Gallery Dynamic
TRIUMPH｜Beijing Dangdai Art Fair Booth C18
2024.05.18
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
Lu Hao
Lu Hao was born in Beijing in 1969, graduated from the Central Academy of Fine Arts in 1992. He served as the curator for the Chinese Pavilion at the 53rd Venice International Art Biennale and also became the exclusive designer for a limited edition Ferrari sports car in 2009, he held the position of foreign art consultant for the Paris City Government from 2009 to 2013. Currently lives and works in Beijing.
Lu Hao's artistic practice contains various mediums, including sculpture, photography, installation art, ink painting, and oil painting. His creations are rooted in Chinese forms and culture, exploring themes related to urban architecture, living environments, and lifestyles, while providing keen insights into the changing landscape of Chinese society. Since the 1990s, Lu Hao has participated in many international exhibitions, including the Documenta Kassel, Busan Biennale, São Paulo Biennial, Shanghai Biennale, Istanbul Biennial, Lyon Biennale, and Venice Biennale, etc., among other influential international exhibitions, and his works have been collected by renowned domestic and international art museums, art institutions and important collectors.
Lu Hao's artistic practice contains various mediums, including sculpture, photography, installation art, ink painting, and oil painting. His creations are rooted in Chinese forms and culture, exploring themes related to urban architecture, living environments, and lifestyles, while providing keen insights into the changing landscape of Chinese society. Since the 1990s, Lu Hao has participated in many international exhibitions, including the Documenta Kassel, Busan Biennale, São Paulo Biennial, Shanghai Biennale, Istanbul Biennial, Lyon Biennale, and Venice Biennale, etc., among other influential international exhibitions, and his works have been collected by renowned domestic and international art museums, art institutions and important collectors.
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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
Lars Elling
Lars Elling was born in Trondheim, Norway in 1966. He attended Statens Høgskole for Kunsthåndverk og Design, Bergen, from 1988 to 1993. His artworks have been exhibited worldwide, including in various countries such as Germany, Italy, Norway, Austria, Denmark, France, and the United States. They have been widely featured in reviews, articles, and publications, receiving high acclaim from both domestic and international public institutions as well as private collectors. Public collections housing his work include the National Gallery, Oslo, Haugar Museum of Art, Trondheim Kunstmuseum, Arts Council Norway, Oslo, and Oslo Municipality. Lars Elling currently resides and works in Oslo, Norway.
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Artists
Martin Golland
Martin Golland was born in Montpellier, France in 1975. Martin Golland received his MFA from the University of Guelph, Ontario, Canada in 2006 and his BFA from Concordia University, Montreal in 1998. He has exhibited nationally and internationally, including “Adisokamagan: We All Become Stories” at the Ottawa Art Gallery (2018), “Imaging Disaster” at Museum London, Ontario (2013) and the “11th Annual RBC painting Competition” at the National Gallery of Canada (2010). His work has been written about in numerous reviews, articles and publications. His work has been collected into public and private collections across Canada, USA, Germany, and abroad.
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Artists
Nashunbatu
Nashunbatu was born in 1969 in Ordos, Inner Mongolia, China. He graduated from the Fine Arts Department of Inner Mongolia Normal University in 1989. From 2000 to 2006, he studied at the University of Fine Arts in Braunschweig, Germany, Where he was awarded the Scholarship of the Foundation for Cultural Heritage of Braunschweig (SBK) in 2006. Currently lives and works in Frankfurt am Main, he mainly works with contemporary oil paintings.
Formal analytic and thematic consideration of Nashunbatu’s work shows that the works articulate their quality at the two levels that are relevant to the medium of painting. A reflexive approach to the possibilities of painting after the end of painting, and a unique experience associatively legible at the thematic level, which can be read as a critical commentary on the current state of our relation to subject/self and the world, come together. The twin poles of the horizon of meaning in Nashun Nashunbatu’s art illustrates the potential of a contemporary approach to painting that interrelates a wide spectrum of relational fields and gives pictorial expression to virulent experiences of our condition as contemporary individuals.
Formal analytic and thematic consideration of Nashunbatu’s work shows that the works articulate their quality at the two levels that are relevant to the medium of painting. A reflexive approach to the possibilities of painting after the end of painting, and a unique experience associatively legible at the thematic level, which can be read as a critical commentary on the current state of our relation to subject/self and the world, come together. The twin poles of the horizon of meaning in Nashun Nashunbatu’s art illustrates the potential of a contemporary approach to painting that interrelates a wide spectrum of relational fields and gives pictorial expression to virulent experiences of our condition as contemporary individuals.
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Artists
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 creations, lines, strokes, and color blocks, while possessing the beauty of form, also have a sense of being swarmed by information, eroded by data, and transformed by technology, people/art have become the reality of the broken elements of the digital age, but at the same time, they have found a latent, holistic order in the pile of brokenness. At the same time, the plants and mountains presented by Tu Xi exist as “natural symbols” or “landscape symbols”. In his expression, these elements are no longer purely products of the natural environment, but become a kind of pattern and cultural symbol. When these natural elements are placed in his creations, and deconstructed and constructed by Tu Xi in different ways, a humanistic reflection based on “technology” is formed. It includes man and nature, man and technology, nature and artifacts, illusion and reality, and so on.
