Gallery Dynamic
Fair｜ART021「Art Week Encore - Platform」
2022.12.27
Artists
Fang Lijun
Fang Lijun was born in 1963 in Handan, Hebei, China. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 1989. On July 1st of the same year, Fang Lijun moved to Yuanmingyuan, the Old Summer Palace, and later the Yunamingyuan Artists' Village was gradually formed. In 1993, Fang Lijun established his studio in Songzhuang. The Songzhuang Artists' Village has steadily developed for the last two decades. In 2014, Fang Lijun established the Archive of Chinese Contemporary Art.
Fang Lijun has held exhibitions in major art institutions and galleries, including Ashmolean Museum Oxford, Ludwig Museum Koblenz, Staatliche Kunsthalle, Stedelijk Museum Amsterdam, the Japan Foundation, Ariana Museum in Geneva, Museum of Modern and Contemporary Art in Turin, Macaw Museum of Art, Taipei Fine Arts Museum, Hong Kong Arts Centre, Shanghai Art Museum, Hunan Museum, Beijing Minsheng Art Museum, Hubei Art Museum, United Art Museum and the etc. His participation includes the Venice Biennale, Sǎo Paulo Biennial, Kwangju Art Biennial, and Shanghai Biennial. His works are collected by The Museum of Modern Art (USA), Seattle Art Museum(USA), San Francisco Museum of Modern Art (USA), Centre de G. Pompidou (France), Ludwig Forum für Internationale Kunst (Germany), Stedelijk Museum Amsterdam(Holland), The National Gallery of Australia (Australia), Fukuoka Asian Art Museum (Japan), Museum of Contemporary Art Tokyo(Japan), Hiroshima City Museum of Contemporary Art(Japan), National Art Museum of China(China), Shanghai Art Museum (China), Guangdong Art Museum (China), He Xiangning Art Museum (China), Hunan Museum（China）, CAFA Art Museum(China). He is one of the Chinese contemporary artists with the most extensive collection by major art institutions worldwide.
He has published more than 50 personal albums and related publications, including Fang Lijun: Chronicles, Fang Lijun: Criticism, Fang Lijun: Works of Art, FANG LIJUN, Fang Lijun: The Precipice Over the Clouds, Fang Lijun: Espaces Interdits Forbidden Areas, Fang Lijun: Woodcuts, Live Like A Wild Dog, Etc. Fang Lijun has been invited as a visiting professor and graduate supervisor at more than 20 universities and colleges, including the Central Academy of Fine Arts, Sichuan Academy of Fine Arts, Jingdezhen Ceramic University, Xi 'an Academy of Fine Arts, etc. In 1993, his painting "Series 2, No. 2" appeared on the cover of the New York Times Magazine.
Fang Lijun has held exhibitions in major art institutions and galleries, including Ashmolean Museum Oxford, Ludwig Museum Koblenz, Staatliche Kunsthalle, Stedelijk Museum Amsterdam, the Japan Foundation, Ariana Museum in Geneva, Museum of Modern and Contemporary Art in Turin, Macaw Museum of Art, Taipei Fine Arts Museum, Hong Kong Arts Centre, Shanghai Art Museum, Hunan Museum, Beijing Minsheng Art Museum, Hubei Art Museum, United Art Museum and the etc. His participation includes the Venice Biennale, Sǎo Paulo Biennial, Kwangju Art Biennial, and Shanghai Biennial. His works are collected by The Museum of Modern Art (USA), Seattle Art Museum(USA), San Francisco Museum of Modern Art (USA), Centre de G. Pompidou (France), Ludwig Forum für Internationale Kunst (Germany), Stedelijk Museum Amsterdam(Holland), The National Gallery of Australia (Australia), Fukuoka Asian Art Museum (Japan), Museum of Contemporary Art Tokyo(Japan), Hiroshima City Museum of Contemporary Art(Japan), National Art Museum of China(China), Shanghai Art Museum (China), Guangdong Art Museum (China), He Xiangning Art Museum (China), Hunan Museum（China）, CAFA Art Museum(China). He is one of the Chinese contemporary artists with the most extensive collection by major art institutions worldwide.
