oriented site focused on contemporary visual inventions and become a new cultural coordinate on the contemporary art map. 

Co-partner of Focus Media, Initiator of Paradise Cinema Charity Project

After 20 years of deep cultivation, Michael Cheng has pioneered the development of Chinese movie pre-screening advertising from scratch, set up a multi-dimensional evaluation system and standard for movie pre-screening advertising, and devoted himself to building China’s most prominent movie advertising media company. Under the leadership of Cheng, the scale of China’s movie advertising market has grown unprecedentedly, and cinema video media has become a mainstream new media force that has received much attention and recognition both inside and outside the industry and has become the most influential and valuable marketing communication network platform.

In June 2018, the “Paradise Cinema” public charity project advocated and initiated by Michael Cheng aims to provide continuous free movie-viewing opportunities for young people with movie-viewing needs in rural areas of the motherland.

Founder of DANGXIA ART SPACE, Artist, Collector 

Established in 2021, DANGXIA Art Space is a non-profit contemporary art space based in Beijing’s Tianzhu Free-Trade Zone.

Dangxia stands for an openness beyond temporal or spatial constraint. We aspire to provide an inclusive environment to foster and activate creative discourses among artists and scholars. Our mission is to support the practice of emerging Chinese and international artists through a diverse program of exhibitions and research projects, that is often achieved by the exchanges of ideas that are inter-disciplinary or transcultural, inquiring into concerns that are anchored in the urban/rural, cultural/societal development of China.

Collector
Joy Shing has been collecting contemporary art for 29 years, she is also the founder of ZUMA Group Limited.

Co-founder of Yit
Founder of  Yit art

Collector
Luo Xudong was born in 1991 in Dongying City and is a member of the Communist Party of China and a patron of the arts. In his childhood, Luo showed his interest in collections and started his business after graduating in 2014, and his art collection developed simultaneously. In a decade, with an insightful vision, Luo built a clear and unique Chinese contemporary art collection system. He worked hard to push Chinese contemporary art to develop in a healthy and ordered mode.

Co-founder & Director of Longlati Foundation
Co-founded by David Su and Zihao Chen, Longlati Foundation is a non-profit organization registered in Hong Kong, China. It stands between the cultural landscapes and geo-political realities in change, contributing to the development of contemporary art in its diversity. Since its initiation in 2017, Longlati Collection and Patronage Program have been structured around three themes: 20th-century international women artists, minority and multi-minority cultures, as well as the practices of post-90s Chinese artists.

Mr. Jiao Jingjia, as a seasoned professional in the field of design, embarked on his art collection journey in 2012. As a collector, he has embraced a wide range of art forms, including traditional mediums such as prints, watercolors, and sculptures, as well as avant-garde contemporary art and cutting-edge experimental new media art. Over the course of 8 years, he has cultivated an artistic space known as the ‘Vegetable Garden,’ enriched with fine works by many internationally renowned artists.

He believes that his interest in contemporary art and art collecting primarily stems from his profession. Throughout his professional experience, world-renowned architectural designers such as Ieoh Ming Pei, Tadao Ando, and influential design theories like Germany’s ‘Bauhaus’ have had a profound impact on him. The success of these masters and theories lies in the integration of ‘ design’ and ‘art’ within the field of architecture. This philosophy has greatly benefited him and has also fueled his strong interest in exploring the relationship between contemporary art and modern design in the course of his practice.

Young Collector
Cheng Cheng, born in 1996, spent six years studying in the UK, where he earned a master’s degree in Art History. He is recognized as a young and passionate art collector, and the founder of the Hong Kong Tai Hong Foundation of Art Limited (Ti Art Foundation).

Collector, M+ Founding Benefactor

Collectpr

Xi’an Collector 

Director of Iris Art Museum, Young Curator
Serial entrepreneur, investor
Contemporary art lovers

Collector
Tianze Jiang grew up in Shanghai, co-founded gallery no one, and is currently a PhD candidate at Fudan University. He combines collecting and academic research, focusing on young contemporary artists, and tries to explore the development and historical logic of contemporary emerging art from these works.

Entrepreneur, Collector, Art patron
Entrepreneur, collector, and art patron,  Wu Meng started collecting in 2017, and since then has amassed a collection—Wu Meng Collection—of over 300 artworks from the postwar period to the present, with an inquiry into iconography and iconology in contemporary visual culture. The Collection has donated works to international museums, including Centre Pompidou and Singapore Art Museum. Wu’s art patronage is across a wide range of settings: Wu sits at the UCCA Foundation Council, the governing body of UCCA, and the International Leadership Council of New Museum, New York. He launched his own non-profit and non-collecting M Art Foundation in 2021 with the mission of building an artist-centered platform to support underrepresented practices and discourses.

Founder of “C for ABC”  , Partner of Star Gallery
Graduated from UCL as an Art History major, Cici Xiang is the founder of the art project “C for ABC.” She officially joined Star Gallery as a partner in November 2021. As a fashion model and an art promoter, she has established strong connections with the media and commercial spheres. She has also become active in fashion, culture, and art.

Collector
Michelle Ying Ying Hsieh, born into a media family, was born in Taipei and educated in the United States. She graduated from the Sotheby’s Institute of Art in New York and resides in Hong Kong. She serves as a Client Advisor at Frieze in Greater China. Her mother is the founder of the magazine ARTouch. Influenced by her mother from a young age, Michelle initially followed her mother’s collecting interests. Later, she began researching Western contemporary art alongside her mother, focusing on female artists, especially those who have temporarily paused their careers for family reasons.

Co-Founder of ART021, JINGART, DnA SHENZHEN

Founder & Manager of 
JUZHI Home Furnishing
Founder of CHI Art Center

Founder of ASE Foundation
Joan Zhang graduated from Stanford University’s Graduate School of Business,and has nearly two decades of experience in venture capital and entrepreneurship. She is one of the earliest and most talented female venture capitalists and entrepreneurs in China. She is also a lifestyle connoisseur, art collector and patron. In 2021, she founded ASE Foundation, a non-profit foundation which supports and promotes research, exchange and exhibition of contemporary art.

1993 Born in Chaozhou, Guangdong. 

Young Collector
Co-founder of Gallery Func

Curator, Collector, Co-founder of gallery no one, Co-founder and Chief Editor of te magazine
Hetian (Michael) Guo lives and works in New York and Beijing. He graduated from the School of the Art Institute of Chicago in 2017 and earned his master’s degree at the Royal College of Art in 2020. He is a curator and collector, co-founder of independent space gallery no one, Chicago, and co-founder and chief editor of te magazine. His collection includes  Anthony Gormley, Damien Hirst, Lee Ufan, Alex Katz, Yayoi Kusama, Oscar Murillo, Wolfgang Tillmans, Kohei Nawa, Haegue Yang, He Xiangyu, Izumi Kato, and more.

Collector
CEO of Beijing Songze Art Center
Ding Zehua, the CEO of the Beijing Songze Art Center and a dedicated art collector, officially assumed the director role at Song Art Museum in March 2022 and is fully responsible for its operation and management. Mr. Ding Zehua’s profound passion for art is evident in his collection, which encompasses various Chinese contemporary artworks from the 20th century onwards. He consistently adopts new perspectives and a forward-thinking approach to developing contemporary Chinese art, aspiring to establish a comprehensive exhibition sequence for contemporary art in private art museums in China.

Building upon Mr. Ding Zehua’s collection, Song Art Museum aims to curate exhibitions with a vertical focus through in-depth research. This initiative seeks to enhance the museum’s academic and professional development, optimizing and maintaining a healthy ecosystem for private art museums. By actively engaging and promoting the development of contemporary Chinese art, the museum is poised to contribute to the ongoing progression of the art scene.

Collector
CEO of Beijing QSRY Investment Limited.
Member of MWoods Beijing Advisory Board
Founder of Eclosion Collection
Michelle Yuan Bing is currently based in Beijing. She earned a Master’s in Design Management from the POLI.design of Politecnico di Milano. During her time in Europe, Michelle frequented institutional exhibitions and museums. She was introduced to many artists who participated in the Venice Biennial and Documenta in Kassel, many of whom she later included in her collection, from Wolfgang Tillmans, Oscar Murillo, Katharina Grosse, Laure Prouvost, to Hernan Bas, Mariam Cahn and Simon Fujiwara.

This year, Michelle announced the opening of Eclosion Collection+Projects. The space showcases a collection of domestic and international artworks that Yuan Bing has accumulated. “Eclosion,” symbolizing both “metamorphosis” and “blossoming” Collectors, through collecting, growing and transforming, akin to a butterfly’s journey of emergence.

Through Eclosion Collection + Projects, we will delve into art history and cross-cultural exchange, extending our focus to Western and Pan-Asian cultures to establish an independent contemporary perspective on collecting. We hope to build a platform where collector friends, researchers and curators engage and exchange ideas.

Founder of ZHI Foundation, Co-founder of DANGXIA Art Foundation
Kairong Zhang, who lives and works in New York and Beijing, graduated from the Royal College of Art with a degree in sculpture in 2021 and co-founded the nonprofit DANGXIA Art Space as a co-founder in the same year. T. The mission of the space is to support the artistic creation, cultural exchange and academic research of young Chinese and international artists through a variety of projects and events. In addition, Kairrong Zhang is the manager of her family’s collection and is responsible for preparing the first exhibition of the collection of the collection of her family’s art foundation, which involves ancient Chinese paintings and calligraphy and international contemporary art.

Collector
Wenxi Zhao currently works and lives in Beijing and New York. She completed her undergraduate studies at New York University, earning a Bachelor’s degree in Economics. In 2017, she obtained a Master’s degree in Art History and Art Business from Christie’s Education in New York. She previously worked in the Impressionist and Modern Art Department at Christie’s in New York. Zhao Wenxi’s collection focuses on contemporary art from both Eastern and Western traditions, encompassing various mediums such as painting, sculpture, installations, and visual media.

Post-90s Collector
Michael Cheng Sheung Chuen is a young collector, based mainly in Hong Kong and Beijing. Influenced by his father since childhood, he was deeply influenced by ancient art and had an early budding perception of art. After completing a degree in financial management in the UK, he studied at Christie’s Education. After returning to China in 2017, he began his art-collecting journey, which involved contemporary Chinese and Western art in various media.

Collector
Cao Beichen graduated from King’s College in the United Kingdom in 2010. After returning to China, he worked at an accounting firm and is currently responsible for equity investment in the family business. He began his involvement in the field of art collection in 2019, focusing on emerging artists from China and internationally, as well as those with innovative and pioneering directions. The collection includes representative works from artists such as Tal R, Friedrich Kunath, Mostafa Sarabi, Angel Otero, Lari Pittman, Henry Curchod, Ouyang Chun, Qiu Xiaofei, Wei Jia, Lu Chao, Tan Yongqing, and others.

Young collector
Art patron
Cindy Yan, a young collector and art patron based in Shanghai, started to enter the field of the contemporary art collection in 2019, starting from Western postwar art to Chinese mid-generation artists; as a young Gen Z collector who loves life and art, Yan constantly pays attention to the development of young artists, and grows and progresses together with them. “Art comes from life and is above life; art gives me a lot of nourishment and allows me to rediscover the goodness and beauty on my way to growth.”

Director of Beiqiu Museum of Contemporary Art
Beiqiu Museum of Contemporary Art sits on the hillside terrace of Catherine Park in the Xuanwu District of Nanjing. With the North Pole Pavilion at the back, BMCA is quite an escape in this rustling and bustling world. As the first art museum on the hill inlaid downtown, BMCA officially opened to the public in 2020, integrating multiple functions, including a contemporary art collection, exhibition, research and education.

Novice collector
Long Museum

Founder of Yi Si Art Foundation
Yi Si Art Foundation is a non-profit and non-public art foundation established by Ms. Yu Dan in early 2023 in Hong Kong, China. Ms. Yu Dan has been deeply invested in the development of contemporary art in both the Southwest region of China and throughout the country, as well as internationally. This foundation is based on her collection, curatorial practice, and social network. It uses Chengdu in Sichuan, Hong Kong in China, and London in the United Kingdom as hubs to connect and promote contemporary art development with the prospect of reflecting regional, modern, and international artistic characteristics.

Ruby Li Ying is based in Shanghai and Hong Kong. Her collection journey began in 2013, initially focusing on ancient Chinese calligraphy and painting, along with Chinese contemporary art. In recent years, she has expanded her collection to include Western contemporary art. On the one hand, Li pays attention to artists holding essential positions in the contemporary art history of both China and the West. On the other hand, she consistently sponsors young artists. In addition to her ongoing focus on the academic hotspots of recent years, Li’s collection now places greater emphasis on artists with enduring value in art history. The collection aims to transcend limitations of identity, gender, and region, seeking artists capable of withstanding the long river of time and the precipitation of history.

