Gallery Dynamic
ART CENTRAL 2023 [BOOTH A17]
2023.03.19
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
Guan Yinfu
Guan Yinfu, born in 1975 in Heilongjiang Province, China, graduated from the Department of Theatre Arts at the Central Academy of Drama in 2002. He currently lives and works in Beijing.Throughout his career, Guan Yinfu has continuously explored the multi-dimensional material properties of pigments. The sensory qualities carried by the pigments are fully manifested as he constructs spatial order through establishing color relationships. Simultaneously, the interaction of gravity and tension on the substrate results in either thin or thick patches of color. A soothing, sluggish rhythm forms a unique "aesthetics of inertia" on his canvases. This aesthetic transforms the paintings into corporeal entities. Different thicknesses of color patches resemble skin and muscle, corresponding to the two threads of lightness and heaviness in Guan Yinfu's creations. His recent explorations in "The Ontological Turn" subtly echo the forefront of "New Materialism" trends. He also endeavors to penetrate beyond the surface of painting, delving into the depths of the spiritual realm. These varied forms of color blocks step onto the stage of spiritual drama.
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Artists
Han Yong
Han Yong Han Yong was born in 1978 in Yanbian, Jilin, China. He graduated from the Fine Arts Department of Yanbian University in 2000 with a bachelor's degree. He graduated from the Fourth studio of the Oil Painting Department of the Central Academy of Fine Arts in 2008 with a master's degree. Han Yong currently lives and works in Beijing.
For Han Yong, such innocent and effortless painterly expression is perhaps hisresistance to our time and his persistence towards the fond memories and imagination deep-down. This quality has always been there since the dawn of Han Yong's career. Han Yong's paintings has something that parallels temporal categories such as "fashion," "trend," or "movement," or they rather exist as a poetic entity that doesn't govern by temporality. Han Yong's paintings are the maximum expression of his sensibility and even, his nature under the control of reason. Narratives are laid bare in the compositions with ease, lacking any "useless" tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.
For Han Yong, such innocent and effortless painterly expression is perhaps hisresistance to our time and his persistence towards the fond memories and imagination deep-down. This quality has always been there since the dawn of Han Yong's career. Han Yong's paintings has something that parallels temporal categories such as "fashion," "trend," or "movement," or they rather exist as a poetic entity that doesn't govern by temporality. Han Yong's paintings are the maximum expression of his sensibility and even, his nature under the control of reason. Narratives are laid bare in the compositions with ease, lacking any "useless" tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.tracks. He is always to leap out of our mundane timeline a few times, maybe just a few, but they are all encapsulated in his pictures.
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Artists
Ji Dachun
Ji Dachun was born in 1968 in Nantong, Jiangsu, China. He graduated from Central Academy of Fine Arts, Oil Painting Department, Beijing, China in 1993. As one of the most representative Chinese contemporary artists, Ji Dachun is widely noticed for his distinctive personal style. His paintings are witty, humorous, ethereal and tranquil, and full of romantic poetry and Zen. In particular, his choice and persistence in easel painting, in an environment where installations, images, pictures, and multimedia methods are becoming more popular, it highlights its unique expressive charm and profound significance.
After having produced many of his now-widely recognized figurative paintings from his early career, Ji Dachun (b. 1968) begins to gravitate towards acrylic, a medium that is comparatively lighter and less saturated than oil paint. Initially he was obsessed with the viscous pictorial effect of acrylic, and later on there were his serial explorations of the themes of “Black” and “White”. Throughout this entire process, he has experimented with Payne’s gray—which he considered an unstable pigment color—in terms of how it presents different shades of transparencies, textures, and tonal layers on the canvas. He experimented so as to grasp the relationship between the subject of paint, the residue, and the image. Through this project, Ji Dachun endeavors to grasp his own position within the coordination of (art) history and reality and comes up with his own rationales to experiment with—or deconstruct—paint in a perhaps attempt to approximate the boundaries of finite things.