He has published more than 50 personal albums and related publications, including Fang Lijun: Chronicles, Fang Lijun: Criticism, Fang Lijun: Works of Art, FANG LIJUN, Fang Lijun: The Precipice Over the Clouds, Fang Lijun: Espaces Interdits Forbidden Areas, Fang Lijun: Woodcuts, Live Like A Wild Dog, Etc. Fang Lijun has been invited as a visiting professor and graduate supervisor at more than 20 universities and colleges, including the Central Academy of Fine Arts, Sichuan Academy of Fine Arts, Jingdezhen Ceramic University, Xi 'an Academy of Fine Arts, etc. In 1993, his painting "Series 2, No. 2" appeared on the cover of the New York Times Magazine.
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Artists
Ding Jianfei
Ding Jianfei was born in Rudong, Jiangsu Province, China in 1973. As a young painter, he studied under Wu Yuankui, a renowned Chinese painter. He graduated from the Department of Chinese Painting at Nanjing University of the Arts in 1996. Currently works and lives in Shanghai.
While deeply entrenched in the tradition of Chinese ink painting, Ding Jianfei's works are compound by a vigorous force of contemporary visuality. In his painting series, one can almost discern the surging wind and billowing cloud that drift atop mountains, the endless flow of river currents, the idyllic deer horde under the pine tree, and even the flickering shadows of the leave. He has always been content with the mere joy of painting. In his works, one doesn't sense his passion for the medium, but only his respect and awe for nature and his lifelong cultivation. His works act as a reflection of his understanding and perception of the world, a “shadow” of himself. One can see a revival of antiquity, or a spiritual guide of our modernity, under his brush.
While deeply entrenched in the tradition of Chinese ink painting, Ding Jianfei's works are compound by a vigorous force of contemporary visuality. In his painting series, one can almost discern the surging wind and billowing cloud that drift atop mountains, the endless flow of river currents, the idyllic deer horde under the pine tree, and even the flickering shadows of the leave. He has always been content with the mere joy of painting. In his works, one doesn't sense his passion for the medium, but only his respect and awe for nature and his lifelong cultivation. His works act as a reflection of his understanding and perception of the world, a “shadow” of himself. One can see a revival of antiquity, or a spiritual guide of our modernity, under his brush.
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Artists
Guan Yinfu
Guan Yinfu, born in 1975 in Heilongjiang Province, China, graduated from the Department of Theatre Arts at the Central Academy of Drama in 2002. He currently lives and works in Beijing.Throughout his career, Guan Yinfu has continuously explored the multi-dimensional material properties of pigments. The sensory qualities carried by the pigments are fully manifested as he constructs spatial order through establishing color relationships. Simultaneously, the interaction of gravity and tension on the substrate results in either thin or thick patches of color. A soothing, sluggish rhythm forms a unique "aesthetics of inertia" on his canvases. This aesthetic transforms the paintings into corporeal entities. Different thicknesses of color patches resemble skin and muscle, corresponding to the two threads of lightness and heaviness in Guan Yinfu's creations. His recent explorations in "The Ontological Turn" subtly echo the forefront of "New Materialism" trends. He also endeavors to penetrate beyond the surface of painting, delving into the depths of the spiritual realm. These varied forms of color blocks step onto the stage of spiritual drama.
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Artists
Ji Dachun
Ji Dachun was born in 1968 in Nantong, Jiangsu, China. He graduated from Central Academy of Fine Arts, Oil Painting Department, Beijing, China in 1993. As one of the most representative Chinese contemporary artists, Ji Dachun is widely noticed for his distinctive personal style. His paintings are witty, humorous, ethereal and tranquil, and full of romantic poetry and Zen. In particular, his choice and persistence in easel painting, in an environment where installations, images, pictures, and multimedia methods are becoming more popular, it highlights its unique expressive charm and profound significance.
