KeYi Gallery is currently exhibiting a group exhibition titled "Silo Dreams" at Hefei Space . The exhibition presents over 20 works by 12 artists, including Chen Pai'an, Gong Bin, Jing Ao, Li Guanshuai,Li Penquan, Li Tao, Li Xindi, Li Li Ren, Song Long, Wan Chaoqian, Xie Linyou, and Xing Wanli. Prior to this, we have also raised some questions to the artists:
◆KeYi（K）
×
◆Chen Pai'an（CPA）
◆Gong Bin（GB）
◆Jing Ao（JA）
◆Li Guanshuai（LGS）
◆Li Penquan（LPQ）
◆Li Tao（LT）
◆Li Xindi（LXD)
◆Li Li Ren（LLR）
◆ Song Long（SL）
◆ Wan Chaoqian（WCQ）
◆Xie Linyou（XLY）
◆Xing Wanli（XWL）
KeYi Gallery（K）× Chen Pai'an（CPA）
K: Digital painting has always been produced as your way of painting. What are the differences between digital painting and other painting methods in terms of their representation of your ideas?
2024
Vector painting 、Ultragiclee
160 × 90 cm
Unique edition
K: In this exhibition, your works have shifted towards various fields and objects in daily life. How do you view this daily field and the non daily relationship as a daily object?
© Chen Paian
15011010172320
2023
Vector painting 、Ultragiclee
150 × 110 cm
Unique edition
K: The reproduction of your three works this time comes from real-life scenes. What unexpected parts have been added to these works?
CPA: Each part in the picture is composed of simple shapes and colors. But when they gathered together, they exhibited completely opposite effects.
KeYi Gallery（K）× Gong Bin（GB）
K: What influence did ancient poetry have on your works, given that they are named after "Sending Off to Qiu Yuanwai on an Autumn Night" and " Dream of a Drunk Poet"?
2024
Oil on canvas
90 × 140 cm
© Gong Bin
As pine cones fall in empty hill, Hermit, you must be listening
2024
Oil on canvas
70 × 90 cm
KeYi Gallery（K）× Jing Ao（JA）
K: Do you avoid deliberately having a strong purpose orientation during the creative process?
2023
neighbor's tree that died naturally , copper , aluminium , fish hook , coral , ceramic , leather , rope , a gourd my mother planted unsuccessfully
230 × 140 × 120 cm（Size variable）
2024
moulded stainless-steel, moulded aluminum, iron wire, steel cable, fishing thread
The way the set speed and uncertain collisions interact with each other creates its own unique dialogue in the field. It's similar to the state of being calm while trying to find a solution, or feeling at ease with free will. It's like a person's luck, always winding and often turning, unexpectedly touching different areas.
KeYi Gallery（K）× Li Guanshuai（LGS）
K: The background in your work 'Footsteps flow through me ' is slightly different from other works, as if it has not been decorated. Why is this?
LGS: The background of 'Footsteps flow through me' is a crossroads on my face. One time when I crossed the road, a tree completely blocked it. The tree was lush or not, and there was a yellow building behind it. I felt very unfamiliar, so I used it as the background. What I drew in this picture is the pursuit relationship between two people after watching the Divine Comedy, but as I drew it, it gradually became the control relationship between the colors and rhythm of the picture, as if most of my paintings were like this.
2024
Oil on canvas
200 × 300 cm
LGS: Perhaps because the characters in the text and story have too many psychological perspectives that are difficult for people to understand, you always feel that what is written is only one aspect of the characters. Some people in the text leave with resentment, and it is difficult not to bring in their own personality, so they are not only resentful; If someone follows in the footsteps of others, they may not only pursue, but also have hatred. So sometimes there are both beauty and fistula, confidence and cowardice, and I just want to draw that.
© Li Guanshuai
Ding
2024
Oil on canvas
200 × 170cm
KeYi Gallery（K）× Li Penquan（LPQ）
K: Is there a source for the images and text in the work "The biggest is love"? Why did you think of painting this picture?
LPQ: The inspiration for this work comes from a one-step movie called "The Exposure of Love". There is a scene in the movie where the female protagonist shouts and recites the content of 1 Corinthians chapter 13 of the Bible to the male protagonist. What I drew is this scene, and the words filling the screen are the lines from the movie -1 Corinthians chapter 13 is a fragment about love.
I have always been interested in the theme of love. Love is a very chaotic and mysterious concept, which can be as small as the love between two people or as big as the love of God. As someone without religious beliefs, if there is anything that can be called faith, I think it is love. So I painted this painting with a passion for religious painting. The world is becoming increasingly chaotic, and I drew this picture with a perhaps foolish sense of belief, hoping that the world will be filled with love and become better again.
2024
Oil on canvas
340 × 206 cm
K: Text often appears in your paintings. Looking at your previous solo exhibitions that combined text and painting, such as "Under heaven " and "Fu", the text is hidden in the painting, while in this work, the text is directly written on the screen. Can you talk about how this transformation happened?