Pan Yang, as a young collector and the founder of pan space, Pan Yang started to enter the field of collection during 2018, and has been collecting with a zenful mindset.

Collector

Vivian Chen is a Founding member of UCCA Foundation Council and an independent musician agent. In recent years she has supported the cultivation of numerous emerging independent musicians. She has been collecting art for about 16 years, and she has recently shifted her focus towards young contemporary Chinese artists. The superbly presented craftsmanship and remarkable visual expressiveness, along with the resonant contemporary background and content conveyed by the works, are often what she finds most interesting.

Vivian Young, currently works and lives in Hong Kong, Guangzhou and Shanghai. She holds a double master’s degree in Social Sciences from the Chinese University of Hong Kong and Art History from the Macau University of Science and Technology. Vivian’s collection focuses on works by young contemporary artists from both the East and West.

Wu Wei was born on January 6, 1993, and graduated from the Hubei Institute of Fine Arts, School of Fashion Art and Design in 2014. He established the FMACM® clothing brand in 2014.

Sylvia Wang holds a Master’s Degree in International Studies (MIPA) from HKU, is an honoree of Tatler Gen. T in the Arts, and is a founding patron of M+.

Collector, Co-founder of DANGXIA Art Foundation

Managing Partner of The Cloud Collection

Co-founder of The Soil Collection
Aria Yang, based in Beijing and Hong Kong, with an international degree in arts management and local institutional experience, co-founded the soil collection with Vince Guo in 2022 intending to build a mobile and debatable collection through nomadic curation and commissions for young artists.

Sherry Zhang is based between Beijing and New York and has an extensive contemporary art collection that focuses on two themed strands: female artists and photography. Sherry is a patron of the Centre Pompidou IC-Asia Pacific and was a sponsor of Cao Fei solo exhibition in 2019, as well as ‘Women in Abstraction’ in 2021; this exhibition is a comprehensive study of the women of abstract art and their works curated by Christine Marcel, chief curator of Centre Pompidou. Sherry is also a member of the UCCA International Circle.

Collector

Vince Guo, a millennial art collector, lives in Beijing and Hong Kong. He has an international degree in Art Management and experience in local institutions. 

Focus on secondary market investment and M&A
Lover of art and rock tea, enjoys writing
WeChat Official Account: 加斯顿的愤怒

Wen Yu, collector and founder of LalLal Art Gallery, Australia

Wen Yu has been collecting contemporary art since 2013 and has collected works by more than 100 domestic and international contemporary artists. Through Lal Lal Art Gallery Australia, Wen Yu has supported artist residency programs, with more than ten Chinese contemporary artists completing their residencies between 2017 and 2019. New residency programs are underway. Headquartered in Zhangjiagang Free Trade Zone, Jiangsu Province, Wen Yu directs Tianyu Wool Industries, the world’s largest wool processor in Australia, New Zealand, South Africa, Uruguay, Argentina and Italy, serving many luxury garments worldwide.

Founder of ONE ATELIER (Beijing)

Minluo Su, a Senior Art Consultant, Art Collector, and Founder of Shanghai Saisen Art Co., Ltd. Minluo is committed to collecting and promoting Chinese contemporary art. She also provides long-term support for the creation and expansion of frontline and emerging artists in China. Minluo Su positions herself as an art collector who ‘keeps the collection’ and believes that every collector will have more personalized collection preferences. Particularly interested in artworks that can highlight personal brush language, Su Minluo has long promoted the cooperation of young artists with galleries and other commercial projects, pioneering the integration of contemporary works of art into commercial spaces.

Olivia Li graduated from New York University, Li’s family has been collecting artworks for over 30 years, and Li herself is dedicated to the field of contemporary art. She currently operates an art account named Olivia Art Talk, focusing primarily on art commentary and interviews within the art community.

Yao Chien has been working at Le Music, and head of DianJung and Sony Music, as well as General Manager of EMI and Virgin Music. Currently, he is working at the Music Nation Ursa Major Ltd.

In 2013, he published “Sense It”. In 2014, he published “Beautifully Encounter”. In 2015, he published “A Person’s Collection”. In 2017, he published “If This Can Be The Song”, and he is a producer of the documentary ”My Dear Art”. In 2018, he published “We All Have Our Own Song”, and he is a curator of the exhibition for Sanyu.

Inspired by his father’s generation’s devotion to collecting ancient Buddhist statues, Niklas Chou, born in 2000, gradually established his interest in contemporary art. He entered the field of collecting and patronage around 2018 with a diverse configuration, trying to build a bridge between the classical and the conceptual. During his undergraduate studies in engineering, he founded the non-profit organization 69 ART CAMPUS Art Center, currently located in the Baideli Automotive Industrial Park, 143 North West 4th Ring Road, Beijing, dedicated to sharing his contemporary art collection with the public, as well as inviting and funding curators and artists to carry out different types of art projects, for example, creating a new type of space where corporate offices and art displays coexist. The project aims to create a new methodology for co-locating corporate offices and art exhibitions.

Alda Xie is based in both Shanghai and North America. She holds a bachelor’s degree in Art History and a master’s degree in the same field, obtained from institutions in the United States and the United Kingdom, respectively. With professional experience in art management, she later worked for a cultural investment institution, exploring the potential synergies between art, culture, and other domains.

Xi Tao focuses on the value development and enhancement of singer-songwriters, using the foundation of the singer-songwriter brand-building method. He provides personalized development strategies, technical support, and commercialization pathways for musicians at different stages.

In 2020 and 2023, Xitao curated and launched two cross-disciplinary music and art projects titled “ALL CREATIONS I: Encounters with Animals” and “ALL CREATIONS II: Distant Similarities.” These initiatives invited musicians and artists to create works on the same theme, broadening the audience base in the art field and particularly engaging a younger demographic. In 2022, the A26 Space was established, offering a blend of art exhibitions, live performances, and a cultural arts complex that includes dining and coffee experiences. With art practices occurring every two months, this platform provides a stage for daring and innovative artists. The exhibitions are complemented by immersive dining experiences and performances, creating a fresh and profound interaction with the audience in unconventional ways.

Coobe Wang, an investor in the financial sector, entered the contemporary art collection in 2019 with his wife Sophia Luo; the collection includes a wide range of works spanning painting, sculpture, installation, video, sound and mixed media. He focuses on the dialogue between artists from different regions and builds on this with a sense of commonality and critical judgment. He now names his collection the “Last Piece Collection.”

Born in Colombia and based in various locations, Oscar Murillo (b. 1986) is known for an inventive and itinerant practice that encompasses paintings, works on paper, sculptures, installations, actions, live events, collaborative projects, and videos. Taken as a whole, his body of work demonstrates a sustained emphasis on the notion of cultural exchange and the multiple ways in which ideas, languages, and even everyday items are displaced, circulated, and increasingly intermingled. Murillo’s work conveys a nuanced understanding of the specific conditions of globalization and its attendant state of flux, while maintaining the universality of human experience.
Murillo earned his BFA in 2007 from the University of Westminster, London, followed by his MFA in 2012 from the Royal College of Art, London. He joined David Zwirner in 2013 and had his inaugural exhibition, titled A Mercantile Novel, at the gallery in New York the following year. binary function marked his first solo presentation at David Zwirner, London in 2015. On view in 2016, the New York gallery presented through patches of corn, wheat and mud, a solo exhibition of the artist’s new work. In 2018, the build-up of content and information, presented at David Zwirner’s Hong Kong gallery, was the artist’s first solo show in Asia. In 2019, Manifestation was held at the gallery’s London location. In 2020, News was on view at the gallery’s Paris location. Ourself behind ourself concealed, the artist’s seventh solo presentation with David Zwirner, was on view in 2022 in New York.In 2022, solo exhibitions of Murillo’s work were on view at KM21, The Hague, and the Saint Louis Art Museum, St. Louis, Missouri. Additionally, the artist’s first solo exhibition in Italy, entitled Oscar Murillo: Spirits and Gestures, was held at Fondazione Memmo in Rome in 2022. Oscar Murillo: A Storm Is Blowing From Paradise was on view at the Scuola Grande della Misericordia in Venice in the fall of 2022.
In 2019-2020, Oscar Murillo: Social Altitude was on view at the Aspen Art Museum. Also in 2019-2020, Oscar Murillo: Horizontal Darkness In Search of Solidarity was presented at the Kunstverein in Hamburg, Germany. Additionally, Murillo was one of four artists to win the 2019 Turner Prize. The Turner Prize exhibition was on view at Turner Contemporary, Margate, England, through January 2020. Also in 2019, a two-person exhibition with Tony Cokes, Collision/Coalition, was exhibited at The Shed, New York. Earlier that year, the dual solo shows Oscar Murillo | Zhang Enli were presented at chi K11 art museum, Shanghai, and OSCAR MURILLO:
Violent Amnesia was on view at Kettle’s Yard at the University of Cambridge, England.
Murillo’s works and projects have been the subject of solo exhibitions at prominent institutions worldwide. In 2017-2018, a solo exhibition of the artist’s work was on view at Haus der Kunst and was accompanied by a comprehensive monograph published by the museum in association with David Zwirner Books. In 2017, presentations were also held at CAPC musée d’art contemporain de Bordeaux and Concorde, Paris and the Yarat Contemporary Art Centre in Baku, Azerbaijan. In 2015, solo shows were on view at the Museo de Arte de la Universidad Nacional de Colombia, Bogotá; Centro Cultural Daoíz y Velarde, Madrid (part of ArcoColombia 2015); and Artpace, San Antonio, Texas. Also in 2015, as part of Performa 15 in New York, Murillo presented Lucky dip, a series of performances and installations that took place over the course of one week at the Alexander Hamilton U.S. Custom House, an important historical site in downtown Manhattan. In 2014, Murillo’s paintings, sculptures, and video works were presented at 40mcube in Rennes, France, organized as part of the 4th Les Ateliers de Rennes – Biennale d’art contemporain. Also in 2014 a body of work was presented at The Mistake Room in Los Angeles on the occasion of the venue’s inaugural exhibition. In 2013, the South London Gallery hosted the artist’s first major solo show in the United Kingdom. In 2012, he created paintings on site during a five-week summer residency at the Rubell Family Collection in Miami, which were shown later that year marking his first solo exhibition in the United States. Other venues that have exhibited his works and projects include the Nouveau Musée National de Monaco (2016), Showroom MAMA, Rotterdam (2013), and the Serpentine Gallery, London (2012).
For Murillo’s ongoing long-term project Frequencies, developed with members of the artist’s family, studio team, and collaborators around the world, canvases are temporarily affixed to classroom desks in selected schools across the globe, encouraging students aged ten to sixteen to create any kind of mark making—drawing, writing, doodling. Frequencies was exhibited at the 56th Venice Biennale: All the World’s Futures in 2015. The following year, in 2016, it was presented at the 2nd Hangzhou Triennial of Fiber Art in China and the 3rd Aichi Triennial, Homo Faber: A Rainbow Caravan in Japan. In 2017, it was exhibited as part of Murillo’s Capsule 07 exhibition at Haus der Kunst in Munich and as part of the group shows A Poet*hical Wager at the Museum of Contemporary Art Cleveland and Fragile State at the PinchukArtCentre in Kiev. In 2019, the project had a dedicated exhibition at Yorkshire Sculpture Park, UK. In 2021, the project was presented as part of The Space Between Classrooms, an exhibition curated by Alia Farid at the Swiss Institute in New York; MAM Project 029: Oscar Murillo, Mori Art Museum, Tokyo; Desert X 2021 in the Coachella Valley, California; and Aesthetics at TANK Shanghai. A presentation of Frequencies, organized by Artangel, was on display at the Cardinal Pole Catholic School, London in 2021. In 2015, David Zwirner Books published Oscar Murillo: Frequencies, which catalogues the first year of the project and includes reproductions of canvases and photographs of the schools and students involved.
Murillo is also the founder and director of Frequencies, a space for encounter, exchange, and a catalyst for social-geographical engagement. Growing out of the artist’s decade-long project of the same name, this project brings together friends, develops networks through social exchange, education, exhibitions, gatherings, research, and support in the many geographies where the project took place, and beyond. The goal is to spark energy, irrespective of location, and join together groups of people as a small gesture to counteract the decline of hope, joy, and sharing as a viable social vehicle.
Work by the artist is included in museum collections worldwide, including The Broad, Los Angeles; Dallas Art Museum; Fondazione Sandretto Re Rebaudengo, Turin; Kettle’s Yard, University of Cambridge, England; Moderna Museet, Stockholm; Museum Ludwig, Cologne; The Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Rubell Museum, Miami; and Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent.