After having produced many of his now-widely recognized figurative paintings from his early career, Ji Dachun (b. 1968) begins to gravitate towards acrylic, a medium that is comparatively lighter and less saturated than oil paint. Initially he was obsessed with the viscous pictorial effect of acrylic, and later on there were his serial explorations of the themes of “Black” and “White”. Throughout this entire process, he has experimented with Payne’s gray—which he considered an unstable pigment color—in terms of how it presents different shades of transparencies, textures, and tonal layers on the canvas. He experimented so as to grasp the relationship between the subject of paint, the residue, and the image. Through this project, Ji Dachun endeavors to grasp his own position within the coordination of (art) history and reality and comes up with his own rationales to experiment with—or deconstruct—paint in a perhaps attempt to approximate the boundaries of finite things.
Ji has held solo exhibitions at LudwigMuseum (Koblenz,Germany), MACRO Museo d‘Arte Contemporanea Roma (Rome, Italy), Ullens Center for Contemporary Art (Beijing, China), Kunstmuseum Bern (Bern, Switzerland), Posco Museum (Seoul, South Korea) and other art institutions. His works have been exhibited in the 56th Venice Biennial, 2012 Gwangju Biennale Special Exhibition, The First Triennial of Chinese Arts, 2001 Chengdu Biennale, 2000 Shanghai Biennale, the 1st China Oil Painting Biennale and the 2nd 2ed Annual China Oil Painting Exhibition.
After having produced many of his now-widely recognized figurative paintings from his early career, Ji Dachun (b. 1968) begins to gravitate towards acrylic, a medium that is comparatively lighter and less saturated than oil paint. Initially he was obsessed with the viscous pictorial effect of acrylic, and later on there were his serial explorations of the themes of “Black” and “White”. Throughout this entire process, he has experimented with Payne’s gray—which he considered an unstable pigment color—in terms of how it presents different shades of transparencies, textures, and tonal layers on the canvas. He experimented so as to grasp the relationship between the subject of paint, the residue, and the image. Through this project, Ji Dachun endeavors to grasp his own position within the coordination of (art) history and reality and comes up with his own rationales to experiment with—or deconstruct—paint in a perhaps attempt to approximate the boundaries of finite things.
Ji has held solo exhibitions at LudwigMuseum (Koblenz,Germany), MACRO Museo d‘Arte Contemporanea Roma (Rome, Italy), Ullens Center for Contemporary Art (Beijing, China), Kunstmuseum Bern (Bern, Switzerland), Posco Museum (Seoul, South Korea) and other art institutions. His works have been exhibited in the 56th Venice Biennial, 2012 Gwangju Biennale Special Exhibition, The First Triennial of Chinese Arts, 2001 Chengdu Biennale, 2000 Shanghai Biennale, the 1st China Oil Painting Biennale and the 2nd 2ed Annual China Oil Painting Exhibition.
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Artists
Liang Ying
Liang Ying was born in Beijing, China in 1961, studied in the Department of Chinese Painting, Guangzhou Academy of Fine Arts from 1981 to 1982, and studied at the Art Department of the Academy of Fine Arts in Hamburg in Germany from 1983 to 1993, and received an art scholarship from the Rotary Club of Hamburg and the North German State. In 1991 received a Master of Fine Arts.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
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Artists
Tu Xi
Tu Xi was born in 1982 in China, graduated from Renmin University of China School of Arts in 2006, and graduated from Central Academy of Fine Arts in 2009. Currently living and working in Beijing.
In Tu Xi’s work, the shapes, colours, the texture of the materials, and the spatial language create a real scene that is accessible and tangible to viewers. The images are the collection of personal experience and collective unconscious with humanistic concern.
