Interview | "Brand-new architecture" Questions for 11 Artists
文摘
2024-07-31 16:00
安徽
KeYi Gallery Hefei Space is currently hosting a group exhibition titled "Brand-new architecture, Figurativism loom on every floor" . The exhibition features over 30 works by 11 artists: Guo Zhaolin, Liu Zhicheng, Liu Sheng, Li Chuangli, Li Jiaqi, Liang Teng, Xu Tanghao, Ye Zhaofeng, Zou Yiwei, Zeng Qingqiang, and Zhu Yiming. The exhibition will run until August 19. Before it concludes, we asked the artists some questions:KeYi Gallery（K） × Guo Zhaolin（GZL）K: How do you distill your creative elements from everyday life?GZL: Answer: My creative inspiration primarily comes from various experiences and observations in daily life. Nowadays, even without going out, I can access a vast amount of information through various channels. I am passively exposed to information every day, and I also actively seek inspiration. All these experiences stimulate many ideas, especially when I have insomnia before sleep. During the process of distilling creative elements, I go through a process of filtering and refining. I first notice those special details and moments in life, whether visual or emotional. Then, I filter these initial ideas, keeping the most expressive and potential elements. By observing and recording everyday scenes and discovering often overlooked corners and details, I present them in a new perspective in my work.K: How do you understand the fragmented imagery in your works, and can you discuss a specific piece?GZL: Answer: In my work "Decomposed Architecture," I use fragmented imagery to explore the relationship between space and form. This piece deconstructs various parts of my studio into fragments of different sizes and then reassembles them into the shape of a house. This process disrupts the original spatial structure, causing each part to lose its original function and positioning, creating a non-traditional, non-linear spatial experience. The piece disassembles and reorders commonly used areas and those seldom used or nearly ignored corners of living and working spaces. Through this non-linear, irregular approach, the house’s form becomes chaotic and abstract. Viewers are led to rethink the relationship between space and form. On a two-dimensional plane, the house is composed of various geometric shapes, presenting a complex and ever-changing form. The fragmented composition in the work not only breaks the original spatial structure but also projects shadows with a sense of depth in the three-dimensional world, creating a psychedelic and unique visual effect. This use of fragmented imagery allows the work to convey a new understanding and reflection on space and form by breaking conventional structures and arrangements, stimulating new perceptions and reflections on everyday spaces and objects.K: As you are currently a graduate student, what are your expectations for the future?GZL: Answer: At present, I am in my second year of graduate school, and my primary goal for the coming year is to complete my studies successfully. Upon graduation, I hope to smoothly transition from being a student to becoming a professional artist. In the short term, I aim to find a spacious studio, ideally with white walls, good lighting, and a high ceiling to better facilitate creation. In this new environment, I hope to produce more in-depth and impactful works.K: Do you have any new plans for recent works?GZL: Answer: I currently have many creative ideas in mind and am gradually implementing them. Time flies, and my creations continue to revolve around daily life. My upcoming works will maintain the previous style, but I plan to incorporate some narrative elements and improve both the quantity and quality of the works.KeYi Gallery（K） × Liu Zhicheng（LZC）K: Talk about the work "The Last Night."LZC: These two works discuss the human condition. In "The Last Night," I aim to depict a sense of being at a loss. The characters are placed in a state of nudity, surrounded, merged, and disintegrated by lines resembling withered branches. The specificity of time and space is not important here; my focus is on the situation.K: Discuss how you choose subjects for creation, using "Homo neanderthalensis " as an example.LZC: "Homo neanderthalensis" depicts a prehistoric human skull that has merged with surrounding mineral crystals. The attributes of death have long been stripped away, leaving only beauty. I enjoy choosing simple, classic, or even extensively depicted subjects because presenting them in a special appearance or state is challenging