Chen Yujun was born in Fujian Province, China in 1976. He graduated from the Department of Comprehensive Art of China Academy of Art in 2007. Chen’s childhood had a profound influence on him, making most of his works filled with deep reflections on himself and family life. He himself believes that his collage works are powerful contemporary visual language, and most of these works depict the mountains and waters of his hometown.
Chen’s solo exhibitions include “Temporary Room”, Boer Li Gallery, Beijing, China (2012). “Mulan Stream – Not Dwelling”, Middle Gallery, Berlin, Germany (2012) and “Empty Room”; Boerli Gallery, Beijing, China (2010); “Jiangnan Manufacturing”, Yulan Hall Gallery, Beijing, China (2007). Group exhibitions include “2015 China Contemporary Art Yearbook Exhibition”, Beijing Minsheng Modern Art Museum, Beijing, China (2016); “Everywhere”, Saint Art Space, Beijing, China (2015) The World of the Third World, Chulalongkorn University Art Museum, Bangkok, Thailand (2014); “Breaking and Establishing: A Preface to New Painting”, Long Museum, Shanghai, China (2014); ON/OFF: The Concepts and Practices of Young Chinese Artists, Ullens Center for Contemporary Art, Beijing, China (2013); “Dawn – New Art from China”, Chinese Gallery, Berlin, Germany (2012); “Daily Routine”, Chengdu Contemporary Art Museum, Chengdu, China (2011) and “Invisible Wings”, Times Art Museum, Beijing, China (2010).
Chen Yujun’s works were also exhibited at the 8th Shenzhen Sculpture Biennale organized by OCAT in Shenzhen, and he was invited to give a guest speech at the Rockbund Art Museum in Shanghai. His works have been collected by the DSL Art Foundation in Paris, France, the Long Museum in Shanghai, the M+ Museum in Hong Kong and the White Rabbit Museum in Sydney. Chen Yujun is currently living and working in Shanghai, China.

Qiu Xiaofei’s paintings—along with related drawings, sculptures, and installations—evoke a dreamlike state of memory and awaken the potentials of perception that are hidden in the depths of the mind.
His current multi-disciplinary work combines drawings with sculptures and act as a chronological recorder of the artists’ history. As he explores various parts of his memory or “thought diversions” as Qiu Xiaofei calls them, they allow him to delve
deeper into his “procedural, subconscious and personal experiences.”

David Altmejd is a Canadian artist known for his large-scale sculptures and installations. He was born in Montreal in 1974 and studied at the Université du Québec à Montréal and Columbia University in New York.
Altmejd’s work often explores themes of transformation, growth, and decay, using materials such as plaster, glass, mirrors, and taxidermy animals to create surreal and otherworldly worlds. His pieces often feature intricate details, such as crystal formations and miniature figures, that invite the viewer to examine the work up close.
Throughout his career, Altmejd has exhibited internationally, with solo shows at institutions including the Musée d’art contemporain de Montréal, the Whitney Museum of American Art in New York, and the Modern Art Museum of Fort Worth. He has also represented Canada at the Venice Biennale and participated in numerous group exhibitions.
Altmejd has received several awards and honors for his work, including the Sobey Art Award in 2009 and a residency at the Atelier Calder in France. He currently lives and works in New York City.

Daniel Richter is one of the foremost German artists of his generation, whose practice has evolved over time to encompass notable stylistic turns. Richter’s paintings synthesize art history, mass media, politics, sex, and contemporary
culture into ever-changing pictorial worlds. The artist maintains that the dichotomy between abstract and figurative painting is a constructed fiction, since the formal problems of color and composition remain constant. This framework for thinking about painting continues to inform the development of Richter’s approach.
During his formative years in the 1990s, working as an assistant to Albert Oehlen, Richter looked to the radical history of abstraction and the freedoms it allowed, filling the canvas with a maximum amount of visual information. He later transitioned to figuration; drawn to conflicting themes in society, he began painting his reactions and observations using a mix of images, text, and narrative elements. Richter’s works from this period freely associate myriad references including
current events, episodes from inner city life, comic books, dreams, and historical paintings. Violence, isolation, and awkwardness are indicated through a painterly language that deals in both absurdity and surrealism while experimenting with the boundaries of representation and abstraction.
Starting 2015, Richter began to narrow the scope of his focus to the human form, with a new unmistakable approach that abandoned the vastness of previous scenes in favor of more direct compositions. In these paintings, the compression and tension between figures expresses a range of dynamics, proposing powerful intersubjective experiences through the convergence of forms. The interplay of strongly defined silhouettes and the subtle gradations of each background creates
a balance between abstraction and figuration. The tension played out in Richter’s large-scale compositions is elevated by the colors and forms he uses and lends the works a ludic quality.
Daniel Richter (b. 1962 in Eutin, DE) lives and works in Berlin (DE). He graduated from the Hochschule für bildenden Künste, Hamburg (DE) in 1995, where he studied under Werner Büttner. A documentary about the artist was released in
February 2023 directed by Pepe Danquart with B14 Film. GRIMM will present a solo exhibition of his work in New York, NY (US) in 2023, and the artist also has a forthcoming exhibition with Kunsthalle Tübingen in Tübingen (DE). Richter’s work
has been the subject of numerous solo exhibitions at venues including: Furor II, Regen Projects, Los Angeles, CA (US); My lunatic neighbar, Space K, Seoul (KR); Limbo, Curated by Eva Meyer-Hermann, Museo Ateneo Veneto, San Marco, Venice (IT); Telegraph, Olomouc (CZ); Hamburger Kunsthalle, Hamburg (DE); Kunstmuseum, The Hague (NL); CAC, Málaga (ES); Denver Art Museum, Denver, CO (US); Taxispalais Kunsthalle Tirol, Innsbruck (AT); National Gallery of Canada, Ottawa (CA); Schirn Kunsthalle, Frankfurt am Main (DE); Louisiana Museum of Modern Art, Humlebæk (DK); 21er Haus, Vienna (AT); Camden Arts Centre, London (UK); Contemporary Fine Arts, Berlin (DE); Galerie Thaddaeus Ropac, London (UK); Regen Projects, Los Angeles, CA (US) and GRIMM, Amsterdam (NL) and New York, NY (US), amongst others.
His work is included in many private and public collections such as Museum der Bildenden Künste, Leipzig (DE); The Roberts Institute of Art (RIA), London (UK); Denver Art Museum, Denver, CO (US); Deutsche Bank, Frankfurt am Main (DE); Collection of the Federal Republic of Germany, Berlin (DE); Centre national d’art et de culture GeorgesPompidou, Paris (FR); Hamburger Bahnhof – Museum für Gegenwart, Berlin (DE); Hamburger Kunsthalle, Hamburg (DE); Kunsthalle, Kiel (DE); Kunstmuseum, Stuttgart (DE); Kunstmuseum, The Hague (NL); Louisiana Museum of Modern Art, Humblebæk (DK); Musée d’Art Moderne et Contemporain, Strasbourg (FR); Museum of Modern Art, New York, NY (US); National Gallery of Canada, Ottawa (CA); Sammlung der Bundesrepublik Deutschland, Munich (DE) Sammlung Boros, Berlin (DE); Sammlung Essl, Klosterneuburg (AT); Sammlung Falckenberg, Hamburg (DE); Städel Museum, Frankfurt am Main (DE); Vanhaerents Art Collection, Brussels (BE), among others.

Duan Jianyu was born in 1970. He graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 1995. He won the Best Artist Award of the China Contemporary Artist Award (CCAA) in 2010. Currently, he teaches at the Fine Arts Department of South China Normal University in Guangzhou. Duan Jianyu’s brushstrokes and colors evoke an unreachable boundary in our consciousness, yet they so accurately evoke our sense of living in contemporary China. Her paintings explore mundane expressions and styles, delving into contemporary life. Duan Jianyu has always been at the boundary between narrative painting and narrative painting. His paintings start from the Outlines with original ideas and life forms and grow into the reality of painting – this reality is generated by the continuous collision, confrontation and adjustment of various influences, situations and images in consciousness, and has the same complexity as the material reality we face. And this is also based on a re-evaluation of the relationship between painting and life experience.
Recent solo exhibitions include: “Automatic Writing – Automatic Reading”, Chi She, Shanghai (2020); “Duan Jianyu Solo Exhibition”, Art Basel – Basel 2019, Basel (2019) “Kill, Kill, Kill Matt”, Jinghuayuan, Guangzhou (2016); “Ti Hu: Dual Solo Exhibitions of Duan Jianyu and Hu Xiaoyuan”, Rockbund Art Museum, Shanghai, 2013. Some of the group exhibitions include: “One Hand Clapping”, Solomon R. Guggenheim Museum, New York, USA (2018); The 8th Asia Pacific Triennial, Queensland Museum of Modern Art, Brisbane (2015); “CCAA15:15 Years of Chinese Contemporary Art”, Shanghai Museum of Contemporary Art, Shanghai (2014); “Saying Goodbye to Backward Colonization”, the Third Guangzhou Triennial, Guangdong Museum of Art, Guangzhou (2008); “China Welcomes You – Desire, Struggle, New Identity”, Art Gallery Graz, Graz (2007); The Second Guangzhou Triennial, Guangdong Museum of Art, Guangzhou (2005); “Guangdong Express” – The 50th Venice Biennale, Venice (2003) “Pause” – The 4th Gwangju Biennale, Gwangju (2002)

Enzo Cucchi (born 14 November 1949) is an Italian painter. A native of Morro d’Alba, province of Ancona, he was a key member of the Italian Transavanguardia movement, along with his countrymen Francesco Clemente, Mimmo Paladino, Nicola De Maria, and Sandro Chia. The movement was at its peak during the 1980s and was part of the worldwide movement of Neo￾Expressionist painters.
Cucchi’s first major Retrospective was held at the Solomon R. Guggenheim Museum, New York 1986 and his works are held in numerous museum collections including the Museum of Modern Art[1] New York, the Tate[2] London and the Art Institute of Chicago.[3] Cucchi lives and works in Rome and Ancona.

Born 1964, lives and works in Paris.Philippe Parreno creates artworks that question the boundaries between reality and
fiction, exploring the nebulous realm in which the real and the imagined blur and combine. Working in a diverse range of media including sculpture, drawing, film, and performance the internationally acclaimed French artist seeks to expand our
understanding of duration, inviting us to radically re- evaluate the nature of reality, memory, and the passage of time. Central to Parreno’s practice is his quest for an ultimate form of communication capable of transcending language.
Taking the exhibition as a medium, Parreno has radically redefined the exhibition experience by exploring its possibilities as a coherent “object” rather than as a collection of individual works. To this end, he conceives his shows as a scripted space where a series of events unfolds. The visitor is guided through the galleries by the orchestration of sound and image, which heightens their sensory experience.
This is a question of creating, in a given volume, as much space and time as possible by folding and unfolding the space onto itself.Previous meditations on the nature of reality include No Ghost Just a Shell (1999) a collaborative project with Pierre Huyghe in which the Japanese Manga character Ann Lee was liberated from the binds of intellectual copyright in a deliberate blurring of reality and fiction; and Zidane: A 21st Century Portrait (2006) a full-length feature film the artist co-directed with Douglas Gordon. Focusing on the French footballer Zinedine Zidane, this extraordinary real-time portrait spans the duration of a football match during which seventeen 35mm cameras followed the footballer’s
every move.
Philippe Parreno is a French artist and filmmaker who lives and works in Paris. He graduated from Ecole des Beaux-Arts de Grenoble in 1988 and in 1989 from Institut des Hautes Etudes en Arts Plastiques at the Palais de Tokyo, Paris. In 2016
Parreno presented the Hyundai Commission in the Turbine Hall, Tate Modern, London. He was the first artist to take over the entire 22,000 square metre gallery space at the Palais de Tokyo, Paris with his exhibition Anywhere, Anywhere Out of
the World which opened in October 2013.
Major exhibitions of Parreno’s work include: Philippe Parreno – Marilyn, Espace Louis Vuitton, Munich (2023); A Mind of Winter, Gladstone Gallery, New York (2023); Let The Sunshine In, Pilar Corrias, London (2023); La Bourse de Commerce, Paris (2022); Fondation Beyeler, Basel (2021); Museo del Prado, Madrid (2021); Espace Louis Vuitton Venezia, Venice (2019); Martin Gropius Bau, Berlin (2018); Two Automatons for One Duet, Art Institute Chicago (2018); Museo Jumex, Mexico City (2017); uts, ACMI (2016); Hangar Bicocca, Milan (2015), Park Avenue Armory, New York (2015); Rockbund Art Museum, Shanghai (2017); Fundaciao de Serralves, Porto (2017); Thenabo York (2015), CAC Malaga (2014),
The Garage Center for Contemporary Culture, Moscow (2013); Barbican Art Gallery, London (2013); Fondation Beyeler (2012); Philadelphia Museum of Art (2012); The Serpentine Gallery, London (2010); Witte de With (2010); Irish Museum
of Modern Art, Dublin (2009); Centre Pompidou, Paris (2009); Kunsthalle Zurich (2009); CCA Kitakyoshu, Japan (2006); Kunsthalle Zürich (2006); San Francisco Museum of Modern Art (2003); Musée D’Art Moderne de le Ville de Paris (2002),
and Moderna Museet, Stockholm (2001).
Parreno’s work is represented in the public collections of: Centre Pompidou, Paris; Kanazawa Museum of the 21st Century, Japan; Musée D’Art Moderne de le Ville de Paris; Musée du Luxembourg, Luxembourg; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Modern, London; Irish Museum of Modern Art, Dublin; LACMA, Los Angeles; MoMA, New York; MUSAC, Spain; Museum of Contemporary Art, Los Angeles; National Gallery of Canada, Ottawa;
Van Abbemuseum, Eindhoven; Watari Museum of Contemporary Art, Tokyo; and the Walker Art Centre, Minneapolis.