Ji has held solo exhibitions at LudwigMuseum (Koblenz,Germany), MACRO Museo d‘Arte Contemporanea Roma (Rome, Italy), Ullens Center for Contemporary Art (Beijing, China), Kunstmuseum Bern (Bern, Switzerland), Posco Museum (Seoul, South Korea) and other art institutions. His works have been exhibited in the 56th Venice Biennial, 2012 Gwangju Biennale Special Exhibition, The First Triennial of Chinese Arts, 2001 Chengdu Biennale, 2000 Shanghai Biennale, the 1st China Oil Painting Biennale and the 2nd 2ed Annual China Oil Painting Exhibition.
After having produced many of his now-widely recognized figurative paintings from his early career, Ji Dachun (b. 1968) begins to gravitate towards acrylic, a medium that is comparatively lighter and less saturated than oil paint. Initially he was obsessed with the viscous pictorial effect of acrylic, and later on there were his serial explorations of the themes of “Black” and “White”. Throughout this entire process, he has experimented with Payne’s gray—which he considered an unstable pigment color—in terms of how it presents different shades of transparencies, textures, and tonal layers on the canvas. He experimented so as to grasp the relationship between the subject of paint, the residue, and the image. Through this project, Ji Dachun endeavors to grasp his own position within the coordination of (art) history and reality and comes up with his own rationales to experiment with—or deconstruct—paint in a perhaps attempt to approximate the boundaries of finite things.
Ji has held solo exhibitions at LudwigMuseum (Koblenz,Germany), MACRO Museo d‘Arte Contemporanea Roma (Rome, Italy), Ullens Center for Contemporary Art (Beijing, China), Kunstmuseum Bern (Bern, Switzerland), Posco Museum (Seoul, South Korea) and other art institutions. His works have been exhibited in the 56th Venice Biennial, 2012 Gwangju Biennale Special Exhibition, The First Triennial of Chinese Arts, 2001 Chengdu Biennale, 2000 Shanghai Biennale, the 1st China Oil Painting Biennale and the 2nd 2ed Annual China Oil Painting Exhibition.
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Artists
Liang Ying
Liang Ying was born in Beijing, China in 1961, studied in the Department of Chinese Painting, Guangzhou Academy of Fine Arts from 1981 to 1982, and studied at the Art Department of the Academy of Fine Arts in Hamburg in Germany from 1983 to 1993, and received an art scholarship from the Rotary Club of Hamburg and the North German State. In 1991 received a Master of Fine Arts.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
As a pioneering female artist in Chinese contemporary art, Liang Ying was one of the earliest group of artists who studied in Germany in the 1980s. She is also one of the first established Chinese artists who forgo oil painting in order to focus on ink painting. Whether it is her early series “Diary Liang Ying”, which depicted modern women in urban settings, or her recent series “Immortals and Legends,” Liang Ying has always innovatively combined the compositional elements and contents of German Neo-Expressionism with the brushwork and subject matters of traditional Chinese Painting, transforming them into myriad phenomenal artworks.In these works, she merges concepts, narrative, and painterly expression in one entity. Like many Chinese artists in the 20th century, Liang Ying devotes herself to exploring the possibility of ink painting, hoping to prove to the world that ink painting is still a vital component of today’s contemporary art world.
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Artists
Liu Fengzhi
Liu Fengzhi was born in 1964 in Harbin, China. He graduated from art department of Harbin Normal University in 1984, and died in 2017.
His works have been widely collected by collectors around the world. Whether it is landscape painting or portrait, Liu Fengzhi's works contain strong subjectivity and emotional features. With free and loose brushstrokes and lines, he pulls away the original volume of the object, especially with the help of lines that twists, turns, hovers, reciprocates, sways, and gathers, closely responding to the transient emotional changes. He further presents and delineates the subtle and unobservable mental process, in which, reaching a highly abstract state. Liu Fengzhi faces the real world with a heart full of passion and humanistic care. In the poetic dismantling and combination of the external world, it hints at his deep reflection on the living conditions of human beings.