and aligns with my interests.K: How do you think technological advances directly impact painting creation?LZC: Technology is a tool that first changes the way we view the world and address problems. Therefore, recognizing the interface between the era and personal creation is crucial. For instance, people often question the boundary between reality and virtuality (virtual being a product of technology). To me, this is not an issue because our current lives are a product of their blend. We can use new methods and ideas to respond to and raise new questions. In today’s context, I hope to reveal the alienation of human and image in the chaotic state of reality and simulation. Focusing on daily life and people remains an eternal topic with varying answers.K: Do you have any new plans for recent works?LZC: Remove hypocrisy, preserve authenticity, reject greasiness.KeYi Gallery（K） × Liu Sheng（LS）K: Discuss the work "A deer with a dog's head".LS: An old friend from the village had a dream where a dog with deer antlers appeared. Upon waking, he believed that the lottery numbers (Hainan Lottery) were clearly 9 heads and 6 tails (in Cantonese, "dog" and "deer" are homophones). As a result, he won with those numbers.K: What is the most important element you want to express in your works?LS: This act of turning encounters into lottery numbers, dissolving any pain, helplessness, or joy in life through greed and luck, is a daily practice in the village. Although gambling and farming share the same level of risk, the joy of harvest feels different: one is effortless, and the other requires hard labor and sweat.K: Has returning to rural life significantly changed your creative process? Does the environment directly impact your creation?LS: Initially, I planned to continue the working methods from Xisan Village, combined with learning farming from villagers to understand the land, farming, history, ancestral halls, religion, customs, etc. of my hometown. However, I did not set any expectations. The environment continuously changes me. Living here, my body strongly responds to labor and surroundings, so my recent paintings have been significantly influenced by physical sensations.K: Do you have any new plans for recent works?KeYi Gallery（K） × Li Chuangli（LCL）K: How do you extract creative materials?LCL: Answer: When using the mobile internet daily, I save some materials that might be useful. I also search for relevant materials using “keywords” based on the creative direction and content. Since last year, I’ve been trying to use Midjourney to generate some image materials, extracting and post-processing these images to create new works.K: Discuss the choice of "chair" imagery in your "Body portrait Series"?LCL: Answer: In the early stages of this series, I chose some “ergonomic chair” related advertising images and painted these chair images as if they were portraits.K: How do modern tools and our lives interact with each other?LCL: Answer: Starting with “ergonomics,” the design concept is to make tools fit the natural shape of the body, reducing fatigue and bodily harm during use. In modern life, many tools seem to gradually become part of our bodies, and the body also becomes part of the tool within the same logic and scene. In this series, I attempt to discuss the violence and singularity of how tools rationally guide our lifestyle and living space through visual language.K: Do you have any new plans for recent works?LCL: The focus of the creation will expand from "portraits" to "bodies." There will also be new attempts in composition and color tones. When the time is right, I plan to start working on larger paintings and series.KeYi Gallery（K） × Li Jiaqi（LJQ）K: Discuss the largest manifestation of electronic media in your work.LJQ: Rather than appearing as “still life” in the works, the birth of the works is often based on the viewing, thinking, and expression methods brought by electronic media. The experiences of electronic media have already integrated into the working methods.K: How do you organize color language in your work? Discuss with a specific piece.LJQ: I have always liked bright, saturated colors. Sometimes, I instinctively use pink to represent femininity, blue for masculinity, while purple and green have uncertain implications but are not absolute. In “Sam's Law ” large areas of blue and green filling make me feel excited.K: What was the biggest influence on your creation during your studies abroad?LJQ: During my studies abroad, I seriously researched the topic of “truth and falsehood,” related to