LPQ: This time is indeed different from previous creations. Previously, the text appearing in the picture was only a part of the object, such as the streetlights in "Under heaven " and the stone carvings in "Fu". The text in these paintings appears in the spatial form of physical objects in the picture.
The film "The biggest is love" is characterized by a combination of text and images. On the one hand, it is a movie screenshot, and the dialogue is already floating on the screen. On the other hand, it is also an artistic experiment. I have embraced the ethical aesthetics of contemporary calligraphy and believe that the childish writing style I have created is valuable. When I was a child, my words were like a child, my thoughts were like a child, and my ideas were like a child; once I became a person, I abandoned my child's affairs. "This paragraph also echoes this childish writing style.
If the text of the Bible is used as the main body, the tears of the woman in the image become the only punctuation mark that breaks the text.I often think of a saying when painting this picture: "Compared to an unfulfilled prayer, a promised prayer requires more tears."
2024
Oil on canvas
KeYi Gallery（K）× Li Tao（LT）
K: How did you consider and select the materials and images in your rainbow series, as well as the construction method of the works?
LT:
The materials and construction in this rainbow series have a very precise contextual relationship with my 2023 "The rest, dazzling and hanging" series work, in which "fireproof cloth" is a major base. There are some printed images and some holes on this fireproof cloth, which are covered with purple plastic. These two materials are the main elements of this series. The rest, dazzling and hanging, "this series of works is relatively dense and seamless overall.In this "Rainbow 2", more holes exposed by the fireproof cloth were not filled, and it actually revealed a large void, exposing all the supporting structures behind it. And some holes have been partially filled with other materials. Bring out the supporting factors and original auxiliary elements. Make it appear in these substrates and elements on the surface. This construction method is particularly evident in "Rainbow 1".
In "Rainbow 1", the only thing left in the work is the frame that originally supported this fireproof cloth. In the previous series, the original frame could only be seen at the edges, but it was basically invisible. In "Rainbow 1", the fireproof cloth has been completely removed, and the purple plastic that was originally draped over it is also gone. In "Rainbow 2", the original main element of purple PVC plastic was divided into small pieces and stacked in a corner at the back of the screen when worn. It's more like a memorial. The work of "Rainbow 1" is 3.8 meters high and 1.68 meters wide. In such an area, both main elements of the previous series have been removed. Only two different thicknesses of iron mesh were used to print the image on this mesh, exposing more gaps. Visually, the image gives a more transparent feeling.
Overall, compared to the previous series, the main elements of the entire rainbow series have retreated, while the supporting elements have become more prominent. For me, there may be some conceptual elements hidden here, but I don't have a clear direction, I just have an impulse to think that this is more appropriate.
2024
Iron, UV, Nail polish, Mesh
168 × 380 × 52 cm
K:
In your work "Rainbow 1", the image images on the grid are combined with colored squares to form one image after another. Do these image images come from your daily life or are they elements required for this work? Why is the color grid combined with these image images?LT:
Firstly, the image is derived from fragmented images on the internet. When I was browsing the internet, I saw my favorite images that were cropped and then cropped again. This cropping method seems to have passed through many masks, and can be revealed through these squares. And the inspiration for this image came from me buying a piece of clothing on the platform. Although the front of this garment is a whole piece of cloth, there are many small squares dug on it, with different colors and some color variations inside these squares. In this image, it is masked by these fine squares, and the overall image is not a complete picture. It is different positions in the image, and you can only see a part. These images appear in a random or even repeated stacking manner, without any inherent unified rules running through them. However, in the final presentation, it becomes a unified picture. I constantly adjust and adapt the grid size, color, and even texture size of the image during the process of creating the image. It is not an adaptation of a single image, but rather a distant resonance after being cut.This kind of fragmented presentation may be due to the current situation where we are immersed in different information but find it difficult to continuously experience a complete image or story. I chose this style at that time. It is also related to this point to some extent. Looking back now. The current presentation seems to be integrated into an empty skeleton, and it also seems to have cast a style with a bit of a monument, cutting it into very fragmented slices from daily life, but after integration, it becomes a new totem.
So in terms of images and structures, it's more because of my personality as a creator and my preference for this kind of tonal color density. Formally, it leans more towards gridding and doesn't like too many perspectives. It prefers flat or grid like display methods. And this depends on the individual choice of the creator himself. At the same time, I also hope that individuality can be related to the commonalities felt by creators, forming a corresponding relationship.