His works have been widely collected by collectors around the world. Whether it is landscape painting or portrait, Liu Fengzhi's works contain strong subjectivity and emotional features. With free and loose brushstrokes and lines, he pulls away the original volume of the object, especially with the help of lines that twists, turns, hovers, reciprocates, sways, and gathers, closely responding to the transient emotional changes. He further presents and delineates the subtle and unobservable mental process, in which, reaching a highly abstract state. Liu Fengzhi faces the real world with a heart full of passion and humanistic care. In the poetic dismantling and combination of the external world, it hints at his deep reflection on the living conditions of human beings.
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Artists
Lou Shenyi
In December 1973, Lou Shenyi was born in the county town of Fenghui in Shangyu, Shaoxing, Zhejiang Province. He was admitted to the Affiliated High School of Zhejiang Academy of Fine Arts in 1989 and entered the Mural Painting Department of Central Academy of Fine Arts in Beijing (CAFA) in 1993. He has been teaching at China Academy of Art (CAA) since his graduation in 1997.
Lou’s painting draws from a broad range of topics benefiting from his childhood reading experience. Journey to the West, Buddhist sutras, pastoral sceneries, exotic landscapes, and portraiture are his favourites. After many years of diversified drawing experiments, Lou found his predilection for the rudimentary technique of outlining and colouring, i.e. outlining with markers and colouring with unmixed colours, which brings a concise, powerful, and visually impactful pleasure.
Lou perceives the world with childlike eyes, “I found naivety rather wise: the more superficial it appears, the closer it gets to the profound.”
Lou’s painting draws from a broad range of topics benefiting from his childhood reading experience. Journey to the West, Buddhist sutras, pastoral sceneries, exotic landscapes, and portraiture are his favourites. After many years of diversified drawing experiments, Lou found his predilection for the rudimentary technique of outlining and colouring, i.e. outlining with markers and colouring with unmixed colours, which brings a concise, powerful, and visually impactful pleasure.
Lou perceives the world with childlike eyes, “I found naivety rather wise: the more superficial it appears, the closer it gets to the profound.”
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Artists
Wang Xinyan
Wang Xinyan was born in Beijing, China, in 1995. From 2013 to 2017, Wang Xinyan studied at the Department of Oil Painting of the Central Academy of Fine Arts and received a bachelor's degree. From 2016 to 2017, she studied at the Zurich Academy of Arts, majoring in New Media. From 2017 to 2020, she studied at the Fourth Studio of the Central Academy of Fine Arts and received a master's degree. From 2020 to 2022, she studied at the School of the Art Institute of Chicago and received Painting and Drawing MFA.
Through a style that evokes pre-historicism and primal landscapes, Wang Xinyan’s creative process concentrates on the personal exploration of painting, while simultaneously expressing her brimming enthusiasm for life—scintillating yet packed with gravitas. In Wang Xinyan’s recent practice she has been looking back at the primitive symbols, totems, and ritual altars from the age of Prehistoric Civilization. Wang contemplates how artists, under the development of contemporary civilization and technological advancement, can be judged and evaluated by the painterly skills and techniques of the artwork itself rather than the standards imposed by external understanding. The contents she presents on her canvases are an amalgamation of miscellaneous inspirations gathered by stripping away external influences. These inspirations eventually converge in the objects, elements, or lifestyle she is interested in. Coincidently, Wang Xinyan's works visualize and present refections of her subconsciousness in visual language.
Wang Xinyan solo exhibitions include: Wang Xinyan: Archaeology of Traditional Chinese Medicine in the Digital Age (Asia House, London, 2019), On Innocence in Ancient Times (Exhibition hall of oil painting department, Central Academy of Fine Arts, Beijing, 2018). Selected group exhibitions include: Boundless Green, Walking towards the Mountain (Tangu Slow Flash Art Museum, Beijing, 2022), Twins (Kaph Kaph Gallery, New York, 2022), Xinyan & Amondon! (Roots & Culture Gallery, Chicago, 2022).