digital simulation and the re-materialization of images through installations returning to reality. Hence, “ideals and reality” and “simulation and reproduction” often appear in my works.K: Do you have any new plans for recent works?LJQ: New creations will continue to use princesses and princes as the main content carriers, like “Sam's Law” and “AMBULANCIAGA.” However, I will try to create smaller paintings. Smaller compositions will be more intimate, rather than large scenes. I’ll alternate between these approaches.KeYi Gallery（K） × Liang Teng（LT）K: What was the creative motivation behind the portrait theme of this exhibition?LT: Because "people" are encountered daily and have high relevance to oneself, they evoke the most feelings in me.K: Discuss the relationship between the imagery in your "lame performer" series and the concept of subconscious states.LT: I consider myself unconventional; in my understanding, the purest imagery consists of color and brushstrokes. By controlling these elements, I aim to convey a subconscious state through the artwork.K: As a current graduate student, what are your expectations for the future?K: Do you have any new plans for recent creations?LT: I've painted some more intense ones than before.KeYi Gallery（K） × Xu Tanghao（XTH）K: Discuss your work "Ate boiled tofu with pickles, the emperor is not as good as me ".XTH: This work explores the eternal significance of ordinary things in painting.Ate boiled tofu with pickles, the emperor is not as good as me K: How do you perceive the role of color in your artwork? Provide examples from specific works.XTH: Color and form always hold the timeless charm of painting. The use of color is emotional; this intimate emotion requires rational analysis to achieve true visual presentation. Specifically in this work, it is based on my impression of the object itself and the direct extraction of color from the image.K: You focus more on everyday mundane things. What elements most inspire your creativity?XTH: I don't only focus on mundane things; I maintain a relatively passionate attitude towards everything. What most inspires me is the ordinary things presented in a hyper-realistic state through painting.K: Do you have any new plans for recent creations?XTH: Painting is relatively flat; an exhibition is three-dimensional. Images are flat; opening someone's phone album is three-dimensional. Time cannot be stopped; the present is the present. My plan is to use painting to present my current perspective more three-dimensionally, like tunnel construction.KeYi Gallery（K） × Ye Zhaofeng（YZF）K: What is the creative thread behind the "Estrangement" series?YZF: When I first started this series, my grandmother saw my work by chance and started talking to me about how in her generation, romantic relationships relied solely on letters due to lack of communication devices and inconvenient transportation. Letters took weeks to travel back and forth, yet the emotions between couples deepened with each precious letter, as if these pages of paper were constant companions through the long river of time.As I grew up, those of us born in the 1990s experienced firsthand the impact of information technology. I remember when we graduated from primary school, classmates would buy each other graduation yearbooks where everyone wrote their contact information and well-wishes. Looking back now, those cute and naive handwriting entries make the paper content seem incredibly precious.Nowadays, everything has almost become online. The rapid development of information technology has made communication between us increasingly convenient and fast through various software. However, while technology has made things more convenient, the distance between people has paradoxically grown further due to these small screens. Network information technology has begun to dominate our lives. Today, no one can stay away from it beyond daily use.K: You focus more on the impact of digital technology on our lives?YZF: In today's era, digital technology and artificial intelligence have the greatest impact on ordinary people's lives. In our society, technology has long been a means to construct systems and social governance. Data and quantification have become measuring scales in various industries.Individuality has been continuously deprived under this rapidly developing digital technology. Under the interaction of institutional domination and technological deprivation, individuals have become homogenized and networked. In the extreme commodification, objectification, and utilitarianism