©Li Tao
Rainbow 2
2024
Iron, Fireproof cloth, Black gypsum, Mesh, UV, Silver paint
101 × 100 × 37 cm
K:
In your rainbow series, there are utensils with Chinese cultural patterns that have a wonderful chemical reaction with industrialized materials. What is the presence of Chinese cultural elements in your work?LT: The appearance of Chinese cultural pattern utensils in the Rainbow series is more like an extraordinary encounter. Because during the process of making "Rainbow 2", I found a blue back frame. This back frame supports the structure at the back, and there are also some blue dots on the front mesh. Coincidentally, in my studio, I cleared out such a jar. Under pure visual stimulation, this mutually different blue forms a very direct resonance between them, and now looking back, it's not just about form and color. Its inherent patterns, along with its original purpose and usage time, have actually formed a new and more complex contrast in the work. Compared to the previously sliced and fragmented graphics, it is more like a box stone, forming a very stable footnote in the work, making the interpretation space and presentation space more gradient.
KeYi Gallery（K） × Li Xindi（LXD)
K：
What impact has the exhibition space silo had on your creativity?LXD：
The predecessor of this exhibition space was a collection of grain procurement, storage, processing, and commerce. Inside and outside it, people's perceptions are different. The silo, when viewed from the outside, is a building for storing grain and a symbol of stability and comfort after a bountiful harvest. Observing a silo from the inside is an unusual existence, as it is a huge and inaccessible space that brings a sense of oppression directly into one's heart. Being immersed in it not only gives people a more concrete understanding of the volume of grain stored in the silo, but also highlights the difference in size and insignificance of human beings. Unlike the experience gained from external observation, the interior of the silo reflects in a concrete way the enormous amount of labor and production behavior required to achieve stability and safety.© Li Xindi
Slogan
2024
Aluminum composite panel, metal frame
500 × 300 cm（Size variable ）
K：
What does" electric delivery rack "mean in your three works? Why choose furniture styles to create the artwork" The Status of Formal Stability "?LXD：
Just as the food delivery industry provides temporary labor and employment solutions, as well as new production paths and possibilities, the "electric food delivery rack" is a temporary extension of the function of electric vehicles and an extension of the transportation itself. The instability of the two wheeled vehicles that it is compatible with in terms of motion principle has also become a realistic metaphor, that is, "stopping motion will' collapse ', and pausing motion will lose the fragile 'stability'". Two wheeled vehicles require endless movement to maintain the stability of the subject, and in today's society, they are more like a metaphor for the survival status of many laborers who are forced to endure economic model changes.The transitional function of the food delivery rack and the extension of the user's labor identity have a high degree of flexibility. On the one hand, workers have gained more autonomy in job choices and new employment possibilities, while on the other hand, they have departed from the traditional form of collective labor, lost stable security mechanisms, and are forced to "float".
(Many of the above viewpoints are quoted from Professor Sun Ping's new book "Transitional Labor" at the Chinese Academy of Social Sciences. As one of the earliest scholars to focus on labor relations issues in the context of the rise of the platform economy, Professor Sun Ping systematically recorded and extracted many characteristics of the social tension network in which these labor groups we often deal with in our daily lives are located in the book.)
As another major component of the work, "furniture" is a manifestation of "stability". TV cabinets have a certain uniqueness among common furniture categories. Unlike other furniture such as beds, dining tables, chairs, wardrobes, etc. TV cabinets point to the demand for entertainment functions in homes, which is an additional need beyond survival necessities. Furniture often has a regular and stable shape, and the heavier the furniture, the more solid and reliable the material perception and user experience it can provide to the occupants.
The subconscious pursuit of "comfortable living" of Chinese people has been amplified and alienated into a "pathological" pursuit of personal housing in the process of urbanization. The difficulty of owning personal housing in the city has made the essence of life "floating". For ordinary workers, all furniture used daily is "a burden that can provide a small amount of happiness compensation" in the floating experience, and "owning furniture" is a one-sided evidence of "owning personal space". The base resembling furniture in this work is a compensation and appeasement for the highly unstable reality at the level of imagery.
2024
Composite wood, hardware, markings, screen-printed acrylic paint, delivery bag rack, other objects
M ：180 × 70 × 95 cm
LXD：The "food delivery rack" is an extension of the transportation itself, requiring temporary but necessary endless movement as a driving force, aimed at the unstable survival state of the highly mobile labor group in the city. Furniture "is a microcosm of personal housing issues, representing people's instinctive pursuit of" settling down "and pointing towards a stable living state.
The purpose of putting the two together in this work is to create a non-existent "stability". Art originates from reality, transcends reality, and forms a "false" reality here, which is a widely lacking "stability" in society. In this work, the shelf of electric vehicles has been transformed from a "dynamic" attribute to a "static" state, fixed on a base resembling "furniture" and transformed into a sculptural presence. The delivery rack extends from the electric vehicle as an additional space, but in this artwork, it is placed within a range that does not exceed the top boundary of the "furniture". This non-existent contradictory scene appears in the form of juxtaposed objects, creating an imagined state of formal stability that presents both a stable structure and emphasizes a helpless fantasy of "stability".