Through a style that evokes pre-historicism and primal landscapes, Wang Xinyan’s creative process concentrates on the personal exploration of painting, while simultaneously expressing her brimming enthusiasm for life—scintillating yet packed with gravitas. In Wang Xinyan’s recent practice she has been looking back at the primitive symbols, totems, and ritual altars from the age of Prehistoric Civilization. Wang contemplates how artists, under the development of contemporary civilization and technological advancement, can be judged and evaluated by the painterly skills and techniques of the artwork itself rather than the standards imposed by external understanding. The contents she presents on her canvases are an amalgamation of miscellaneous inspirations gathered by stripping away external influences. These inspirations eventually converge in the objects, elements, or lifestyle she is interested in. Coincidently, Wang Xinyan's works visualize and present refections of her subconsciousness in visual language.
Wang Xinyan solo exhibitions include: Wang Xinyan: Archaeology of Traditional Chinese Medicine in the Digital Age (Asia House, London, 2019), On Innocence in Ancient Times (Exhibition hall of oil painting department, Central Academy of Fine Arts, Beijing, 2018). Selected group exhibitions include: Boundless Green, Walking towards the Mountain (Tangu Slow Flash Art Museum, Beijing, 2022), Twins (Kaph Kaph Gallery, New York, 2022), Xinyan & Amondon! (Roots & Culture Gallery, Chicago, 2022).
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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
Zhang Kai
Zhang Kai was born in 1985 in Shanxi, China. He graduated from the School of Arts, Shanxi Normal University, currently works and lives in Beijing.
In his painting, the protagonists are personified and spiritualized cats and rabbits, which present the tranquil, mysterious and poetic atmosphere. Through the synthesis and reconstruction of the classical and the contemporary, Zhang Kai presents his thinking on time, spirit, appearance and essence, starting from his analysis of art history from the contemporary perspective, and his own aesthetic tendencies.
In his painting, the protagonists are personified and spiritualized cats and rabbits, which present the tranquil, mysterious and poetic atmosphere. Through the synthesis and reconstruction of the classical and the contemporary, Zhang Kai presents his thinking on time, spirit, appearance and essence, starting from his analysis of art history from the contemporary perspective, and his own aesthetic tendencies.
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Artists
Cheng Tsai-Tung
Cheng Tsai-Tung (Zheng Zaidong) was born in Taipei in 1953, currently lives and works in Shanghai. As a self-taught artist, Cheng’s practice freely navigates through the traditions of both Chinese and Western art by engaging with a series of divergent and sometimes even contradictory concepts and styles—including Modern and historical, imaginary and real, collective and personal, and sensual and innocent. Cheng's works are closely tied to notions of dislocation and periphery stemming from his cross-cultural ties to Shanghai, where he currently lives and works, New York City, where he spent a considerable amount of time in his youth, and Taipei, where he was born.
Cheng is widely acclaimed for his free-style landscape paintings in vivid colors, exploring the artist’s inner quest for an ideal place to reside and ruminate, and ways in which all these conflicting ideas and beliefs could reconcile with each other. Elegant, ethereal and with a touch of playfulness, his works offer the contemporary viewers a spiritual home to dwell in, wander around, and to enjoy a temporary shelter from this boisterous and complicated modern world.