of modern culture, people's spiritual lives have faced numerous threats and harms, causing them to become increasingly alienated from the complete meaning of their own existence. The "Estrangement" series aims to depict a phenomenon, but the deeper meaning behind this phenomenon is worth pondering by the "audience."K: How does the transition from student to teacher influence your creative expression?YZF: There isn't much of a big change in transition; it's more about the samples of creation. As a teacher, I can engage more with the latest generation, communicate with them during teaching, understand their concerns, topics, life experiences, communication methods, and values, and see how digital technology affects various aspects of their lives. Facing this youngest generation, combined with my own life experiences, what I see, hear, and feel further deepens the direction of the "Estrangement" series. It also spawns new series from estrangement, of course, still in progress, with much more to create.K: Do you have any new plans for recent creations?YZF: The creation plan continues steadily as usual, and next year's exhibition plans with galleries are also underway. It's important to maintain a creative state for oneself. During the creation process, inspiration for the next piece bursts forth. The "Estrangement" series will continue; it's a contemporary issue. New series are also continuously being created, though they won't be exhibited so quickly. In the face of creation, it's still something I care about: in this era, how we as individuals face our lives and find the complete meaning of our existence amidst the brilliance of technology.KeYi Gallery（K） × Zou Yiwei（ZYW）K: Discuss how you distilled creative elements from your works in this exhibition?ZYW: The current stage of creative elements for me appears in my mind from the start. I only think about how to arrange these elements logically during the painting process.K: Does the "cartoon-like imagery" you focus on have any special significance?ZYW: This imagery is somewhat unconscious and serves to disrupt the painting.K: Besides painting, what is your favorite daily activity?K: Do you have any new plans for recent creations?ZYW: There are many things I want to express. My plan is to create more and accumulate a certain amount.KeYi Gallery（K） × Zeng Qingqiang（ZQQ）K: Do you tend to extract creative materials from your immediate environment?ZQQ: My creative concept stems from modern urban life, encompassing various forms of dark humor and unfulfilled desires. Themes I explore include the flaws of techno-capitalism, material culture, and unresolved pasts. Inspiration comes from daily news as well as personal experiences with friends.K: What differences do you see between your paintings and installation artworks?ZYW: I work in two main mediums: painting and installations. Painting involves a more personal and internal psychological space, whereas installations engage in a dialogue between materials, exhibition space, and the audience's physical presence.K: How has living abroad compared to life in your home country influenced your art the most?ZYW: The biggest impact on my art between living abroad and in my home country lies in the interactive details of life. Also, the insights among friends regarding future artistic developments.K: Do you have any new plans for recent creations?ZYW: My recent creative plans involve preparing for several exhibitions next year. This includes a solo exhibition at a gallery in New York, another solo exhibition at KeYi Gallery in Hefei, and a group exhibition at the German Museum of Contemporary Art .
KeYi Gallery（K） × Zhu Yiming（ZYM）K: Discuss the painting language in your works "Undercurrent" and "Stand a long time "?ZYM: The main elements of these two works are simplified silhouettes. Typically, I sketch outlines in very small notebooks and then directly paint on canvases, continually adjusting and overlaying during the process. The coldness and sense of solidification portrayed in these two works are what I aimed to present.K: The absurdity and sense of isolation in your works—is it a reflection of your own relationship with society or your perception of the situation of some other group's symbols in society?ZYM: It's more of a reflection of my own feelings. Each of us is an independent and unique individual in society. Personally, I tend to prefer solitude, so in my artwork, I lean towards expressing this absurdity and isolation.K: Share what aspects of life have had the greatest impact on your artistic creation?ZYM: It's difficult to pinpoint the single greatest impact on me. I believe it's the accumulation of daily experiences and societal shaping that subtly influence my artwork. I hope my paintings reflect these influences.K: Do you have any new plans for recent creations?ZYM: I continue to focus on creating based on my vivid personal experiences, prioritizing my bodily experiences as always.