He Xiangyu (1986, China) is an artist and film director who lives and works in Berlin. As a member of the group of artists who have witnessed the tremendous changes in China’s society, economy and international relations, He Xiangyu’s creations start from his own unique cultural experiences. He is adept at various media such as painting, sculpture, installation, video and publishing, and with a broad time span and creative scale, he reflects on and responds to the fateful micro conflicts within specific individuals caused by the macro turbulence of geopolitical and historical landscapes. In his works, the displaced and transformed material resources, the private perception of physical and mental experiences, and the calm and detached historical perspective coexist amid the tearing apart. The dynamic balance reflects the group cognitive predicament of the generation with historical disconnection and the struggle to break through it. Through a nonlinear structure, He Xiangyu analyzed and criticized the cultural collision, devouring and digestion in the above-mentioned struggle.
His works have been exhibited in the following institutions: the Central Academy of Fine Arts Museum in Beijing; Ullens Center for Contemporary Art Oil Tank Art Center Long Museum OCAT Research Center Para Site Art Space Tokyo Metropolitan Museum of Photography New York Painting Center The Guggenheim Museum in New York The Smart Art Museum, University of Chicago The Katiste Art Foundation Los Angeles County Museum of Art KW Center for Contemporary Art, Berlin Centre Pompidou, Paris The Museum of Contemporary Art at the Voli Castle in Turin. He Xiangyu’s works also participated in the 5th Ural Biennale (Yekaterinburg, 2019). China Pavilion at the 58th Venice Biennale (2019) The 13th Lyon Biennale (2015) The 10th Shanghai Biennale (2014) The 5th Yokohama Triennale (2014) The 8th Busan Biennale (2014) He Xiangyu was shortlisted for the 4th “Mario Merz Award” in 2021. Was shortlisted for the “Future Generations Art Award” in 2014; And won the “Best Young Artist Award” at the 10th CCAA in 2016, as well as the “ARTNET Rising Star Artist Award” in 2016. His recent interdisciplinary research publication “Yellow Book” (2019) won the “Most Beautiful Book Award in Germany” in 2020. He Xiangyu is the founder of the Berlin Asian Artists Association.

Born in 1980 in Lagos de Moreno, Mexico
Lives and works in Guadalajara, Mexico
Gabriel Rico’s work is characterized by the interrelation of seemingly disparate objects. A self-proclaimed “ontologist with a heuristic methodology,”
Rico pairs found, collected, and manufactured materials to create sculptures that invite viewers to reflect on the relationship between humans and our natural environment. He frequently uses neon, taxidermy, ceramics, branches, and more personal pieces of his past to create an equation or formulation, achieving a precise geometry despite the organic, roughly hewn character of his materials. His installations ironically and poetically combine natural and unnatural forms, insisting on a necessary contemplation of their asymmetry as well as our own cultural and political flaws.

Born in 1969 in Shimane, Japan
Lives and works between Tokyo, Japan and Hong Kong, China

Jiū Society is currently based in Shenzhen. The group consists of three members, Fang Di, Ji Hao and Jin Haofan. The three Shenzhen born and raised young artists are considered as the new generation of this immigrant city. Shenzhen to them is no more what to their parents – a place to make money. They examine Shenzhen, their own city, with their fresh perspectives and make themselves heard. “They are the experimental products of Reform and Opening, and also sons of dispersed culture. In name of nonsensical hedonism, despite of occasional anxious and suspect, Jiu feels very good. So they tried to make themselves heard, by making uncertain and small sound, Jiu.”
Recent exhibitions include: Proregress: 12th Shanghai Biennale, Power Station of Art, Shanghai, China (2018); Bi-City Biennale of Urbanism/Architecture, Shenzhen, China (2017); GAS STATION Ⅸ: dà qǐ dà luò, Vanguard Gallery, Shanghai, China (2017 duoexhibition); Lost in Shenzhen, 33 Artspace, Shenzhen, China (2016); Vertical Scence, Guangdian Cultural Creative Town, Shenzhen, China (2016); The 2nd (Yantian) Young Artist Week – The Floating Scenes, Shenzhen, China (2016).

Born in Eberswalde, Germany in 1944, Candida Höfer attended the Kunstacademie Düsseldorf from 1973 to 1982. Whilst there she studied film with the Danish filmmaker Ole John and photography under the influential photographers Bernd and Hilla Becher, who also taught noted Düsseldorf School photographers Andreas Gursky, Thomas Struth, Axel Hütte and Thomas Ruff.
Known for her meticulously composed, large-scale color images of architectural interiors, Höfer’s oeuvre explores the structure, presentation, and influence of space. Interested in the psychological impact of design and the contrast between
a room’s intended and actual use, Höfer has focused her lens on cultural and institutional buildings such as libraries, hotels, museums, concert halls, and palaces. Whilst devoid of people, the images allow us to consider the role of their missing inhabitants. The large-scale nature of the work invites the viewer to linger over the architectural details and contemplate the subtle shifts in light that make up the character of the space.
On her decision to exclude people from her photographs, Höfer has said, “…it became apparent to me that what people do in these spaces – and what these spaces do to them – is clearer when no one is present, just as an absent guest is often the subject of a conversation.”
Höfer’s internationally recognized work has been shown in solo exhibitions at the Kunsthalle in Basel and in Berne; the Museum Folkwang in Essen; the Louvre in Paris; the North Carolina Museum of Art; the Museo Amparo, Mexico; the Hermitage Museum, St. Petersburg, Russia; the Irish Museum of Modern Art, Dublin; and the Kunstmuseum Luzerne, Switzerland. Her work has also appeared in group exhibitions at The Museum of Modern Art, New York; the Power Plant,
Toronto; Kusthaus Bregenz; Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; the Alfond Collection of Contemporary Art, Rollins Museum of Art, and Documenta XI, Kassel. Höfer represented Germany at the 2003 Venice Biennale.
In 2018, the Sony World Photography Awards recognized Candida Höfer for her outstanding contribution to photography. Her photographs are in major public and private collections worldwide.
Candida Höfer lives and works in Cologne, Germany

Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Minter’s work has been the subject of numerous solo exhibitions and has been included in group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and installed several billboards in Chelsea, New York City in collaboration with Creative Time. Her video Green Pink Caviar was exhibited in the lobby of the MoMA from 2010-2011. It was also shown
on digital billboards on Sunset Boulevard in L.A. and on the Creative Time MTV billboard in Times Square, New York. In 2013, Minter was featured in “Riotous Baroque,” an exhibition that originated at the Kunsthaus Zürich and traveled to the Guggenheim Bilbao. In 2015, Minter’s retrospective Pretty/Dirty opened at the Contemporary Arts Museum in Houston, TX. Pretty/Dirty traveled to the Museum of Contemporary Art, Denver, the Orange Country Museum of Art, and the Brooklyn
Museum in November 2016. Minter is represented by Salon 94, New York, Regen Projects, Los Angeles and Baldwin Gallery, Aspen.

B. 1980 in Kanagawa, Japan. Lives and works in Tokyo.
Yuko Mohri is an artist. She approaches installation and sculpture not to compose (or construct) but to focus on “phenomena” that constantly shift according to various conditions such as their environment. In recent years, she has also explored this idea through video and photography.
In 2015, Mohri received a grant from the Asian Cultural Council for a 6-month residency in New York. In the same year, she received Grand Prix, Nissan Art Award. In 2016, Mohri has undertaken a residency with the Victoria and Albert Museum, London, and had in residence at Camden Arts Centre, London. In 2018, Mohri, as East Asian Cultural Exchange Envoy, visited 4 cities in China. In 2019, Mohri received a grant from the Institut français for a 3-month residency in Paris.
Recent personal exhibitions include “I/O (In Oslo)” (Atelier Nord, Oslo, 2021), “Parade (a Drip, a Drop, the End of the Tale)” (Japan House São Paulo, São Paulo, 2021), “SP. by yuko mohri” (Ginza Sony Park, Tokyo, 2020), “Voluta” (Camden Arts Centre, London, 2018), and “Assume That There Is Friction and Resistance” (Towada Art Center, Aomori, 2018). She has also participated in numerous international group exhibitions including “23rd Biennale of Sydney” (Sydney, 2022), “2021 Asian Art Biennial” (National Taiwan Museum of Fine Arts, Taichung, 2021), “34th Bienal de São Paulo” (Ciccillo Matarazzo Pavilion, São Paulo, 2021), “Glasgow international 2021” (The Pipe Factory, Glasgow, 2021), “The 9th Asia Pacific Triennial of Contemporary Art” (Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2018), “Japanorama: New Vision on Art since 1970” (Centre Pompidou-Metz, 2017) , “14th Biennale de Lyon” (Musée d’art contemporain de Lyon, Lyon, 2017) and “Kochi-Muziris Biennale” (Kochi, 2016).
Her works are in the collections of Ashmolean Museum (Oxford), Centre Pompidou (Paris), M+ (Hong Kong), Musée d’art contemporain de Lyon (Lyon), The National Museum of Modern Art Kyoto (Kyoto), Taoyuan Museum of Fine Arts (Taoyuan),
Queensland Art Gallery (Brisbane) etc.

Born in 1952 in Beirut, Lebanon.
Lives and works in London.
Born to a Palestinian family, Mona Hatoum studied in London in the mid-1970s. Her political beliefs are poetically realised through installations, sculptures, video, photographs and works on paper, employing a variety of often unconventional
mediums, such as hair, marbles, maps and household items.In the 1980s, Hatoum explored state oppression and surveillance through performance and video, often focusing intensely on the body.
From the early 1990s, her work developed into large installations and sculptures exploring notions of displacement and global conflict involving opposing emotions of desire and repulsion, fear and fascination.
In 2020, Mona Hatoum has been awarded the Julio González Prize 2020 by the Valencia Institute of Modern Art, as well as the Praemium Imperiale prize for Sculpture in 2019, submitted by Japan Art Association, the most historical cultural
foundation in Japan.She was presented with a number of additional prizes during her career, such as the Hiroshima Art Prize by the Hiroshima City Museum of Contemporary Art (2017), the Joan Miró Prize of the Fundació Joan Miró (2011), and the Roswitha Haftmann Stiftung Prize, Zurich (2004) among others.
In 2015, her important exhibition at the Musée National d’Art Moderne, Centre Georges Pompidou, Paris travelled to Tate Modern, London, and the Museum of Contemporary Art Kiasma in Helsinki (2016).Mona Hatoum has shown her work at numerous major institutions such as the Kunsthaus Zürich, Zurich, Switzerland (2023); the Georg Kolbe Museum, Berlin(2022) ; KINDL – Centre for Contemporary Art, Berlin (2022) ; NBK – Neuer Berliner Kunstverein, Berlin (2022) ; Magasin III and Accelerator, Stockholm (2022); Valencia Institute of Modern Art (IVAM), Valencia (2021); Menil Collection, Houston, (2017) that toured to the Pulitzer Arts Foundation in St. Louis (2018); Hiroshima City Museum of Contemporary Art (2017). Previous solo exhibitions include: Fundación PROA, Buenos Aires (2015); Pinacoteca do Estado, São Paulo
(2014); Museum of Fine Arts, Ghent (2014); Arab Museum of Modern Art, Doha (2014); Kunstmuseum St-Gallen (2013); Arter, Istanbul (2012); Fundació Juan Miró,
Barcelona (2012); Ullens Center for Contemporary Art, Beijing (2009); Fondazione Querini Stampalia, Venice (2009); Museum of Contemporary Art Australia, Sydney (2005); Hamburger Kunsthalle, Hamburg (2004); Kunstmuseum Bonn (2004);
Magasin III, Stockholm (2004); Museo de Arte Contemporáneo de Oaxaca (2003); Centro de Arte de Salamanca (2002).