In Tu Xi’s work, the shapes, colours, the texture of the materials, and the spatial language create a real scene that is accessible and tangible to viewers. The images are the collection of personal experience and collective unconscious with humanistic concern.
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Artists
Werner Büttner
Werner Büttner was born in Jena, Germany in 1954, currently lives and works in Geesthacht, Germany. In his early years, Werner Büttner went through the East-West German Cold War. With experience as a prison social worker and legal aid provider, Büttner is renowned for drawing out deeper layers of meaning from quotidian life that at first glance seem banal. He has a unique ability to observe and interpret the experiences of different social strata of humanity amidst turbulent overarching circumstances. His canvases and collages depict a tragi-comic reality, confronting social norms with both irony and satire, while retaining a firm grip on the history of painting.
Driven by this unapologetic philosophy, Büttner, alongside Martin Kippenberger (1953-1997, Germany) and Albert Oehlen (b.1954), became a reactive voice in Hamburg in the late 1970s. The trio felt that art needed to depict the failures of human morality within society. The subversive visual language they shaped, dubbed ‘Bad Painting’, dispensed with painterly conventions of technique and taste, in favour of an aesthetic that defiantly reinvented the medium.
Driven by this unapologetic philosophy, Büttner, alongside Martin Kippenberger (1953-1997, Germany) and Albert Oehlen (b.1954), became a reactive voice in Hamburg in the late 1970s. The trio felt that art needed to depict the failures of human morality within society. The subversive visual language they shaped, dubbed ‘Bad Painting’, dispensed with painterly conventions of technique and taste, in favour of an aesthetic that defiantly reinvented the medium.
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Artists
Xu Hongxiang
Xu Hongxiang was born in 1984 in Changsha, Hunan, China. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 2007 with a bachelor´s degree, graduated from the Printmaking Department of the Central Academy of Fine Arts in 2011 with a master's degree, and now lives and works in Beijing.
Xu Hongxiang’s artistic practice often revolves around painting. Project-based painting series with narrative contents and oil paintings centered on landscapes are the two parallel creative approaches that punctuate his career. "Image", "body", and "the relationship between painting and reality" are the overarching themes he has been trying to explore in his multi-media painting projects throughout the years. The traits of his highly stylized painting, which included a signature saturated palette, are the fragments that reflect such themes.
Xu Hongxiang’s selected solo exhibitions and projects includes: "Xu Hongxiang: Wander" (Aurora Museum, Shanghai, 2024), "Xu Hongxiang: Ancient Posts" (Xie Zilong Photography Museum, Changsha, 2023), "Xu Hongxiang: Displaced Images" (Triumph Gallery, Beijing, 2022), "Xu Hongxiang: An Exuberant View" (Hubei Museum of Art, Wuhan, 2021), "Xu Hongxiang: One Night While Hunting for Faeries" (Loft8 Galerie, Vienna, 2019), "Not Dark Yet - Xu Hongxiang Solo Exhibition" (Triumph Gallery, Beijing, 2018), "Shuffling the Cards" (Parallel Vienna, Vienna, 2018), "Li Qiang" (Changsha, 2016), "In the Field" (Changsha, 2016), "Xu Hongxiang Solo Exhibition" (SZ Art Center, Beijing, 2014). Selected group exhibitions includes: "Follow the Rabbit - Talking stock of a collection and its reception through contemporary Chinese art" (Museum Liaunig, Austria, 2023), "History and Reality: Contemporary Art of China" (Bulgarian National Museum of Art, Sofia, 2018), "Visual Questions" (Guangdong Museum of Art, Guangdong, 2017), "Oriental Story" (National Art Museum of China, Beijing, 2017),"Centripetal Force" (SCA Galleries, Sydney, 2017), "In Silence - China Contemporary Art" (Sydney Town Hall, Sydney, 2014).