Guo Zhaolin,born in Gaizhou, Liaoning Province in 2000. He graduated from the second Studio of the Oil Painting Department of Lu Xun Academy of Fine Arts in 2022, now he is studying as a postgraduate in the Oil Painting Department of Lu Xun Academy of Fine Arts.He is good at using the special perspective of observing the world to disassemble and reorganize things, and create new images by painting, forming psychedelic and unique visual effects. The fragmented schema breaks the conventional narrative mode and perspective effect, questions the usual senses from a rational and free perspective, and questions the relationship between space and form.His recent exhibitions include: “Artistic Proposition”,Shanshang Art Museum, (Dalian,2024); “Small Joint Exhibition”,Luxun Academy of Fine Arts Art Gallery ,(Shenyang,2023); “congsheng art”,China Academy of Art,(Hangzhou,2022),etc.![]()
Liu Zigsen, graduated from the Sculpture Department of China Academy of Art as an undergraduate in 2010, participated in the workshop program at the Hamburg Academy of Fine Arts in Germany in 2017, graduated from the Oil Painting Department of China Academy of Art as a postgraduate in 2018, and is the initiator of Green Hand Lab (Green Hand Lab). He now lives and works in Hangzhou. His works are mainly in the form of paintings exploring the alienated daily life of contemporary people and objects in the virtual space and the new mysticism after the possession of technology, rethinking the pictorial definition of things and the meaning of the present referred to in the paintings. His works have been collected by Start Museum, X Museum, Guangdong Contemporary Art Foundation and National Museum of China.The solo exhibitions he participated: "OUT OF THE FLOW", STEVE TURNER, (LA, 2024); “Champaign Odyssey”, ArtDepot, (Beijing,2023), “Terminal Forest”, Keyi Gallery, (Hefei, 2022), The group exhibitions he participated: "Rear Wave-New faces of new painting", Line Gallery, (Beijing, 2023); “Walking in the zoo is the most serious thing", Keyi Gallery, (Hefei, 2023); “Half Salt, Half Salty”, COSPACE, (Shanghai, 2023); “Portable Document Format”, Simulacra, (Beijing, 2022); “Winter Insomnia”, SOKA ART, (Beijing, 2022) ; “Echo of the Fugue”, ArtDepot, (Chongqing, 2022) ; “Prada ‘Action in he Year of the Tiger’ Special Presentation”, Prada Long Zhai, (Shanghai, 2022); “The Tango on Ripples”, L Project, (Beijing, 2022); “The Echo of Harsh”, TANK, (Shanghai, 2022); “Meeting Halfway · Inter-YouthPainting Exhibition”, West Bund Museum, (Shanghai, 2021); “New West Lake”, MoCa, (Shanghai, 2021); “Harmo-Power - 2020 The First Jinan International Biennale”, Shangdong Art Museum, (Shangdong, 2020), etc.![]()
Born in 1971 in Beipo Village, Suixi County, Zhanjiang, Guangdong, China, Liu Sheng graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 1994. Influenced by the social and economical reform and living environment at that time, Liu Sheng worked all over China to make a living and start his own business in the 20 years after graduation. In 2014, Liu Sheng resumed painting, and since then, he had been working on social practice in urban villages in the Pearl River Delta for five years. At the end of 2019, he returned to farming and launched the "Return to Sweet Potato Farming" project with community participation to continue his concern and expression on social changes and agricultural immigration issues. Liu Sheng is good at disassembling and reorganizing ordinary people's daily routine through observation and experience, and reconstructing another dimension of reality through creation. From Liu Sheng's works, people can find his self-examination, and at the same time, from a deeper level, Liu Sheng's reflections on human survival can be seen.His solo exhibitions include: "Potato Man’s Quest" , Galerie du Monde, (HongKong, 2024); "Water Flows, Ripe Fields", 1978 ArtVillage,(Guangzhou,2021); "Shui Liu Chai", Bonacon Gallery, (Guangzhou, 2019). Recent institutional projects: "One song is very much like another, and the boat is always from afar", Times Museum, (Guangzhou, 2021); "About the Pandemic", OCAT, (Shenzhen, 2020); "Pearl River Night Cruise" ,Times