Currently lives in Okayama, Japan
2019 MFA Arts & Design, Mason Gross School of the Arts, Rutgers University, New Jersey
2017 BFA School of Visual Arts, New York
“Michael Ho, Su Yu-Xin, Hiroka Yamashita” Blum & Poe Tokyo
January 20, 2023 – March 11, 2023
“Field, Force, Surface” Kiang Malingue Gallery, Hong Kong
November 19, 2022 – February 11, 2023
“Fūdo” Tanya Leighton Gallery, Berlin, Kurfürstenstraße 24/25
12 March–23 April 2022
“THEIR PRIVATE WORLDS CONTAINED THE MEMORY OF A PAINTING THAT
HAD SHAPES AS REASSURING AS THE UNCANNY FOOTAGE OF A
SONOGRAM” Matthew Brown Gallery, Los Angeles January 8 – February 5, 2022
“Project N 84” Tokyo Opera City Art Gallery 4F, Tokyo October 9- December 19, 2021
“Dancing in Dark Times” Pippy Houldsworth Gallery, London
July 9-August 6, 2021
“Cosmos Remembered” , THE CLUB, Tokyo
March 27-April 24, 2021
“EVANECENT HORIZON”, Taipei
January 16 – 25, 2021
“Daichi Takagi, Lucía Vidales, Hiroka Yamashita”
Taka Ishii Gallery, Tokyo
Oct 3 – 31, 2020
“TIMELESSNESS”, THE CLUB, Tokyo
August 22, 2020 – September 23, 2020
Hiroka Yamashita, Tanya Leighton Gallery, Berlin
Nov 2, 2019 – Jan 18, 2020
融 toru, Higashiyama Building, Okayama 2019
MFA Thesis “All Conditions,” New Brunswick, NJ 2019
Intimate Strollin, New York 2018

Sun Yidian was born in Zhejiang, China in 1991. She graduated from the Oil Painting Department of the Central Academy of Fine Arts in 2015 and obtained a master’s degree from the same department in 2018. Currently, she is pursuing a doctoral degree at the School of Humanities, Tsinghua University. Her works involve painting, installation, performance and fashion cross-border. Her works, taking “objects” as the subject and alluding to the labor and production behind them, reveal the internal mechanisms of hyper-consumerism and a patriarchal society. Sun Yidian’s works usually examine temptation and fear in a photorealistic way. The secrets between the two, the increasingly fragile connection, and the sculptural “matter” together constitute her creative themes.
Sun Yidian was selected as one of the 30 Under 30 outstanding young people by Forbes Asia in 2019. The works have been exhibited at major institutions at home and abroad, such as BANK Gallery, Mine Projects in Hong Kong, Schbor Gallery (Berlin), Armin Leach (Shanghai), Frieze Art Fair in London, International Contemporary Art Fair in Paris, Lion’s Palace in Berlin, Charmaridan in Paris, Macao Museum of Art, UCCA Center for Contemporary Art, etc. The work is also collected in New York

Simon Fujiwara is a British-Japanese artist, born in 1982 in London, living and working in Berlin.
The work of Simon Fujiwara offers a unique view into the mechanics of identity construction and the ‘industry of the individual’ in contemporary life. His works emerge from a personal grappling with the contradictions of inherited racial,
national, historical, cultural values. In his most ambitious projects that range from a full reconstruction of the Anne Frank House (Hope House, 2016–18) to the “re￾branding campaign” for his former high school art teacher after a nude media
scandal (Joanne, 2016), Fujiwara deftly navigates culturally potent topics with enigmatic and surprising approaches that broaden conversations and avoid didacticism. Through his multiple formal strategies, Fujiwara is able to use the tools
of our hyper-mediated world—from advertising, museum making to theme park
design—to hold a distorted mirror to our contemporary, liberal societies possessed with spectacle, fantasy and authenticity.
Fujiwara is the recipient of the 2010 Baloise Prize at Art Basel and the 2010 Frieze Cartier Award. He was shortlisted for the Preis der Nationalgalerie 2019.Fujiwara’s recent solo exhibitions include: Simon Fujiwara, Who the Bær, Prada Aoyama, Tokyo (2022-2023); Simon Fujiwara, Hello Who?, CIRCA Art, public screenings in London, Seoul, New York, Milan, Berlin, Melbourne, Los Angeles (2022); Simon Fujiwara, new work, Kunstinstituut Melly, Rotterdam (2021); Who the Bær, Fondazione Prada, Milan (2021); Hope House, Blaffer Art Museum, Dallas (2020–21); Joanne, Arken, Skovvej (2019); Revolution, Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, Paris (2018); Joanne, Galerie Wedding, Raum für zeitgenössische Kunst, Berlin (2018); Hope House, Kunsthaus Bregenz (2018); Joanne, The Photographers’ Gallery, London (2016); Figures in a Landscape, Kunsthalle Düsseldorf (2016); The Humanizer, Irish Museum of Modern Art, Dublin (2016); White Day, Tokyo Opera City Gallery, Tokyo (2016); The Way, Yu-un, Obayashi Collection, Tokyo (2016); Three Easy Pieces, The Carpenter Center, Harvard University, Cambridge (2014); Rebekkah, Contemporary Art Society, London (2014); Grand Tour, Kunstverein Braunschweig (2013); The Problem of the Rock, Dazaifu Tenmangu Shrine, Fukuoka (2013); 1982, Tate St. Ives, St. Ives (2012); Welcome to the Hotel Munber, Power Plant Contemporary Art Gallery, Toronto (2011); and The Personal Effects of Theo Grünberg, Julia Stoschek Collection, Dusseldorf (2010).
Among recent biennials and group exhibitions are: LOVELOVELOVE Biennale of Moving Image, UCCA, Beijing (2022); something new, something old, something desired, Kunsthalle Hamburg (2022); Biennale de l’Image en Mouvement 2021 (BIM’21), Centre d’Art Contemporain Genève, Geneva (2021–22); It’s Just a Phase, Kjøpmannsgata Ung Kunst (KUK), Trondheim (2021–22); Gravity, Blitz, Valletta (2021); Intimacy: New Queer Art from Berlin and Beyond, Schwules Museum, Berlin (2020–21); State of the Arts, Bundeskunsthalle, Bonn (2020); Manual Override,The Shed, New York (2019); 16th Istanbul Biennial: The Seventh Continent, Antrepo 5, Istanbul (2019); Preis der Nationalgalerie 2019, Hamburger Bahnhof – Museum für Gegenwart, Berlin (2019); Distance Intime. Chefs-d’oeuvre de la Collection Ishikawa, MO.CO. – Montpellier Contemporain, Hôtel des Collections, Montpellier (2019); Our Happy Life: Architecture and Well-Being in the Age of Emotional Capitalism, Canadian Centre for Architecture, Montreal (2019); Is This Tomorrow?, Whitechapel Gallery, London (2019); Motherland in Art, Museum of Contemporary Art in Krakow (2018); Sur/Face: Mirrors, Museum Angewandte Kunst, Frankfurt am Main (2017); The Happy Museum, Berlin Biennale 9, Akademie der Künste, Berlin (2016); Joanne, Okayama Art Summit 2016, Okayama (2016); Storylines, Solomon R. Guggenheim Museum, New York (2015); Un Nouveau Festival, Centre Pompidou, Paris (2014); Sharjah Biennial, Sharjah (2013); Shanghai Biennial, Shanghai (2012); Gwangju Biennial, Gwangju
(2012); São Paulo Biennial, São Paulo (2010); and the 53rd Venice Biennale, Venice (2009).
The artist’s work is represented in the collections of the American Embassy, London; Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; Tate, London; Museum of Contemporary Art, Tokyo; Hamburger Kunsthalle, Hamburg; Sammlung Verbund, Vienna; Sharjah Art Foundation, Sharjah; Centre Pompidou, Paris; The Prada Foundation, Milan; Leeds University, Leeds; and the Museum für Moderne Kunst, Frankfurt am Main.

Wang Yin was born in Jinan in 1964 and grew up in Qingdao. Graduated from the Department of Stage Design of the Central Academy of Drama in 1988. Now I work and live in Beijing.
Wang Yin integrates her personal emotional experiences and ideological threads into her understanding of the history of modern and contemporary painting, internalizing the influence of external factors into purely personal life experiences. The objects in Wang Yin’s paintings, with their reserved and serene tones, often convey the inner spirit of contemporary life that is veiled. The subjects in her paintings are often nameless people, nameless objects, and nameless places. The more nameless they appear, the closer they seem to be to the original state of our encounter with the world.
Wang Yin’s recent solo exhibitions include: “Wang Yin 2021”, A07 Floor, 798 Art Zone, Beijing, 2021; “Friendship”, Mirror Garden, Guangzhou, 2018; “Gift”, Ullens Center for Contemporary Art, Beijing, 2016.

Wei Jia was born in Chengdu, Sichuan Province in 1975 and graduated from the Printmaking Department of the Central Academy of Fine Arts in Beijing in 1999. Currently teaching at the Printmaking Department of Sichuan Fine Arts Institute and living in ᯿ qing. During his studies at the Central Academy of Fine Arts, he won many ᯿ important awards in the field of printmaking. From 2003 to 2004, he mainly created works with acrylic paint and composed the pictures in a structure similar to that of printmaking. As a representative of contemporary Chinese painters born in the 1970s, Wei Jia’s early works unfolded the sensitive and unrestrained sentiments of his youth through narrative language. After 2010, Wei Jia gradually expanded his perspective on ᰀ to encompass unique or universal human nature, as well as the state between individuals and social groups. Wei Jia’s works depict the essence of life, with dynamic brushstrokes lying between the concrete and the abstract. The established Outlines are reduced, further reflecting the various life states of contemporary people in their own real environment, which are both eternal and ever-changing.

2004
“Alrededor de mi cuarto,” Kunstmuseum Olten, Olten, Switzerland
1993
Galerie Stampa, Basel, Switzerland
1990
Galerie Susan Wyss, Zurich
1985
Fundacion Humbold y Consulado Suizo, Guatemala
1984
Galerie Regenbogen, Luzern
1983
“Vivian Suter: Bilder 1981-1983,” Kunstmuseum des Kantons Thurgau, Kartause
Ittingen, Warth, Switzerland
1982
Galerie Fabjbasaglia, Bologna, Italy
Gallery Dossi, Bergamo, Italy
1981
Galleria Diagramma, Milan, Italy
Severina Teucher, Zurich, Siwtzerland
1980
Galerie Stampa, Basel, Switzerland
1978
Gallery ABF, Hamburg, Germany
1977
Gallery Handschin, Basel, Switzerland
1976
Gallery Elisabeth Koffman, Olten, Switzerland
1975
Galerie Rolf Preisig, Basel, Switzerland
1973
“Vivian Suter: Hirsche,” Galerie Stampa, Basel, Switzerland
1971
Galerie Stampa，巴塞尔，瑞⼠。
VIVIAN SUTER
Born 1949 Buenos Aires, Argentina
Lives and works in Panajachel, Guatemala
Download Biography
Education
1972
Kunstgewerbeschule Basel, Switzerland
Selected Solo Exhibitions
2023
Secession, Vienna, Austria
2022
“Vivian Suter,” Gladstone Gallery, Seoul, South Korea
“Vivian Suter,” Karma International, Zurich, Switzerland
“Worm in a Water Glass,” Vleeshal, Middleburg, Netherlands
“soft and fluffy is my soul − my tommy juices don’t worry − are sweet like a liquorice
roll,” Kunstmuseum Basel Gegenwart, Basel, CH
2021
“Vivian Suter,” Kunstmuseum Luzern, Luzern, Switzerland
“Vivian Suter,” Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
“Vivian Suter: Wolf’s Hour,” Gladstone Gallery, Brussels
2020
“Vivian Suter: Tin Tin’s Sofa,” Camden Arts Centre, London
“Vivian Suter: Bonzo’s Dream,” Brücke Museum, Berlin
2019
“Vivian Suter,” Institute of Contemporary Art, Boston
“Vivian Suter” Tate Liverpool, United Kingdom
“Vivian Suter. Nisyros,” Mudam Luxembourg – Musée d’Art Moderne Grand-Duc
Jean, Luxembourg
“Vivian Suter,” Gladstone Gallery, New York
2018
“La Canícula,” The Power Plant, Toronto, Canada
“Vivian Suter: el bosque interior,” Art Institute of Chicago, Chicago
“Vivian Suter: Bilder 1988-2018,” Stampa Galerie, Basel, Switzerland
2017
“Vivian Suter and Elisabeth Wild,” Karma International, Los Angeles
“Brotan Claveles las Solapas,” Museo Experimental el Eco, Mexico City
“Using Walls, Floors, and Ceilings: Vivian Suter,” Jewish Museum, New York
2015
“Vivian Suter,” Karma International, Zurich, Switzerland
“Lejos,” House of Gaga, Mexico City
“Panajachel,” The Mistake Room, Los Angeles
2014
“Vivian Suter: intrépida, featuring Elisabeth Wild: Fantasías 2,” Kunsthalle Basel,
Basel, Switzerland
2004
“Alrededor de mi cuarto,” Kunstmuseum Olten, Olten, Switzerland
1993
Galerie Stampa, Basel, Switzerland
1990
Galerie Susan Wyss, Zurich
1985
Fundacion Humbold y Consulado Suizo, Guatemala
1984
Galerie Regenbogen, Luzern
1983
“Vivian Suter: Bilder 1981-1983,” Kunstmuseum des Kantons Thurgau, Kartause
Ittingen, Warth, Switzerland
1982
Galerie Fabjbasaglia, Bologna, Italy
Gallery Dossi, Bergamo, Italy
1981
Galleria Diagramma, Milan, Italy
Severina Teucher, Zurich, Siwtzerland
1980
Galerie Stampa, Basel, Switzerland
1978
Gallery ABF, Hamburg, Germany
1977
Gallery Handschin, Basel, Switzerland
1976
Gallery Elisabeth Koffman, Olten, Switzerland
1975
Galerie Rolf Preisig, Basel, Switzerland
1973
“Vivian Suter: Hirsche,” Galerie Stampa, Basel, Switzerland
1971
Galerie Stampa, Basel, Switzerland