Xu Hongxiang’s artistic practice often revolves around painting. Project-based painting series with narrative contents and oil paintings centered on landscapes are the two parallel creative approaches that punctuate his career. "Image", "body", and "the relationship between painting and reality" are the overarching themes he has been trying to explore in his multi-media painting projects throughout the years. The traits of his highly stylized painting, which included a signature saturated palette, are the fragments that reflect such themes.
Xu Hongxiang’s selected solo exhibitions and projects includes: "Xu Hongxiang: Wander" (Aurora Museum, Shanghai, 2024), "Xu Hongxiang: Ancient Posts" (Xie Zilong Photography Museum, Changsha, 2023), "Xu Hongxiang: Displaced Images" (Triumph Gallery, Beijing, 2022), "Xu Hongxiang: An Exuberant View" (Hubei Museum of Art, Wuhan, 2021), "Xu Hongxiang: One Night While Hunting for Faeries" (Loft8 Galerie, Vienna, 2019), "Not Dark Yet - Xu Hongxiang Solo Exhibition" (Triumph Gallery, Beijing, 2018), "Shuffling the Cards" (Parallel Vienna, Vienna, 2018), "Li Qiang" (Changsha, 2016), "In the Field" (Changsha, 2016), "Xu Hongxiang Solo Exhibition" (SZ Art Center, Beijing, 2014). Selected group exhibitions includes: "Follow the Rabbit - Talking stock of a collection and its reception through contemporary Chinese art" (Museum Liaunig, Austria, 2023), "History and Reality: Contemporary Art of China" (Bulgarian National Museum of Art, Sofia, 2018), "Visual Questions" (Guangdong Museum of Art, Guangdong, 2017), "Oriental Story" (National Art Museum of China, Beijing, 2017),"Centripetal Force" (SCA Galleries, Sydney, 2017), "In Silence - China Contemporary Art" (Sydney Town Hall, Sydney, 2014).
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Artists
Yang Liming
Yang Liming was born in 1975 in Sichuan, China. He graduated from the Art College of Sichuan Normal University in 1999 with bachelor degree on oil painting. Currently lives and works in Beijing
Yang Liming’s paintings are abstract, in the same time having a stable, firming ground structure. Nevertheless, by closer perception there are many different aspects, parts that show reflection, sigh and some light moments of joy. Here is maybe the point to connect with Franz Schubert’s music with its delicate points like open wounds, melancholic meditations of questions without answers given. Yang Liming’s paintings take the viewers into their deep universe, in case the viewer permits to be carried away. Just as well as in Schubert’s music are questions rising, involving the observer into their matter. What is melancholia in Schubert’s music stays as a mystery in Yang Liming’s paintings.
Yang Liming’s paintings are abstract, in the same time having a stable, firming ground structure. Nevertheless, by closer perception there are many different aspects, parts that show reflection, sigh and some light moments of joy. Here is maybe the point to connect with Franz Schubert’s music with its delicate points like open wounds, melancholic meditations of questions without answers given. Yang Liming’s paintings take the viewers into their deep universe, in case the viewer permits to be carried away. Just as well as in Schubert’s music are questions rising, involving the observer into their matter. What is melancholia in Schubert’s music stays as a mystery in Yang Liming’s paintings.
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Artists
Zhang Kai
Zhang Kai was born in 1985 in Shanxi, China. He graduated from the School of Arts, Shanxi Normal University, currently works and lives in Beijing.
In his painting, the protagonists are personified and spiritualized cats and rabbits, which present the tranquil, mysterious and poetic atmosphere. Through the synthesis and reconstruction of the classical and the contemporary, Zhang Kai presents his thinking on time, spirit, appearance and essence, starting from his analysis of art history from the contemporary perspective, and his own aesthetic tendencies.
In his painting, the protagonists are personified and spiritualized cats and rabbits, which present the tranquil, mysterious and poetic atmosphere. Through the synthesis and reconstruction of the classical and the contemporary, Zhang Kai presents his thinking on time, spirit, appearance and essence, starting from his analysis of art history from the contemporary perspective, and his own aesthetic tendencies.
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