Museum, (Guangdong, 2019); "Bi - City Biennale of Urbanism \ Architecture", Shenzhen Mocape, (Shenzhen, 2019).Social Practice – Projects include:"HB Station", (2023-2024); "Return to Sweet Potato Farming", (2019-2024); "Village Rain", (2017); "Xi-San Film Studio", (2017); "Residents" (2017).Li Chuangli,born in Wuhan,now works and lives in Wuhan.His paintings focus on the interaction between us and machines and the environment, showing how we use tools in our work and modern social life and how we are shaped by tools, in the process of human psychology, health and comfort.His major exhibitions include: “Quietly recalling the past”, BIZARRE SPACE, (Wuhan, 2023); “John Moores Painting Prize exhibition”, Minsheng Art Museum, (Shanghai, 2020); “Not by description”, Powerlong Art Center, (Shanghai, 2018); "Inter-youth International Youth Painting Exhibition”, CCA Art Museum, (Hangzhou, 2017); “Platonic”, Gallery MC, (Shenzhen, 2016), etc.Jiaqi Li, earned his BFA from the Central Academy of Fine Arts (2019) and MFA from the School of the Art Institute of Chicago as a China Scholarship Council-sponsored student (2021). Now he lives and works in the Greater Bay Area. He focuses on the field of visual art, specializing in painting and object making. He looks into electronic devices, studies the cultural bobble comes along with exotic aesthetic, blends related visual memories, and thinks about the consumption logic.His major solo exhibitions include: “AMBULANCIAGA”, Studio Gallery, (Shanghai, 2024); “Brightness - Saturation - Glossiness”, Double Double Gallery, (Beijing, 2023), and the main group exhibitions include: “Fractal Resonance”, Epoch Art Museum, (Shanghai, 2023); “The Principle of Hope”, Inside-Out Art Museum, (Beijing, 2021); “Art Teleported Korea 2021”, Czong Institute for Contemporary Art Museum, (Gimpo, 2021); “Back Home”, Hunan Art Museum,(Changsha, 2020); “Art Nova 100 Opening Exhibition”, Guardian Art Center, (Beijing, 2018), etc.Liang Teng, born in Chengdu, Sichuan Province in 2000, he is now a postgraduate student in the Oil Painting Department of Sichuan Fine Arts Institute, and now works and lives in Chongqing. His works attempt to explore the combination of painting ontology and human nature in the picture,so as to present the subconscious state of human beings in this era.The main exhibitions he participated in: “The 4th Graduates Art Fair”, Wuhan International Convention and Exhibition Center, (Wuhan,2023); “The 4th Chongqing small oil painting exhibition”, Chongqing Jiaotong University, (Chongqing, 2023), etc.Xu Tanghao, born in 1998 in Hefei, Anhui Province. He graduated from the Painting Department of Sichuan University in 2022 and now works and lives in China.He has a penchant for images that inspire a desire for emotional expression, through images that can be unsettling, degrading, or sacred, to recreate, to record and reflect on the hidden wonders of life.![]()
Ye Zhaofeng, born in Wuxi in 1996, he graduated from the Affiliated Middle School of China Academy of Art in 2015, and then entered the China Academy of Art to study, and obtained bachelor's and master's degrees in the oil painting department of China Academy of Art in 2022. After graduation, he stayed in the school to teach in China Academy of Art, and now lives and works in Hangzhou. His paintings show the contradictions and conflicts that exist in our real lives, and he focuses on the major changes that digital technology has made in the course of human history and the impact of this change on life. His paintings depict how today we use intelligent technology to face and express our interactions with others, which are blurring the boundaries between physical space and virtual reality.His solo exhibitions include: “The Silent Fade of Everything”, Sens Gallery, (HongKong, 2024); and his recent group exhibitions include:"Beijing Contemporary Art Fair"， National Agriculture Exhibition Center, (Beijing, 2024); “ART021-Shanghai Contemporary Art Fair”, Shanghai Exhibition Center,(Shanghai,2023); “Academy of Fine Arts Youth”, TANK, (Shanghai, 2023); “Loading”,EveryArt Gallery,(Shanghai,2023); “Being with You in the World”,Zhejiang Art Museum,(Hangzhou,2022);“westbund-On Flight”, TANK, (Shanghai, 2022); “Domains of Intersection”, Westlake University, (Hangzhou, 2021); “The International Youth Art Fair-Torch of May”, Zhejiang Exhibition Hall, (Hangzhou, 2021); “AUCART Timestamp”, AucArt, (Britain, 2021); “AUCART Artist”, AucArt, (Britain, 2020); “Resistance of the Sleepers”, UCCA Dune, (Beidaihe, 2020); “Support education with art”, National Art Museum of China, (Beijing, 2020), etc.![]()