Simon Starling was born in 1967 in Epsom, England. He attended the Maidstone College of Art from 1986 to 1987, Nottingham Trent University from 1987 to 1990, and the Glasgow School of Art from 1990 to 1992. Starling’s works point to
connections between the history of Modernism and contemporary globalization.
For Le Jardin Suspendu (1998), he crafted a radio-controlled airplane from balsa wood, cut from a tree in Ecuador, and flew it above a Modernist villa in Melbourne, Australia. In Inverted Retrograde Theme, USA (House for a Songbird) (2002), the
artist made models of buildings based on housing projects in Puerto Rico designed by the architect Simon Schmiderer in the early 1960s, adapting Schmiderer’s designs according to Arnold Schoenberg’s twelve-tone notational system for
Modernist music. Bird in Space (2004), an enormous slab of Romanian steel supported by helium-filled rubber jacks, refers both to the recent history of international steel trade tariffs and to Constantin Brancusi’s 1926 sculpture of the same name, which upon reaching the United States for an exhibition in 1927 sparked a landmark court case on what could be legally defined as art. Starling’s recent works pose charged propositions for both artistic processes and energy consumption. For Tabernas Desert Run (2004), the artist created an electric bicycle on which he traversed the Tabernas desert; the vehicle’s only emission was water, which Starling used to paint a watercolor of a cactus. For Shedboatshed (Mobile Architecture No 2) (2005), Starling utilized the wood from a shed to construct a boat, which he navigated down the Rhine to the Kunstmuseum Basel, where he thereupon disassembled the barge to rebuild a shed. Starling’s recent pieces also extend his sardonic engagement with modern sculpture; for example Infestation Piece (Musselled Moore) (2007–08) is a Henry Moore-like steel figure overrun with erosive barnacles.
Since his first solo exhibition, at the Showroom in London in 1995, Starling has had shows at the Moderna Museet in Stockholm (1998), Camden Arts Centre in London (2000), Fundació Joan Miró in Barcelona (2004), Kunstmuseum Basel (2005), Städtischen Kunstmuseum zum Museum Folkwang in Essen (2006), Wiels Centre for Contemporary Art, Brussels (2006 and 2007), and Massachusetts Museum of Contemporary Art in North Adams (2008), among other venues. His work has also appeared in Manifesta 3 in Ljubljana, Slovenia (2000), Manifesta 4 in Frankfurt am Main (2002), Venice Biennale (2003), Moving Pictures at the Guggenheim Museum Bilbao (2003), São Paulo Biennial (2004), and Triennial of Photography and Video at the International Center for Photography, New York (2006). In 1999 he received the Paul Hamlyn Foundation Award for Artists and a Blinky Palermo Stipendium from the Galerie für Zeitgenössische Kunst in Leipzig, Germany. In 2004 he was short-listed for the Guggenheim Museum’s Hugo Boss Prize and in 2005 won the Turner Prize. He lives and works in Copenhagen.

Xiao Jiang (born in 1977 in Jinggangshan City, Jiangxi Province, China)
Graduated from Ji ‘an Normal School in Jiangxi Province in 1994, from Nanchang Vocational and Technical Normal College in 2001, and furthered studies at the Oil Painting Department of China Academy of Art in 2003. Currently living and working in Shanghai. Xiao Jiang’s consistent working style is to take materials from his personal daily life, cut them out, reorganize them and re-create photos. The themes of creation range from early film clips to daily household items. From the scenery seen outdoors to the people and things around us; From indoor to outdoor. All the depictions in the painting are extensions of the artist’s own life experiences.

Yang Fudong was born in Beijing in 1971, and now lives and works in Shanghai. He graduated from the Department of Oil Painting, China Academy of Art in Hangzhou.
He is among the most important contemporary artists in China today. Yang has started to create video works in the late 1990s. His works form a unique cultural visual interpretation through multiple cultural perspectives interlaced with experiences of space and time with photographs, paintings, film and installation. They are all characterized by multi-perspectives, exploring the structures and forms of identities in myths, personal memories and life experiences.
Yang Fudong has participated in prestigious international art exhibitions including the Thailand Biennale, Korat (2021); Su Zhou Museum (2019); Solomon R. Guggenheim Museum (2017); Foundation Louis Vuitton, Paris, France (2016); The
Metropolitan Museum of Art (2013); Tate Liverpool (2007); Tate Modern (2004); Centre Pompidou (2003). His works also included in La Biennale de Lyon (2013); Sharjah Biennial 11 (2013); 17th Biennale of Sydney (2010); 52nd International Art
Exhibition Venice Biennale (2007); The 5th AsiaPacific Triennial (2006); FACT Liverpool Biennial (2004); 50th International Art Exhibition Venice Biennale (2003); Documenta 11 (2002); 4th Shanghai Biennale (2002); 7th International Istanbul
Biennial (2001) etc.
He had solo-shows at most acclaimed institutions and galleries, such as Endless Peaks, ShanghART, Shanghai (2020); Dawn Breaking, Long Museum (West Bund), Shanghai (2018); Moving Mountains, Shanghai Center of Photography, Shanghai
(2016); Twin Tracks: Yang Fudong Solo Exhibition, Yuz Museum, Shanghai (2015); The Light That I Feel, SALT outdoor video installation, Sandhornoya, Norway (2014); Yang Fudong: Estranged Paradise, Works 1993-2013, The Kunsthalle Zurich, Switzerland (2013); Quote Out of Context, Solo Exhibition of Yang Fudong, OCT Contemporary Art Terminal, Shanghai (2012); One Half of August, Yang Fudong Solo Exhibition, Parasol Unit Foundation for Contemporary Art, London,U.K. (2011); Yang Fudong: Seven Intellectuals in a Bamboo Forest and Other Stories, National Museum of Contemporary Art, Athens, Greece (2010); Dawn Mist, Separation Faith, Yang Fudong’s Solo Exhibition, Zendai Museum of Modern Art, Shanghai (2009); Yang Fudong: the General’s Smile, Hara Museum, Tokyo, Japan (2008); Yang Fudong: Don’t worry, it will be better…, Kunsthalle, Wien, Austria (2005) ; Yang Fudong, Castello di Rivoli Museo d’arte contemporanea, Torino, Italy
(2005); Five Films, The Renaissance Society, Chicago, U.S.A (2004) etc.

2014
mini-cooperation, PLAZAPLAZA, London
SELECTED PUBLIC COLLECTIONS
Dallas Museum of Art
Fondation Louis Vuitton, Paris
Hammer Museum, Los Angeles
High Museum of Art, Atlanta
Institute of Contemporary Art (ICA), Boston
Institute of Contemporary Art (ICA), Miami
Rhode Island School of Design (RISD) Museum, Providence
Sharjah Art Foundation
Sifang Art Museum, Nanjing
Start Museum, Shanghai
Tate, UK
X Museum, Beijing
Zabludowicz Collection, London
b. 1993, USA
Lives and works in London
2015, BA Fine Art & History of Art, Goldsmiths, London
2018, MA RA Schools, London
SOLO EXHIBITIONS
2023
I Like to Watch, Ilmin Museum of Art, Seoul (forthcoming)
Study for No, Lafayette Anticipations, Paris (forthcoming)
Furni, Carlos/Ishikawa, London
2022
Time Sensitive, Michael Werner Gallery, New York
2021
Trilemma, Carlos/Ishikawa, London
2020
Good Clean Fun, X Museum, Beijing
daughterproof, JTT, New York
2019
All The Rage, Goldsmiths Centre for Contemporary Art, London
I came as soon as I heard, JTT, New York (two-person show with Margaret
Wharton) 2018
Joan, D.E.L.F, Vienna
2017
When You I Feel, Carlos/Ishikawa, London
2015
Rosetta Stone, Triumph, Moscow
SELECTED GROUP EXHIBITIONS
2023
Rear View, LGDR, New York
outer view, inner world, Maureen Paley: Morena di Luna, Hove
Brave New World: 20 Painters for the 21st Century, Museum De Fundatie, Zwolle,
The Netherlands
2022
Fire Figure Fantasy, Institute of Contemporary Art (ICA), Miami
Women of Now: Dialogues of Identity, Memory & Place, Green Family Art
Foundation, Dallas
Artists Inspired by Music: Interscope Reimagined, Los Angeles County Museum of
Art (LACMA), Los Angeles
2021
Private Passions, Karpidas Collection, Dallas
An ego of her own, kaufmann repetto, Milan and New York
The Stand-Ins: Figurative Painting from the Collection, Zabludowicz Collection,
London
Mixing it Up: Painting Today, Hayward Gallery, London
Viscose 2 – Sator Resartus, Huset for Kunst og Design, Denmark
2020
Breaking Through Skin, Antenna Space, Shanghai
Drawing 2020, Gladstone Gallery, New York
Must Dream About Blue Tonight, Sifang Art Museum, Nanjing
2019
Claude Mirrors, three person show (with Victor Mann and Jill Mulleady), Schinkel
Pavillon, Berlin
Arte contemporanea in Gran Bretagna, International Gallery of Modern Art, Ca’
Pesaro, Venice Cursed Images, curated by Ed Fornieles (as part of “curated by
2019 — Circulation”), Galerie Lisa Kandlhoffer, Vienna, Austria A Cloth Over a
Birdcage, Chateau Shatto, Los Angeles, USA
Okey Dokey III – Fenster, multiple venues across Cologne & Düsseldorf, Germany
Artists I Steal From, (Curated by Alvaro Barrington and Julia Peyton￾Jones), Thaddeus Ropac, London
Paint Also Known as Blood, Museum of Modern Art, Warsaw
World Receivers, Zabludowicz Collection, London House of the Sleeping Beauties,
S|2 Gallery, London
The Rest, Lisson Gallery, New York
2018
Nightfall (curated by Fernanda Brenner, Erika Verzutti, Milovan Farronato), Mendes
Wood DM, Brussels
Darren Bader: I don’t know, Société, Berlin
Virginia Woolf, An Exhibition Inspired by Her Writings, Tate St Ives, St Ives
2017
Dreamers Awake, White Cube, London
Issy Wood & Darja Bajagić, Carlos/Ishikawa at Independent Régence Brussels
All Day Breakfast, curated by Alastair Mackinven, Reading International, UK
2016
Winter Show, Union Pacific, London
NEO-PAGAN-BITCH-WITCH!, Evelyn Yard, London
Streams of Warm Impermanence, DRAF, London
Chatsubo, Kraupa Tuskany Zeidler, Berlin
Sufficient Joy – Issy Wood / Gina Fischli, Greatorex, London
FOLLY, Emalin, Dunmore Pineapple, Airth, Scotland
2014
mini-cooperation, PLAZAPLAZA, London
SELECTED PUBLIC COLLECTIONS
Dallas Museum of Art
Fondation Louis Vuitton, Paris
Hammer Museum, Los Angeles
High Museum of Art, Atlanta
Institute of Contemporary Art (ICA), Boston
Institute of Contemporary Art (ICA), Miami
Rhode Island School of Design (RISD) Museum, Providence
Sharjah Art Foundation
Sifang Art Museum, Nanjing
Start Museum, Shanghai
Tate, UK
X Museum, Beijing
Zabludowicz Collection, London