2024
Composite wood, hardware, markings, screen-printed acrylic paint, delivery bag rack, other objects
S ：160 × 70 × 95 cm
KeYi Gallery（K） × Li Li Ren（LLR）
K: In your work "Landscape from within", silicone, natural materials, and yarn are attached to the mesh fabric. The three-dimensional flat form has aroused a strong interest among many viewers in the application of materials during the viewing process. What are the unique features of the application and spatial expression of this material that you choose?
LLR: This work "Landscape from within", although four meters high, is hoped to present a flowing and stretched state. I hope that the audience can feel subtle bodily reactions and subtle emotional ups and downs as they approach the work.
Regarding the selection of materials, when creating each piece of work, I often become belated and rely on the power of intuition. I initially used woolen yarn for creation because my previous studio was particularly cold and I instinctively wanted to find something warm. The texture of the yarn is warm and soft, making it irresistible. Other materials are also inadvertently arriving, as if they are summoning each other and converging here.
In this work, leaving blank space is a silent breath. I want to capture a gentle dynamic on the mesh cloth, like the whispers of the wind passing through the treetops, more like the invisible curves drawn by dance in the air. Every thread, every gap, is a kind of weaving, which is not only the construction of form, but also the continuity of time and emotion.
2022
Canvas, yarn, silicone, Morchella, snake slough, lotus seed
400 × 200 cm
LLR: It could be."Landscape from within " is an imagination and longing for memories of a certain state of life. I lived at my grandmother's house for a period of time when I was a child. My grandmother lives in the forest in the northeast. Looking back now, that time was distant and primitive, with the panting rhythm and warmth of furry animals deep in the forest. Color is the focal point of my memory. I am curious whether the interweaving of these colors can awaken the emotions deep in the viewer's heart and resonate with their hidden life memories.
I have always been curious about snakes, creatures that can shed their skin. Their changes are very intuitive and highly symbolic. On the other hand, some organisms undergo slow and secretive changes, and their forms are gradually shaped by time and external forces. For example, two stones placed on the ground of the artwork. I like these different forms and rhythms of life, they all connect with the world in their own way.
he time for creating"Landscape from within " is quite long, intermittent for a year, and the work gradually takes shape in the changes of the four seasons. Looking back now, I feel that it was an incredibly enjoyable creative time. Every time a needle is inserted and hooked, it is a breathing exercise.
2022
Canvas, yarn, silicone, Morchella, snake slough, lotus seed
KeYi Gallery（K） × Song Long （SL）
K: What is the reason for using fingers to depict the pits of different sizes and depths in the artwork "Anxiety "?
2024
Wood , Putty, Latex paint
120 × 90 cm
K: Is this opus related to your own life experience and current living situation?
SL: In this artwork, I use my fingers to create a beautiful floral pattern on the wall, which comes from the common lace fabric in households. In the process of growing up, family is sometimes a gentle support, but sometimes it can also become a source of trouble and pressure. This contradiction and sense of disconnection have caused anxiety deep within me. So I carved little by little on the wall, training my unconscious behavior in lace patterns, which symbolize the hidden violence in a calm life, as well as the oppression and anxiety beneath the warm surface.
© Song Long
The woman who walks on potatoes
2019
Performance video
Duration：9"06'
Edition : 1/5 + AP
K: In this exhibition space, your new work "Anxiety " and your image of "The woman who walks on potatoes " move one left and one right, one stillness and one movement. In your opinion, what does this mutual linkage lead to/ What are your feelings and thoughts about this mutual linkage?
SL: Although these two works are presented in a static and dynamic manner, both aim to express the flow of pain in their content. One is the static result of behavioral remains, and the other is the dynamic process of behavioral occurrence, which complement each other and present a rich and complete process of conceptual transformation.
KeYi Gallery（K） × Wan Chaoqian（WCQ）
K: What is your opinion on the presentation style of your artwork in this exhibition, as the ambient lighting is different from previous curatorial lighting?
2023
Oil and Acrylic on canvas
180 × 170 cm
©Wan Chaoqian
CH Inn. #06
2023
Spray paint，Oil and Acrylic on canvas
180 × 170 cm
K: Do you think that the image memory in our daily visual experience is mostly purely autonomous, or does it contain strong ideological and power relations? How does this have an effect in your paintings?
WCQ: There is no pure autonomy, everything contains strong ideological and power relations, including so-called individual consciousness and works of art (including my paintings).
KeYi Gallery（K） × Xie Linyou（XLY）
K: In the image, we can see different relationship states between people in different social forms at different stages. Can you talk about how to build their relationship state under the social form in the image?
XLY: When designing the composition of the characters in the whole film, I try to choose different representative characters, such as images with obvious religious beliefs and occupations with different races, colors, genders, etc. They stand in the main body of the film, that is, floating passively on the illegal immigrant ship, which means to some extent the representative of all of us, representing our unique meaning of refugees in the context of macro narrative. Although it's most obvious on the screen, the characters themselves are not the main body of the work, but play the role of embellishment of their space and drifting boat. They do some daily actions without specific significance in a virtual and chaotic environment. While forming a contrast, the meaninglessness of these actions also echoes the design of passive drifting. I hope that the overall effect they present is a randomly generated stage play. Although the audience is watching the changes of characters and scenes, they are not the main media for information transmission.