In Tu Xi's creations, lines, strokes, and color blocks, while possessing the beauty of form, also have a sense of being swarmed by information, eroded by data, and transformed by technology, people/art have become the reality of the broken elements of the digital age, but at the same time, they have found a latent, holistic order in the pile of brokenness. At the same time, the plants and mountains presented by Tu Xi exist as “natural symbols” or “landscape symbols”. In his expression, these elements are no longer purely products of the natural environment, but become a kind of pattern and cultural symbol. When these natural elements are placed in his creations, and deconstructed and constructed by Tu Xi in different ways, a humanistic reflection based on “technology” is formed. It includes man and nature, man and technology, nature and artifacts, illusion and reality, and so on.
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Artists
Wang Yabin
Wang Yabin was born in Henan Province in 1974 and graduated from the Art Department of Henan Normal University in 1994. Currently lives and works in Zhengzhou, Henan Province and Huangshan, Anhui Province.
As a leading figure in Chinese contemporary painting, Wang Yabin specializes in using western painting techniques to display eastern landscapes and figures. He says, "It is my artistic choice to draw on the forms and languages of Western art with Eastern aesthetic thought and Chinese culture as the core".
His paintings have always presented a rich look and coherent threads, starting from a keen inner experience, incorporating complex thoughts and emotions into the language of painting. Each stage of his works is unique, and he completes the transformation of his artistic language amidst different experiences and perceptions, with varied themes that keep advancing in the midst of extension.
As a leading figure in Chinese contemporary painting, Wang Yabin specializes in using western painting techniques to display eastern landscapes and figures. He says, "It is my artistic choice to draw on the forms and languages of Western art with Eastern aesthetic thought and Chinese culture as the core".
His paintings have always presented a rich look and coherent threads, starting from a keen inner experience, incorporating complex thoughts and emotions into the language of painting. Each stage of his works is unique, and he completes the transformation of his artistic language amidst different experiences and perceptions, with varied themes that keep advancing in the midst of extension.
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Artists
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
Xu Qu
Xu Qu was born in 1978 in Jiangsu, China. Xu Qu graduated with a MFA in Diplom of Fine Art and Film at Braunschweig University of Art, Germany in 2007. The artist is currently lives and works in Beijing.
Xu Qu conveys his attitude towards society and his understanding of the world through artistic practice. He focuses on exploring the interconnections among social systems in different dimensions and fields. Starting from a profound insight into social reality, Xu Qu uncovers the subtle aspects within his field of vision, revealing the macro through a grasp of the micro. He navigates through various value systems and aesthetic experiences, extending his reflections on the interplay of social systems. Guided by his pursuit of concise and clear presentation, Xu Qu employs diverse media to address different topics, resulting in a multidimensional artistic practice that encompasses painting, performance, video, installation, and sculpture.
Xu Qu's recent solo exhibitions include Emergence, Triumph Gallery, Beijing, China, 2024; No Evil, No Joy, Nanshan Society, Xi’an, China, 2023; Advent, Long Museum West Bund, Shanghai, China, 2023; Central Axis, Tang Contemporary Art, Seoul, Korea, 2023; Rejuvenation, Tang Contemporary Art, Beijing, China, 2021; Straight Line, Tang Contemporary Art, Hong Kong, China, 2021; Desert, Each Modern, Taipei, China, 2020; Fineness, Massimo De Carlo, Hong Kong, China, 2019; Chaos, Massimo De Carlo, Milan, Italy, 2019; Ache, Antenna Space, Shanghai, China, 2018. Xu Qu has participated in group exhibitions at renowned institutions both domestically and internationally, including Fondation Louis Vuitton (Paris, France), K11 Art Foundation (Hong Kong, China), UCCA Center for Contemporary Art (Beijing, China), Taikang Space (Beijing, China), OCAT Shanghai (Shanghai, China), 21st Century Minsheng Art Museum (Shanghai, China), Long Museum (Shanghai, China), Guangdong Times Art Museum (Guangzhou, China), Song Art Museum (Beijing, China), and He Art Museum (Foshan, China).
Xu Qu conveys his attitude towards society and his understanding of the world through artistic practice. He focuses on exploring the interconnections among social systems in different dimensions and fields. Starting from a profound insight into social reality, Xu Qu uncovers the subtle aspects within his field of vision, revealing the macro through a grasp of the micro. He navigates through various value systems and aesthetic experiences, extending his reflections on the interplay of social systems. Guided by his pursuit of concise and clear presentation, Xu Qu employs diverse media to address different topics, resulting in a multidimensional artistic practice that encompasses painting, performance, video, installation, and sculpture.
Xu Qu's recent solo exhibitions include Emergence, Triumph Gallery, Beijing, China, 2024; No Evil, No Joy, Nanshan Society, Xi’an, China, 2023; Advent, Long Museum West Bund, Shanghai, China, 2023; Central Axis, Tang Contemporary Art, Seoul, Korea, 2023; Rejuvenation, Tang Contemporary Art, Beijing, China, 2021; Straight Line, Tang Contemporary Art, Hong Kong, China, 2021; Desert, Each Modern, Taipei, China, 2020; Fineness, Massimo De Carlo, Hong Kong, China, 2019; Chaos, Massimo De Carlo, Milan, Italy, 2019; Ache, Antenna Space, Shanghai, China, 2018. Xu Qu has participated in group exhibitions at renowned institutions both domestically and internationally, including Fondation Louis Vuitton (Paris, France), K11 Art Foundation (Hong Kong, China), UCCA Center for Contemporary Art (Beijing, China), Taikang Space (Beijing, China), OCAT Shanghai (Shanghai, China), 21st Century Minsheng Art Museum (Shanghai, China), Long Museum (Shanghai, China), Guangdong Times Art Museum (Guangzhou, China), Song Art Museum (Beijing, China), and He Art Museum (Foshan, China).
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Artists
Yang 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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