Born in Jilin in 1965. Graduated from the Art College of Wuxi University of Light Industry in 1989, currently living and working in Shanghai. Zhang Enli’s works have always been dedicated to depicting ordinary things and the traces of daily life activities. He often transforms the indescribable lines he has drawn with abstract and interwoven color blocks, giving the picture a concrete texture and a sense of volume. His painting installation works creatively place viewers in a dual void of time and space narratives by integrating the understanding of the environment, history and individual experiences. Zhang Enli, by depicting the various perspectives of ever-present things, prompts viewers to constantly ponder the proposition of “existence”.
Zhang Enli has held solo exhibitions at many important institutions around the world. Including Long Museum Chongqing (2021), Shanghai Museum of Contemporary Art (2020), and Hause &. Zurich Wirth Gallery (2020), Hofken Gallery in Belgium (2019), Borghese Gallery in Italy (2019), K11 Art Foundation in Shanghai (2019), Royal Academy of Arts in the UK (2018), Hause &. In New York Wirth Gallery (2018), Firstsite Art Gallery in the UK (2017), MOCA in Taipei (2015), Shanghart Gallery (2015), Hause & Wirth Gallery in London (2014), KAF in Hong Kong (2014), VILLA in Italy CROCE Museum of Contemporary Art (2013), ICA in London (2013), Shanghai Art Museum (2011), Minsheng Modern Art Museum in Shanghai (2010), Ikon Museum (2009), and Museum Bern in Switzerland (2009), etc.
Zhang Enli’s group exhibition is held at the Ullens Center for the Performing Arts (UCCA) EDGE (2021), the Prada Foundation (2018), the Museum of Contemporary Art Antwerp, Belgium (2018), the First Antarctic Biennale (2017), the Centre Pompidou, Paris (2016), the PAC-Milan Museum of Contemporary Art (2015), the Rumbruck Museum, Germany
(2015), Tate Modern (2015), Yokohama Triennale (2014), Vancouver Art Gallery, Canada (2014), Lubel Family Collection, USA (2013), Birmingham Art Gallery, UK (2013), India Biennale (2012), the 6th Curtiba Biennale (2011), Gwangju Biennale (2010) Such as the 7th Shanghai Biennale (2008) and the VILLA MANIN Contemporary Art Center in Italy (2006), etc.
Zhang Enli’s works have been collected by major art galleries and museums around the world, including the K11 Art Foundation in Hong Kong. Royal Academy of Arts, London, London, UK Borghese Museum, Rome, Italy; Centre Pompidou, Paris, France; M+ Collection, Hong Kong; Long Museum, Shanghai The Lubel Family Collection, Miami, USA; Hao Art Museum, Shanghai Yu Deyao Foundation, Jakarta, Indonesia; Sifang Contemporary Art Museum, Nanjing LVMH, France; Birmingham Museum and Art Gallery, UK; Frank Seuss Collection, London, UK; Tate Gallery, London, UK; Ubs Group, Zurich, Switzerland; DSL Collection, Paris, France; Shanghai Art Museum, Shanghai

Zhang Yibei was born in Daqing in 1992. Currently working and living in Beijing. I graduated from the Sculpture Department of the Royal College of Art in the UK with a master’s degree and from the Sculpture Department of the University of the Arts London with a bachelor’s degree. Zhang Yibei won the 7th Tomorrow Sculpture Award in 2019, was shortlisted for the Huayu Youth Award in 2021, and was selected as a resident artist of the Longlati Foundation for 2022-2023. Recent important exhibitions include: Solo exhibition “Everything Can Be a Vase with a Hole Drilled in It” (BANK, Shanghai, 2021); Group exhibitions: “The Opportunity of Stress” (Taikang Space, Beijing, 2023), “The Broken Generation” (Song Art Museum, Beijing, 2022), “The Wisdom of Daily Life – Invitational Exhibition of Contemporary Art” (Yinchuan Contemporary Art Museum, Yinchuan, 2021), “The 4th Today Document Exhibition (Today Art Museum, Beijing, 2019)” “Why more Bicycles?” (Goethe-Institut, German Cultural Center, Beijing, 2019), etc. The works have been collected by Song Art Museum, Longlati Foundation and Beijing Taikang Space.
Starting from a hypothetical proposition, Zhang Yibei reconsiders the relationship among the artist, materials and concepts. In this process of conception/reflection, the artist and her materials form the real world, and the real world constitutes the world of ideas. Thought and materials together constitute the artist’s imagery, which is like the relationship between a chicken and an egg, leading to a cooperative relationship between the artist and the materials. Therefore, materials, artists and ideas are destined to coexist. So what is material and who is an artist? Where is the concept? We might think that the artist selects her materials, whether they are stone, silicon or something already existing in the world (ready-made objects), because she combines her materials into her subconscious reference objects. This raises a question for moving North, that is, whether the material belongs to the artist, or vice versa, that is, whether the artist is selected and moved relative to the material, or for the artist, the material is moved and selected.

VIVIAN SUTER, born in 1949 in Buenos Aires, Argentina, currently lives and works in Panajachel, Guatemala. Suter graduated from Kunstgewerbeschule Basel, Switzerland in 1972.

Zhang Zipiao, born in Beijing in 1993, studied at the Maryland Institute of Art from 2011-2012 and graduated from the Art Institute of Chicago in 2015. Zhang Zipiao’s painting practice revolves around the human body, organs, and natural objects. By depicting content inconsistent with traditional society’s social and ethical frameworks, her paintings directly or subtly reveal gender imagery, where the body revels before the demise of illusions. Her works are replete with vitality. The bodily body seems to be an erosive landscape in flux, but natural objects are imbued with restless humanity, projecting a rich and complex character of hypocrisy, sincerity, vulnerability, and strength. By exploring the medium of painting’s physical faculty for universally connecting body and spirit, Zhang Zipiao’s works reflect on and critique reality under the theme of body politics.

Li Binyuan was born in Yongzhou, Hunan Province, China in 1985, and graduated from the Department of Sculpture, Central Academy of Fine Arts in 2011. Li Binyuan explores physicality, material, conceptual cognition, and social values through action-based film works, and performances that intervene in the social fabric of everyday Chinese society. His experiments occupy urban and rural spaces, from the very public context of the street, to natural sites, or remote post-industrial locations. Using his body as a sculptural material to enact creative investigation, he uses ruptures and repetition to manifest how sculpture and performance can intertwine. Rearticulating social conduct while interrogating our experiences of the everyday, Li’ s work has exhibited throughout the US, Europe, and Asia, and is in the permanent collection of The Museum of Modern Art.

Chen Xiaoyi was born in Sichuan, China in 1992. She received an MA Photography from London College of Communication in 2014, currently lives and works in Chengdu. Her work is based on photography but not confined to specific media, focusing on the subtle perceptions of human beings by producing images. And constantly challenge the established logic, perception and imagination to explore the existence itself. Xiaoyi Chen has exhibited internationally; she was awarded the Three Shadows Photography Award in 2015, China’s most prestigious photography prize, and named one of Asia’s 30 Artist under 30 by Forbes magazine 2017.

André Butzer was born in Stuttgart, West Germany and lives in Rangsdorf near Berlin. He makes semi-abstract paintings that feature cartoon-like characters and objects. Butzer is interested in the comic genre, whose ambivalence comes on the one hand from a childlike inflation of effect and on the other hand from an artificial lifelessness, set beyond morality. Butzer’s work has been called Science-Fiction-Expressionism, he is influenced by James Ensor, Willem de Kooning, and Phillip Guston. In 1997, he helped to found Akademie Isotrop in Hamburg.

Ouyang Chun was born in 1974 in Beijing, the political, cultural and economic center of China. Later, he moved to Xi ‘an with his family and received art education there. Now living and working in Beijing. As a Chinese artist of the 1970s, Ouyang Chun’s works present a unique contemporary quality, with an independent spirit and rich layers. Every stroke reflects his passionate and idealistic creative state. Through a variety of painting techniques, he tells various stories of the complex world. Fascinated by the truth and the cruelty and absurdity that come with it, Ouyang Chun draws inspiration from the contradictions and disharmony in contemporary China. The juxtaposition of fiction and reality reveals his pursuit of spiritual purity in the minute details of his paintings. Through his brush, Ouyang Chun openly and straightforwardly narrates without any reservation, and endless emotions flow out and are conveyed to the canvas. His painting language is brimming with rich emotions in its perception of psychology. What makes his paintings appealing is the metaphors extracted from his personal experiences and social background. The brushstrokes and colors are elevated by genuine emotions. While depicting one’s own growth and life history, it also pays tribute to the era in which one lives. The understanding of artistic language and the pursuit of personal construction are the characteristics of Ouyang Chun’s paintings.

Pipilotti Rist was born on June 21, 1962 in Rheintal, Switzerland. She likes red beets a lot. Her focus is video/audio installations because there is room in them for everything (painting, technology, language, music, movement, flowing pictures, poetry, commotion, premonitions of death, sex and friendliness) – like in a compact handbag. Her opinion is: Art’s task is to contribute to evolution, to encourage the mind, to guarantee a detached view of social changes, to conjure up positive energies, to create sensuousness, to reconcile reason and instinct, to research possibilities, and to destroy clichés and prejudices.

Anicka Yi was born in 1971 in Seoul, South Korea. She lives and works in New York City, USA.

Known for her multi-sensory approach to art making, Anicka Yi has radically expanded the notion of what an artwork can be and transformed exhibitions into embodied encounters. Drawing on a notion of otherness rooted in scent and taste, atypical sensoria for the visual arts realm, Yi’s works allow her audience to viscerally experience complex issues relating to social prejudice, racism, ecology, climate change, biological extinction, machines and machine learning. Yi’s practice is cross-disciplinary and presents knowledge from art, science and technology in compelling formal articulations.

Wolfgang Tillmans, born in 1968 in Remscheid, Germany, lives and works in London and Berlin.

Throughout his career, Wolfgang Tillmans has challenged the potentiality of making pictures and brought a new kind of subjectivity to photography. He explores traditional genres such as portraiture, still life, or landscape with a constant interest in the limits of visibility by pairing intimacy and playfulness with social critique — thus questioning the existing values and hierarchies. Through integrating genres, subjects, techniques, and exhibition strategies, Tillmans expands conventional ways of approaching photography and addresses the fundamental question of what it means to create pictures in an increasingly image-saturated world.

In 2000, he was the first photographer and non-British artist to receive the Turner Prize from Tate, London. From 2003 to 2009, Tillmans served as a professor at the Städelschule in Frankfurt. Tillmans was the recipient of the 2015 Hasselblad Foundation International Award in Photography, and in January 2018, he was awarded the Kaiserring Prize from the city of Goslar in Germany.

What Xia Yu portrays is merely a glance of contemporary urban life, not comprehensive but representational enough. The figures in his work are perpetually roaming between their residence and work, city and nature, and seamlessly shifting among chores and tasks, daydream and recreation, switching between various identities and roles in the interval of one living space after another. There seem to be diverse choices offered to the contemporary lifestyle, but it appears that it is no longer possible to own a place of refuge or a spiritual escape like ancient literati. Life has never been so vibrant and limited, common and exhausting. The new era urges every individual to be trained as a master of time management and become a philosopher of life under the framework of consumerism with the slogan of “Work hard, play hard.” Xia Yu’s paintings precisely expose the defects of a typical life, confronting the dull moments that continually appear, which can be lovely in their unpretentious truthfulness.

c born in 1978, Miami, USA, currently lives and works in Detroit and Miami, USA. His work is full of literary undertones, with a false sense of romanticism and old world imagery. Bass combines juvenile adventure stories, classical poetry, religious tales, mythology, decadent literature, and the history of science. The works are almost always dominated by young, melancholy, lean men, contrasting sharply with the frenetic backgrounds and complexity of the frames to evoke a beautiful and disturbing feeling.

Ye Linghan was born in 1985, in Lishui, China, studied mural painting and drawing at the China Academy of Art, Hangzhou and lives and works in Beijing.

After studying traditional mural painting and drawing, Ye Linghan gravitated to animation work, though his academic training is evident in his highly detailed drawings and animations, as in Last Experimental Flying Object, which drew him wide attention. The temporal nature of video compels him and the graphics, craft, material, structure, rhythm, and aesthetic of it take form in its very making. His animations don’t have a strong sense of narrative: the highs and undulating changes inherent in storytelling are absent. Ye’s videos incorporate his drawings, paintings and digital animations, resulting in surreal, three-dimensional loops that focus on both the reduction and the building up of various forms.

Daniel Richter was born in Eutin, Germany, in 1962. He lives and works in Berlin, Germany. He is one of the leading figures in contemporary German easel painting. He graduated from the Hochschule für bildenden Künste, Hamburg (DE) in 1995, where he studied under Werner Büttner. His works are included in many private and public collections, such as Denver Art Museum, Denver, CO (US), Centre National d’art et de culture Georges Pompidou, Paris (FR); Hamburger Kunsthalle, Hamburg (DE); Museum of Modern Art, New York, NY (US).

Henry Curchod was born in 1992 in Palo Alto, United States, lives and works in Sydney, Australia. Curchod obtained a BA/BFA from the University of New South Wales in 2014. Curchod works primarily in painting and sculpture, exploring themes of hierarchy, brutality, persecution, capitalism, cultural cross-pollination, and kindness. Curchod is interested in the complexity, depth, and layers that humans have connected and interacted with one another, particularly in groups, throughout history.