© Xie Linyou
War of Tomorrow
2023
CG Animated video, Sound
Duration：3"53'
Edition : 1/3 + 2AP
K: This image is divided into several different stages of human society. Do you think your image is a grand narrative about human society?
XLY: The macro narrative has always been the clue of my creation. No matter what the specific topics I focus on, trying to see our own behavior from the perspective of God and criticizing it is a common way in my creation. For me, the topic I'm concerned about is usually to create some experience of the moment, and then try to describe this feeling from some bigger perspective. What this work presents is actually the contradiction of different angles of human society, and the prediction of the long-term and continuous contradiction state that is likely to occur in the future, and then it is a meditation guide for the audience on this premise.
KeYi Gallery（K） × Xing Wanli（XWL）
K: In "Paradise IV" , there are different segments around the specific Internet image. The picture presents a non-linear narrative structure. Is this non-linear narrative structure related to literary works?
XWL: I think this is similar to the narrative structure in the novels "rainbow of gravity" and "strange birds". In painting, I also try to break the conventional narrative logic and build a multi-level visual experience by virtue of the intertwined relationship between different time and space and different images.
2024
Oil on canvas
162 × 114 cm
K:
What is the relationship between this opus and "memory"? What kind of memory is present in your works?XWL:
In "Paradise IV", the picture is divided into upper and lower parts, some of which are images from the Internet. The first half depicts an old-fashioned computer screen and characters with weakened facial features, which is one of the themes I have been interested in for a long time. The smooth edge of the inner screen is tightly wrapped by a rough plastic shell. I regard this image as a microcosm of past memories. In order to restore its texture, I tried to distinguish the tactile characteristics of the screen and the shell with different brush strokes and pigment thickness, and tried to get close to the image in memory through repeated carving and probing; The second half of the screen is inspired by the description of a zoo in Changchun during the puppet Manchukuo period in the novel. At some point, I seemed to be pulled back to my hometown more than 20 years ago. This sense of familiarity even made me smell the smell of dry soil mixed with animal excreta in Chengde zoo when I was a child.Paradise VI
2024
Oil on canvas
151 × 106 cm
About Artists
Chen Pai'an, born in 1988 in Guangzhou, China, now based in Guangzhou. Chen studied sculpture at the Guangzhou Academy of Fine Arts and has since engaged in artistic practice. He abandoned the academic connotations associated with Abstract Expressionism, in favor of the applied logic of advertising, bringing the commodity as form, symbol and material to the forefront of painting. He works in a variety of media with humor and wit, oscillating between symbol and content, finding the sublime in natural and man-made landscapes.
Gong Bin, born in 1992 in Yiyang, China. Gong received his BFA in Illustration from the Hubei Institute of Fine Arts in 2014. His seeks for an escapist mentality in his practice, hoping to capture and deliver a sense of solace with his works. Melding expressive colors and semiabstract shapes, Gong’s vibrant, playful paintings depict imagined scenes and landscape. With a background in illustration and printmaking, he is interested in the possible narrative connections between images, which transform his oeuvre into a visual labyrinth of romantic puzzles. Often naming his works after poems, characters, and fabricated locales, Gong animates and enlivens the objects and beings encapsulated within the vast, expansive environment on his canvases, endowing them with varied personas as well as the capability to love and be loved.
His solo exhibitions include:"Bright Daylight", MOU Art, (Beijing,2023);"The Love That Moves the Sun and All the Stars" , MOU PROJECTS, (Hong Kong,2022);"You Were the Green in Our Barren Land, and the Blue in Our Dark Air", MOU Art, (Beijing,2019);His group exhibitionsinclude : " Beijing Dangdai Art Fair" , Mou Art, (Beijing,2024);"West Bund Art & Design", MOU PROJECT, (Shanghai,2023);"West Bund Art & Design", Mou Art, (Shanghai,2023);"ART021 Shanghai Contemporary Art Fair", Nothing Happened gallery, ( Shanghai , 2023 ) ; "Youth’s Dream" , HWA’S, (Shanghai,2023);"Painting Tiny Times", 33ml off space,(Shanghai,2023);"I Waited For You", Nothing Happened gallery, (Shanghai,2023);"Seoul Modern Art Show", Nothing Happened gallery, "Seoul,2023";"In and Out", MINE PROJECT, (Hong Kong,2022);"Born in 1992–Chinese and South Korean Emerging Artists Joint Exhibition", Bund 18 Jiushi Art Gallery, (Shanghai,2022).