Cheng Tsai-Tung has had extensive international solo exhibitions and projects including How can we live without this gentleman: Cheng Tsai-Tung Solo Exhibition, Yi Yun Art, Taipei, 2022; The Realm of Dreamland: Zheng Zai Dong Solo Exhibition, Aurora Museum, Shanghai, 2022; Literati’s Peach Blossom Spring: Zheng Zaidong Solo Exhibition, Powerlong Museum, Shanghai, 2021; Such Fellowship Shall Endure Despite Our Parted Ways: Zheng Zaidong Solo Exhibition, Tofukuji Temple, Kyoto, 2019; Flower Series, Liang Project, Shanghai, 2017; The City Wanderer, Jewelvary, Shanghai, 2016; Mountains, Water, Moon, Matthew Liu Fine Arts, Shanghai, 2015; Refulgence of Solitude, Long Museum, Shanghai, 2014; My Mind in Unsullied Languor: Revisiting Then and There, ARTMIA Foundation, Beijing, 2013; Ranging in France—Cheng Tsai-Tung’s solo exhibition, Red Bridge Gallery, Shanghai, 2007; Moon and Shadow Cheer Me Through, Shanghai Gallery of Art, Shanghai, 2006; Ink Paintings by Cheng Tsai-Tung, Hanart Gallery, Hong Kong, 2005; Verdant Hill Semiveiled, Lin and Keng Gallery, Taipei, 2003. His works have also been featured in notable group exhibitions including Interpretation Traditional—Contemporary Paintings Four Artists Exhibition, Xuhui Art Museum, Shanghai, 2012; Time Games: Contemporary Appropriations of the Past, Taipei Fine Arts Museum, Taipei, 2012; Mountain and Running Water, Shanghai Art Museum, Shanghai, 2004; Cheng Tsai-Tung, Zhou Chunya, Liu Wei Group Show, Shanghai Gallery of Art, Shanghai, 2004; Paris/Peking, Pierre Cardin Art Center, Paris, 2002; Towards a New Image—Twenty Years of Contemporary Chinese Painting, National Art Museum, Beijing, Shanghai Art Museum, Shanghai, Sichuan Art Museum, Chengdu, Guangdong Art Museum, Guangzhou, 2001.
Cheng is widely acclaimed for his free-style landscape paintings in vivid colors, exploring the artist’s inner quest for an ideal place to reside and ruminate, and ways in which all these conflicting ideas and beliefs could reconcile with each other. Elegant, ethereal and with a touch of playfulness, his works offer the contemporary viewers a spiritual home to dwell in, wander around, and to enjoy a temporary shelter from this boisterous and complicated modern world.
Cheng Tsai-Tung has had extensive international solo exhibitions and projects including How can we live without this gentleman: Cheng Tsai-Tung Solo Exhibition, Yi Yun Art, Taipei, 2022; The Realm of Dreamland: Zheng Zai Dong Solo Exhibition, Aurora Museum, Shanghai, 2022; Literati’s Peach Blossom Spring: Zheng Zaidong Solo Exhibition, Powerlong Museum, Shanghai, 2021; Such Fellowship Shall Endure Despite Our Parted Ways: Zheng Zaidong Solo Exhibition, Tofukuji Temple, Kyoto, 2019; Flower Series, Liang Project, Shanghai, 2017; The City Wanderer, Jewelvary, Shanghai, 2016; Mountains, Water, Moon, Matthew Liu Fine Arts, Shanghai, 2015; Refulgence of Solitude, Long Museum, Shanghai, 2014; My Mind in Unsullied Languor: Revisiting Then and There, ARTMIA Foundation, Beijing, 2013; Ranging in France—Cheng Tsai-Tung’s solo exhibition, Red Bridge Gallery, Shanghai, 2007; Moon and Shadow Cheer Me Through, Shanghai Gallery of Art, Shanghai, 2006; Ink Paintings by Cheng Tsai-Tung, Hanart Gallery, Hong Kong, 2005; Verdant Hill Semiveiled, Lin and Keng Gallery, Taipei, 2003. His works have also been featured in notable group exhibitions including Interpretation Traditional—Contemporary Paintings Four Artists Exhibition, Xuhui Art Museum, Shanghai, 2012; Time Games: Contemporary Appropriations of the Past, Taipei Fine Arts Museum, Taipei, 2012; Mountain and Running Water, Shanghai Art Museum, Shanghai, 2004; Cheng Tsai-Tung, Zhou Chunya, Liu Wei Group Show, Shanghai Gallery of Art, Shanghai, 2004; Paris/Peking, Pierre Cardin Art Center, Paris, 2002; Towards a New Image—Twenty Years of Contemporary Chinese Painting, National Art Museum, Beijing, Shanghai Art Museum, Shanghai, Sichuan Art Museum, Chengdu, Guangdong Art Museum, Guangzhou, 2001.
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