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.

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.

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.

Nashunbatu was born in 1969 in Ordos, Inner Mongolia, China. He graduated from the Fine Arts Department of Inner Mongolia Normal University in 1989. From 2000 to 2006, he studied at the University of  Fine Arts in Braunschweig, Germany, Where he was awarded the Scholarship of the Foundation for Cultural Heritage of Braunschweig (SBK) in 2006. Currently lives and works in Frankfurt am Main, he mainly works with contemporary oil paintings. 

Formal analytic and thematic consideration of Nashunbatu’s work shows that the works articulate their quality at the two levels that are relevant to the medium of painting. A reflexive approach to the possibilities of painting after the end of painting, and a unique experience associatively legible at the thematic level, which can be read as a critical commentary on the current state of our relation to subject/self and the world, come together. The twin poles of the horizon of meaning in Nashun Nashunbatu’s art illustrates the potential of a contemporary approach to painting that interrelates a wide spectrum of relational fields and gives pictorial expression to virulent experiences of our condition as contemporary individuals.

Xu Qu was born in 1978 in Jiangsu, China.  Xu Qu graduated with a  MFA in Diplom of Fine Art and Film at Braunschweig University of Art, Germany in 2007.  The artist is currently lives and works in Beijing.

Xu Qu conveys his attitude towards society and his understanding of the world through artistic practice.  He focuses on exploring the interconnections among social systems in different dimensions and fields.  Starting from a profound insight into social reality, Xu Qu uncovers the subtle aspects within his field of vision, revealing the macro through a grasp of the micro.  He navigates through various value systems and aesthetic experiences, extending his reflections on the interplay of social systems.  Guided by his pursuit of concise and clear presentation, Xu Qu employs diverse media to address different topics, resulting in a multidimensional artistic practice that encompasses painting, performance, video, installation, and sculpture.

Xu Qu's recent solo exhibitions include Emergence, Triumph Gallery, Beijing, China, 2024; No Evil, No Joy, Nanshan Society, Xi’an, China, 2023; Advent, Long Museum West Bund, Shanghai, China, 2023;  Central Axis, Tang Contemporary Art, Seoul, Korea, 2023;  Rejuvenation, Tang Contemporary Art, Beijing, China, 2021;  Straight Line, Tang Contemporary Art, Hong Kong, China, 2021;  Desert, Each Modern, Taipei, China, 2020;  Fineness, Massimo De Carlo, Hong Kong, China, 2019;  Chaos, Massimo De Carlo, Milan, Italy, 2019;  Ache, Antenna Space, Shanghai, China, 2018.  Xu Qu has participated in group exhibitions at renowned institutions both domestically and internationally, including Fondation Louis Vuitton (Paris, France), K11 Art Foundation (Hong Kong, China), UCCA Center for Contemporary Art (Beijing, China), Taikang Space (Beijing, China), OCAT Shanghai (Shanghai, China), 21st Century Minsheng Art Museum (Shanghai, China), Long Museum (Shanghai, China), Guangdong Times Art Museum (Guangzhou, China), Song Art Museum (Beijing, China),  and He Art Museum (Foshan, China).

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.

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.