Gabriel Rico was born in 1980 in Lagos de Moreno, Mexico, and now lives and works in Guadalajara, Mexico. Gabriel Rico’s work is characterized by the interrelation of seemingly disparate objects. A self-proclaimed “ontologist with a heuristic methodology,” Rico pairs found, collected, and manufactured materials to create sculptures that invite viewers to reflect on the relationship between humans and our natural environment. He frequently uses neon, taxidermy, ceramics, branches, and more personal pieces of his past to create an equation or formulation, achieving a precise geometry despite the organic, roughly hewn character of his materials. His installations ironically and poetically combine natural and unnatural forms, insisting on a necessary contemplation of their asymmetry as well as our own cultural and political flaws.

Born in 1970 in Yangjiang, Guangdong province, where he currently lives and works, Zheng Guogu graduated from the printmaking department at the Guangzhou Academy of Fine Arts in 1992.
Zheng Guogu’s artistic practices utilize a wide range of media in order to express the extensive diversity of the ideas he develops in connection with the processes of life. In 2000, Zheng Guogu initiated The Age Of Empire ( from 2012 onward, he changed the name from The Age of Empire to Liao Garden) , a constantly evolving utopian domain that provides a setting for his experimentations rooted in Chinese philosophy but anachronistically constructed outside of legal parameters. The project integrates complicated spatial modalities and social relations, which comprise the entire process of dwelling in a physical space, from the conceptual ideal, to the practical implementation, to day-to-day living. In his recent works based on the research on life’s energy, Zheng Guogu tries to reveal the energy flow lurking in the process of perception, the vibration of color frequencies is closely related to the workings of human arteries and veins, as well as the operation of the universe. Furthermore, the vibration is the tempering of an existential insight.

DING YI was born in 1962, works and lives in Shanghai. The practice of Ding Yi encompasses painting, sculpture, spatial installation and architecture. He works primarily with “+”and its variant “x” as formal visual signals, above and against the political and social allegories typical of painting in China. He chose this sign in the second half of the 80s as a synonym of structure, rationality and of a pictorial expressiveness that reflects the essence of things.

Born in Beijing in 1993, Zhang Ji graduated from Maryland Institute College of Art and School of the Art Institute of Chicago with a BFA and an MFA degree. In Zhang Ji’s work, there are often shifting compositions, bizarre shapes of light areas, and lines, which usually partition and compress the human body. The artist prefers curved lines, diagonal or vertical, over horizontal framing. The division by brushstrokes, traces, and lines presents Zhang Ji’s version of bodies or his whole world of painting as restless and unstable. Additionally, Zhang Ji has his metaphysical understanding of the body, and most viewers find it hard to expound on his highly personal style. We can only summarize that the body is a public medium of sociality, and the package of modern civilization has shadowed the social properties of its structure. Thanks to the magic of painting, we can unravel everything and make public every unspeakable secret about the body.

Born in Beijing, China in 1985, Wang Jiajia has received a BA Honors Degree from Central Saint Martins College of Art & Design in 2008, and currently lives and works in Beijing.

Like many of his generation, Wang was eclipsed with the popularization of television, the advent of the Internet, and the ubiquity of pop culture. Building upon the artist’s breakthrough “Adventure” series from 2016, works combine digital collage, action painting and silkscreen printing in a confident, magnificent display. Wang’s paintings seem to be full of abstract brushstrokes and heavy pigments, but each stroke does not lack in thinking. Unlike Western paintings, which start from sketching then to color, Wang’s painting training began with drawing lines and imitating master’s work. Expressing more of a traditional concept in a new and contemporary way is one of the core creative thinking of the artist’s creation.

Pu Yingwei, (b.1989), Lives and works in Beijing, China. received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitation du jury) from École Nationale Supérieure des Beaux-Arts de Lyon. Pu Yingwei’s work has been defined as an exercise in conceptual art with a strong utopian zeal. He is the artist who interprets the multiple media and identity narratives that he practices in the public sphere as a comprehensive mobilization. Taking personal history as an absolute starting point, with the exhibition, writing, design, lecturing, teaching, and other forms of work, he attempts to produce a kind of “meta-politics” that transcends grand topics such as race, nation, and ethics. Such politics is as complex and full of paradoxes as the reality we experience.

Born in 1988 in Guangzhou, Zhang Zhaoying graduated from Sichuan Academy of Fine Arts in 2013 and attended as a visiting scholar at the Brussels Art Institute during 2013-2014. As a representative of a group of outstanding artists born in the 1980s, Zhang manifests the features of a distinct era in his works: instead of reflecting the ideological perception shaped by social changes that are no longer happening like the previous age, they turn to seek more of the individual expression of the self among collective languages in life. This generation of artists thus creates their unique tension and vitality in art works. Zhang’s works remind us that in the first decade of the 21st century, contemporary art is increasingly about trans-media, cross-language and trans-sensing aspects of art in the hands of young artists. In this way, they also bring challenges to traditional art criticism. Because of nine years of performance studies, Zhang comes to trust the diversity of artistic language used by theater. Zhang’s artistic creation has clear intentions: he hopes to transform the self-consciousness and perceptual experience of life into a dramatic and full-fledged vision, thus mobilizing the viewer’s own knowledge system to form different interpretations among themselves. In turn, his works also stimulate and change his own experience and cognition as an artist.

Ding Shiwei was born in 1989, holds an MFA degree from the School of Intermedia Art at the China Academy of Art and now lives and works in Hangzhou, China. His works unfold in various mediums such as video installations, sculptures, images, videos, and interactive installations based on the experience of the screen. He invokes and appropriates a wide range of ideological discourses, popular images, and philosophical symbols, opening up the viewer’s perceptual channels through the media interface, filtering and intervening with the individual’s degraded user experience, thus revealing the screen landscape as an anti-utopian self-fulfilling prophecy of contemporary politics and beliefs. As a mediator between the material world and the digital simulacrum, the screen is constantly involved in reshaping and disciplining the viewer’s body. On the one hand, his works re-pierce the viewer’s silently alienated interface body and the observation senses, and on the other hand, ultimately adopting “kawaiification” as the categorical imperative to obscure the fanged structure, they constantly stitch together the real and virtual branching in a paradoxical perception of wit and pain.

ZHANG Ruyi was born in 1985, currently lives and works in Shanghai. ZHANG’s work involves sculpture, painting with mixed media, and installation. Her conceptual practice centers on everyday logic, and her work occupies a specific space at the nexus of reconciled artifacts, industrialized experiences, and urban life.

ZHANG Ruyi’s artistic practice embeds itself in nothing less than the logic of life. It is centred on the undisclosed relationship between ego consciousness, physical space, and mundane experience. By withholding certain “slices” of time and information of the material employed, the artist is able to capture, replicate, compress, condense or fabricate the materialization of emotions. She is dedicated to the exploration of both positive and negative frictions between individuals and reality, nature and industrial landscape. Its position is that of a discursive apparatus, transforming the tactile into the visual. Taking the relational language of order aesthetics, she suggests the reconstruction of a specific space to be “read,” “questioned,” and “memorized.” She employs objects to question objects and spaces to question spaces, thus resisting the order.

Noémie Goudal is a French artist who graduated from the Royal College of Art in 2010 with an MA in Photography and lives and works between Paris and London. Noémie Goudal’s practice is an investigation into photographs and films as dialectical images, wherein close proximities of truth and fiction, real and imagined, offer new perspectives into the photographic canvas. The artist questions the potential of the image as a whole, reconstructing its layers and possibilities of extension through landscapes’ installations.

WangGuangle was born in Songxi County, Fujian Province in 1976, graduated from the Oil Painting Department of the Central Academy of Fine Arts in 2000, and is a member of N12 (group) and Falling Out (group), working and living in Beijing.

As one of the representative figures of Chinese contemporary painting, Wang Guangle has continued to explore the abstract nature of artistic language and how the artist, as the absolute subject of this ancient practice, uses it to deal with both the internal and external worlds in his practice over the past twenty years. Although trained in the rigors of classical realistic oil painting, Wang Guangle is known for his process-based abstraction. His approach is repetitive and time-consuming – by applying acrylic paint layer by layer on the canvas in a sequential manner, and slowly generating colors and textures that are either serene or variegated, the artist transforms abstract concepts such as “time” into a palpable visual experience. The artist transforms abstract concepts such as “time” into a palpable visual experience. At the same time, this also brings the creative act of painting closer to the daily labor of the artist, or even the homework of understanding the nature of the mind.

Born in 1971 in Yuanjiang City, Hunan Province, Jiang Zhi is a Beijing-based artist who graduated from China Academy of Art in 1995. After participating in the “Post-Sense Sensibility” exhibitions in the 1990s, Jiang Zhi subsequently proceeded to become one of the most influential Chinese artists of his generation. He works with various mediums spanning video, painting, photography, installation, poetry and writing novels. He was awarded the academic Achievement of Reshaping History (Chinart from 2000-2009) in 2010, the Asian New Force IFVA Critics Award in 2002, and the Chinese Contemporary Art Award (CCAA) in 2000.

Yan Bing was born in 1980 in Tianshui, Gansu Province, China and graduated from Central Academy of Fine Arts in 2007, 3rd Studio of the Oil Painting Department. He lives and works in Beijing. Yan Bing directly uses ordinary or even primitive everyday objects as materials in his creation of different mediums, and probes their spiritual dimension through painting. Hidden behind the prosaic items of daily life he depicts is his own perception of life. The emotions revealed in Yan Bing’s works are complex, while the simplicity is permeated with his sentiment and speculation, pain and joy. These works exuding an ancient quality reflects the artist’s profound thinking about the relationship between his personal experience and the current living world.

Jia Aili was born in Dandong, Northeast China, in 1979. His childhood and teenage years witnessed the radical transformation of the country. Graduating from the Second Studio (New Representationalism) of the Lu Xun Academy of Fine Arts in Shenyang Tiexi District in 2004, he taught there from 2005 to 2007. After his teaching engagement, Jia moved to Black Bridge Village in Beijing, and his breakout solo exhibition, ‘The Wasteland,’ opened in the same year, propelling him onto the international scene.

Dong Dawei was born in Dalian, Liaoning, in 1981. He currently lives and works in Beijing. He graduated from the Oil Painting Department of Luxun Academy of Fine Arts with a bachelor’s degree in 2004. In 2011, he graduated from École nationale supérieure d’art de Bourges, France, with a master’s degree.
“Reverse thinking” has been a part of Dong Dawei’s creative experience. While creating the Marker on Paper series, Dong Dawei is committed to de-technologizing technology and counter-specialising professionally. When subjective consciousness is gradually diluted, the original value of the material itself is brought to the fore. Through a process of calculation that resembles mathematical precision, Dong draws shapes that drip freely on the paper, one after another of the same size but stacked on top of each other, thus forming new shapes, which is the product of Dong Dawei’s removal of the “principle” that an artist should respect art history and art techniques when creating. At the same time, Dong’s respect for objectivity is also evident in the landscapes painted on plasterboard, in the powdered chalk that has fallen from his work, and in the induction cooker hanging on the wall.

In Dong Dawei’s works, all materials and painting language become more pure, and he brings out the natural beauty of the materials. As Dong Dawei himself says: “No matter how complex or profound the content is, I tend to express it in the most common language.”

Kiki (Xuebing) Wang was born in 1993 in Henan, China. She received her BFA from University of California, Los Angeles in 2016 and will graduate from Royal College of Art in London with an MA degree in 2020. She now lives and works in London. Wang’s paintings explore a twisted view of modern consumerism through the lens of luxury fashion and other objects of desire. Taken down from the spotlights and high pedestals, peeled off from massive billboards and commercial campaigns, the trending garments portrayed are trapped, marginalized, displaced, and obscured in the paradox of scale, location and value, examining the possibility to transform the non-valuable into the valuable, and to discern fictions from realities.

Tomasz Kręcicki, born 1990 in Żary. Lives and works in Kraków.

Scale and the body are major motifs in the paintings of Tomasz Kręcicki. Grotesquely enlarged fingers, for example, engage in various undefined activities. The paintings have an absurdist element but their formal reliance on simplified and sometimes repeating shapes also evoke the artist’s continued exploration of the abstract in figuration. A surrealist unreality imbues the artist’s depictions of common activities and everyday objects, recalling a Lynchian atmosphere but often cut with a dash of the campy spookiness of B-movie horror. Yet, the recurrence of fingers, hands and eyes, also refers to a painter’s tools.

A major theme has been a kind of bathos: the mockery of earnestness, undercutting aspirations through absurdity, jokes, and wit. At the same time, works depicting everyday objects such as long wires to repel birds, push pins or even a loose button, can evoke a sense of anxiety and foreboding created by the implied physical threat and the cryptic nature of the implied narrative content. Kręcicki’s subject matter then is inherently existential, addressing both contemporary politics and its repercussions on the individual.