Ao Jing, born in 1993, currently works and lives in Beijing. She graduated from Goldsmiths College, University of London and the Royal College of Art's Contemporary Art Practice(Pathway: Public Sphere). Ao’s artworks explore how different materials transformed into varied series of sculptures, performances and visuals under artistic expressions in different environments. In turn, the ambiguous relationship between “material” and “immaterial”, “conscious” and “unconscious”, is explored in a non-dualistic context. Compared to the current mode of artistic production, which is dominated by dialectical thinking, Ao's work is more narrative literature, constantly asks questions and wanders through doubts. In the process, all her attitudes, choices, confusions, etc. about life are honestly presented in her works.
Li Guanshuai born in 1997 in Dongying, Shandong Province, graduated from the Printmaking Department of the Sichuan Fine Arts Institute in 2019, and graduated from the School of Plastic Arts of the Sichuan Fine Arts Institute as a postgraduate student in 2022. Li Guanshuai regards the inner sanctity of human beings and the subtle emotions in human and divine nature as unknown and mysterious. The whole process is manifested in his attitude towards life and works, from self confidence to entanglement, to finding the suture of his own cognition, to disappointment, to acceptance and participation in the game. Small emotions attached to the great, visual human will; Attached to the imagination extension of the human part in the concrete text, including the embodiment of the sense of ritual and the visualization of faith. But it all stems from his personal imagination and curiosity in his faith. Li Guanshuai's paintings have people's new personal cognition and emotional judgment on the unknown, divinity and ritual. This old and new will and selfishness alternating in his life and paintings is bound to be a difficult problem.His works are collected in the White Rabbit Art Museum, Sydney, Australia, Guangdong Contemporary Art Foundation, Luo Zhongli Art Museum, etc.
Li Penquan was born in 1994 in Luoyang, Henan, and now lives in Luoyang. On the one hand, the artist is sensitive to o the transcendental moments in daily life and tries to reproduce them in his paintings; on the other hand, he is also sensitive to the fluctuating ideologies and tries to express his more personal thoughts about the society in his paintings. Whether it is a grand narrative or micro daily life, the mysterious and absurd experience has always been the focus of his attention. His works have been collected by Guangdong Contemporary Art Center, X Museum and other institutions.
Li Tao, born in 1971 in Zhengzhou, Henan. He graduated with a bachelor's degree in oil painting from the Fine Arts Department of Henan University in 1995 and obtained a master's degree from the Printmaking Department of Hubei Academy of Fine Arts in 1998. He currently lives and works in Beijing.
His recent solo exhibitions include :" 椅子\BANK",Tabula Rasa Gallery,(Beijing,2024);" 椅子\BANK",AYE GALLERY,(Beijing,2024);"London Allotments",Tabula Rasa Gallery,(London,2023); "A Week", 98 Emerald Hill, (Singapore, 2023);"Pengzhou Bubble",AYE Gallery,(Beijing, 2020),"Universe·Secondary",Tabula Rasa Gallery and KWM artcenter, (Beijing, 2019);"Broken Surface and Line: Li Tao Solo Exhibition", Taao Arts Center, (Beijing,2010);"The Discreet Charm of the Bourgeoisie", F5 Art Space, (Beijing,2007); "Solo Exhibitions", Hubei Provincial Academy of Fine Arts,(Wuhan,1998).He has participated in group exhibitions at various venues, including Shenzhen OCAT Museum, Beijing Times Art Museum, Chengdu Biennale, Art Basel Hong Kong, Art 021 Art Fair and West Bund Art Fair in Shanghai,"Reminder: Version Update Available", Magician Space's group exhibition,(Beijing,2024);“TERRA”, Domaine Chandon de Briailles, Savigny-lès-Beaune;Couvent des Jacobins & L’Ancien Théâtre Beaune; La Maisonde Pommard,Pommard(Burgundy,2023);“Alice in Wonderland”,69 ART CAMPUS Art Center,(Beijing,2022);"Conviviald--Art and Design in the Digital Age", Today Art Museum, (Beijing,2021); "Wonderful Journey", OCAT Shenzhen Pavilion, (Shenzhen,2021); " The Exhibition of Annual of Contemporary Art of China 2020", Pingshan Art Museum, (Shenzhen,2020).
Xindi Li, born in 1996 , lives and works in Beijing.He graduated from The School of the Art Institute of Chicago with a concentration in Sculpture in 2019. He currently lives and works in Beijing.Li’s artistic practicefocuses on exploring the collective perception latent in contemporary urban life, and explores how macro social subjects, such as labor relations, economic models, and space production that are constantly evolving in today’s China, affect the daily experience and inner life of individuals. His mixed-media installations attempt to transform his critical thoughts on social reality into visual and spatial experiences that can be shared with the viewers. His works often feature objects and materials derived from daily life, which, through his artistic modifications and reorganization, address the tensions and conflicts hidden beneath the everyday norm in contemporary social life in a parodic yet restrained manner.