Zou Yiwei, born in 1993 in Sichuan, graduated from the Oil Painting Department of the Central Academy of Fine Arts with bachelor's degree and master's degree, and studied at the Oil Painting Department of the Tama Art University in Japan.Now lives and works in Yanjiao.She likes to draw comic-like images. This conceptualized image serves as a window through which the confusion of the real world, the hidden violence, and the potential desire open the absurd narrative of narcissism.The comic image is a skin of contrast, wrapped in the extreme, hidden inner, the communicator generally brings the outside world into the inside, re-segmentation, induction until reasonable release of the outside.The group exhibitions she participated: “Whether in Full Bloom or not, All Flowers are Flowers”, Keyi Gallery, (Hefei, 2022);“ART021”, PIFO Gallery, (Shanghai, 2022); “Elite Young Artists Program 2019”, Guantang Art Museum, (Beijing, 2019); “2nd Jasagala”, Huajiadi Beili Community, (Beijing, 2019), etc.![]()
Rexy Tseng, born in Taipei in 1986, until the age of thirteen, he relocated to the United States to further his education. He received a BFA from Carnegie Mellon University in 2009, he attended MFA at UCLA in 2012, and he attended MFA at University of Oxford in 2017. Between degrees, Tseng worked as a software engineer in San Francisco, Los Angeles, and New York. He is a visual artist who works primarily in painting and installation, and now lives and works in Berlin, Germany. Derived from the dark humor and unfulfilled desires of modern urban life, his works are chaotic and absurd, reflecting the traumatized optimism of his time, exploring the flaws of technological capitalism, material culture, and the unfinished past. Tseng has exhibited in Armenia, Belgium, China, Denmark, Finland, Germany, Hungary, Iceland, Italy, Japan, Lithuania, Russia, Korea, the UK and the U.S.. He has received awards and recognition from Allegro Prize, Charlottenborg Foundation, Li Chun-Shan Foundation Visual Art Award, Taipei Art Awards, Tomorrow Sculpture Awards, and others. Tseng has participated in artist residencies internationally, including Boghossian Foundation, Bemis Center for Contemporary Arts, Massachusetts Museum of Contemporary Art, MMCA, Sichuan Fine Arts Institute, and more.His major solo exhibitions include:“The Little Death”,Uitstalling Villa, (Belgium,2023); “ Pain and Pleasure”, Taipei Fine Arts Museum, (Taipei, 2022); “Distance”, Cross Gallery, (Taipei, 2021); “ Against Composition”, Art-Center Pushkinskaya-10, (Saint Petersburg, 2019); and his recent group exhibitions include: “Charlottenborg Spring Exhibition”,Kunsthal Charlottenborg, (Copenhagen, 2024); “Suhen”, Lu Xun Academy of Fine Arts, (Shenyang, 2023); “Summer Exhibition”, Royal Academy of Arts, (London, 2023); “After They Left”, Long Story Short, (New York, 2023); “Black Lodge”, Island Gallery, (New York, 2023); “Paradox”, Armenian Center for Contemporary Experimental Art, (Yerevan, 2022); “Iridescent”, National Museum of Modern and Contemporary Art, (South Korea, 2022); “ Ground Flight ”, Art Museum of Sichuan Fine Arts Institute, (Chongqing, 2022); “ Asia Digital Art Award ”, Fukuoka Art Museum, (Japan, 2022); “9th Beijing International Art Biennale”, National Art Museum of China, (Beijing, 2022), etc.![]()
Zhu Yiming, born in Henan in 1996. He received bachelor's and master's degrees from the Department of Oil Painting of Tianjin Academy of Fine Arts, at 2019 and 2023. Now he lives and works in Tianjin. His works look at the surrounding environment and explore his own heart from a personal perspective, and refine what he sees into painting language, releasing his sympathy for "grassroots".His recent group exhibitions include: "Dark Sky Park", Shanshang, (Xiamen2024); "Rear Wave: New faces of new painting", Line Gallery, (Beijing,2023); "Extensive records of the Taiping Era", Moordn Art, (Foshan,2023); "The Essence of painting - Beyond the concept", Sailing space, (Shanghai,2023); "A list of strangers", Shanshang, (Xiamen, 2023) ; "Trap of being", Sense Gallery, (Beijing, 2023); "Landscape painting", Hunsand Space, (Shijiazhuang ,2022); "Fragments", Bonian Space, (Beijing, 2022), etc.
Lu Ziling (b.1994),she graduated from the printmaking Department of Xi 'an Academy of Fine Arts in 2017,and she graduated from Hefei University of Technology with a master's degree in oil painting and theory in 2020.Now lives and works in Hefei, Anhui Province.
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