Li Li Ren, born in 1986 in Heilongjiang Province, China, lives and works in London, where she gained her BA in Fine Art from Central Saint Martins, University of the Arts London, in 2010, and her MA in Sculpture from the Royal College of Art, London, in 2017. Across her practice, Ren negotiates the constantly morphing relationships between objects in space. In her built environments, which expand beyond the physical exhibition space into imagined realms situated between the biologically understood or plausible, and the highly-fantastical, she approximates certain shapes, subjects and environments, while also subverting them through unexpected material applications and abstractions — for example, hard glass cosplaying as soft jelly. In this worldbuilding exercise, the artist often incorporates forms associated with the Anthropocene, the ocean, biology, altered states and maternity, ultimately desiring to queer and elude those connotations to flatten and destabilise humanism through an amplification of the similarities, as well as the strangeness, of human and non-human existence.Her recent works continue her interest in the formation and application of memory;how fragments are forgotten, material associations are formed, and histories are layered. These become vital tools for building narrative within her visual language.
Solo exhibitions include: "The World Forgetting, by the World Forgot", Sherbet Green,(London, 2024); "Sunset as Burning Bruise", Magician Space, (Beijing, 2022) and "Frantumaglia, Qimu Space", （Beijing, 2021).Group exhibitions include: "Spring Sprang Sprung",Hunsand Space, (Beijing, 2024); "Dimensions Variable"Belgian Embassy in China, (Beijing, 2024); "Absence/Encore: The Flow of Art and Value",The Museum of Contemporary Art Yinchua,(Yinchuan Ningxia ,2024);"Sculptural vibe cutting through (in) accessible sites", Gravity Art Museum, (Beijing, 2023); "Frieze Sculpture", (London, 2023); "Home is where the haunt is", X Museum, (Beijing, 2023); "We Borrow Dreams From Others,Like Debt",Wuding Art Museum, (Shanghai, 2021); "Into My Arms,Sherbet Green",(London, 2023); "China Contemporary Art Yearbook Exhibition 2021", 798 Art Center, (Beijing, 2022); "Memorias del subdesarrollo", Qimu Space, (Beijing, 2021).
Song Long, born in Xuzhou, Jiangsu Province 1998, graduated from the Experimental Art of Xi'an Academy of Fine Arts in 2020. Now she lives and works in Jiangsu. Her work focuses on therelationship between people and their living spaces. She enters into various realistic scenes,leverages customar y experience through alienation of the last branches of life, disrupts andreorganises daily regulations, and forms conceptual output with the carefully constructed sense ofseparation, playfully or poetically. Her works won second place in the 2021 XIXI Live/Imagokinetics/Martin Goya business "Hyper Youth Award" and first in the Painting Art badass shop "New Soul" in2020.
The solo exhibition she participated in:"Innocent basin",Keyi Gallery , (Heifei,2024) ;"Choose Force" Solo Residency Project, Boxes ArtMuseum, (Foshan, 2021);The group exhibition she participated in:"Song Lang x Zhang Ke: TravelGuide"two-person group show, Imagokinetics,(Hangzhou, 2022);"In Other Words", PrototypeGallery, (Luoyang, 2023);"Waling Guides", LongMarch gallery, (Beijing, 2023);"Living aperformance Artist’s Life", MAM, (Shanghai, 2023);"Incredible Action", A4 Art Museum, (Chengdu,2022);"Existence and Repetition", Chun Art Museum, (Shanghai, 2022);"Endless Insight", XIXILice, (Hangzhou, 2022);"Whether in Full Bloom or not, All Flowers Are Flowers", KeYi Gallery,(Hefei, 2022);"Right Time", Trealm Culture, (Guiyang, 2021);"Non-Accelerating Mode" , Up Art Space , (Gui yang , 2021 ) ; " 1 0 0 Ways to Say We", Theater Neumarkt & GoetheInstitu,(german,2021);"Dagger Humming", RCM, (Nanjing, 2020),etc.
Wan Chaoqian, born in 1995 in Langfang City, Hebei Province. Graduated from The Glasgow School of Art in 2017. Now lives and works in Beijing.Through the collection and re-creation of fragmentary images from the internet, visual culture and everyday life, the diverse painting approaches within my works aim to create a pictorial landscape of absurdity and paradox. Abstract and figurative, random and established, creation and destruction, empathy and indifference, wit and seriousness collide in my works, exploring the overwhelmingly enjoyable and wearisome mechanisms of control and existence in contemporary society in a richly layered way.
His solo exhibitions include: "As You Like It", BROWNIE project, (Shanghai,2022; And major group exhibitions include:"Silo Dreams", Keyi Gallery, Hefei, China (2024); "Alienated landscapes", YI Art Institute, (Hefei, 2024),"L’extase" , Imagokinetics x Building 23, (Hangzhou , 2024); "What happened after Nora left?", United Art Centre, (Beijing , 2024) ; "Reminder: Version Update Available", Magician Space,（Beijing, 2024).
Xie Linyou, born in 1993 in Nanjing and is currently a visual artist, director, and animator. He studied at the Royal Academy of Arts in the UK from 2018 to 2020 and at the Bauhaus University in Weimar, Germany from 2015 to 2018.His awards include: shortlisted for the UK CIRCA Prize in 2023; 2023 Nominated by Denver Digerati, USA; 2021 Fantoche Animation Film Festival in Switzerland - nominated; In 2021, it was nominated by the New Chitose Airport International Animation Festival in Japan. 2021 Anima Brussels International Animation Film Festival - Nominated; 2021 Edinburgh Independent Film Award - Best Student Film Nominated for Denver Supernova Digital Animation Festival in 2021; 2020 Berlin Music Video Award - nominated; 2019 Shortlisted for Nowness China Talent Program.
His exhibitions include:"Latent Place", Subjective Gallery,（New York, 2023); "CIRCA Prize", Piccadilly Circus,(London, 2023); "Ultra Community", Tank Shanghai,(Shanghai, 2022); "Site of Transitivity", 69 Art Campus, (Beijing, 2021); "Holiday", Madein Gallery, (Shanghai, 2021);"Intermediate", OCT Art Center, (Zibo, 2020); "RCA2020", Royal College of Art, (London, 2020); "Territory", Slime Engine, (Online,2020);"WIP Show", Royal College of Art, (London,2020);"Nowness China New Talent", K11, (Shanghai, 2019);"Summer Exhibition", Elephant West Gallery, (London, 2019);"Where We Met", Art Expo Beijing,(Beijing, 2019);"The other domain", Safehouse, (London, 2019);"Backwards Reading", 508 Gallery, (London, 2019);"Ocean", Slime Engine, (Online,2018);"Club de Normie", Reizueberflutung Artspace, (Weimar,2018).
Xing Wanli, born in Chengde, Hebei in 1992, studied at Sichuan Fine Arts Institute and Xi'an Academy of Fine Arts, and now lives and works in Chengdu.His works point to the non-linear narrative structure of literary works and invoke the semiotic image processing of the relationship between the materiality of the referent and the mental representation of the referent. By exploring 'Text', 'Image' and 'Memory', Xing brings a variety of images to his works, as well as a multi-dimensional space to contemplate. When we describe our memories, how much of it is related to the actual events, and how much is a fabrication of lost fragments? It is precisely this chaotic nature of memory that inspires the artist to explore, with tentative strokes traversing the unfamiliar paths. He usesreal - life experiencesto reorganize and transform these wordsinto scenes with "memory" as the main theme. His images emphasize the echoing of words and sensual experience, and the fragmented elements correspond to the inspirationsin life, constructing a series of open-ended schemasthat transform from reality to preconception and then record the transformation process. His works have been collected by X Museum and other institutions,his work "Assassinating the Chief of the Knights" was selected into the "Cultural City of East Asia 2019 Toshima Award".
Junyao Chen(b.1995), Independent curator, his curatorial practice and research focus on the politics of space, the publicness of digital media, and human landscapes in public environments within the interdisciplinary context of design and communication.
Junyao Chen was the lead organizer of the first Future Curators Symposium (West Bund Museum, 2023); he was awarded the annual academic conference grant by the International Committee for Museums and Collections of Modern Art (CIMAM) (2022); his curatorial proposal was selected as a finalist for the Jimei-Arles "Curatorial Award for Photography and Moving Image” in 2022 (Three Shadows Photography Art Centre); he has participated as a curator in the organization of the ICCI ART VALLEY PROGRAM at the Institute of Cultural and Creative Industry (ICCI), Shanghai Jiaotong University (2022-2023); his thesis and research project “Urban Regeneration with the Intervention of Industrial Transformation and Curatorial Ideas, A Case Study of Dafen Village, Shenzhen” was selected for the International Conference on Global Cultural and Creative Industries and Development (2021) and published in the interdisciplinary journal Telematics and Informatics Reports (2022); He was awarded a full scholarship grant for the Special Programme for Artistic Talents by the China Scholarship Council (2018-2020); in addition, he has worked with contemporary art institutions and galleries at home and abroad, and has written critical articles for various media and artists.
Supercrowds/Supercommunity, Tank Shanghai, Shanghai, July, 2024; The Lost Fourth Wall, K11 Art Foundation, Shanghai, July 2023; When No One Is Around, Dance Gracefully, ShanghART Gallery, July 2023; Control group: In a prism-like sight, Curator, CLC Gallery Venture, Beijing, March 2023; Eternity and a day, Curator, HdM Gallery, Beijing, January 2023; Fantasy, on the edge of the earth, Curator, Gene Gallery, Shanghai, June 2022; Site of Transitivity, Curator, 69Campus Art Centre, Beijing, April 2021; Intermediate, Curator, OCT Art Centre, Zibo, November 2020;100 Carat Diamond, Co-curator, Barbican Art Group Trust, London, March 2020;
