Figurativism loom on every floorGuo Zhaolin / Liu Zhicheng / Liu Sheng Li Chuangli / Liang Teng / Li Jiaqi Xu Tanghao / Ye Zhaofeng / Zou Yiwei Zeng Qingqiang / Zhu Yiming11 Qiyun Road, Economic-technical Development Area, Hefei
可以画廊欣然宣布即将于6月21日在合肥空间举办群展「崭新的建筑，具象盘踞在每一个楼层」。这将是在合肥厂房空间举办的最后一个展览，展览将集中呈现郭兆霖、刘志成、刘声、李创李、黎家齐、梁腾、徐堂昊、叶兆丰、邹易韦、曾庆强、朱钇名等11位艺术家的30余件新作。展期将持续至8月19日。“艺术是一个不断发现的阶梯，但如果过度使用此阶梯，则会掉回地上。” “万物在言说。”作为人类改造世界的第一个表现，建筑，不仅仅是一种知识体系，更好似“容器”般，借由钢筋混凝土的结构美学引领着艺术革命。而绘画，正是艺术这座巨大容器中无可比拟的关键结构。纵观艺术史的发展过程，传统绘画形式的追溯从古希腊到文艺复兴、经新古典、浪漫主义、印象及后印象派，在其漫长的绘画语言探索下开启了现代艺术思潮，包括野兽派、立体派、达达、超现实、波普等等。直至二十世纪初，在塞尚结构绘画的影响下，德朗放弃了主观表现，转向对对象的直观描摹，具象绘画的表现方式在彼时艺术家们对现代艺术运动的反思和探究中逐步确立。二十一世纪，具象绘画空前繁荣，我们不难发现，艺术风格总是在多元的社会背景下相互交替、更新，在照相技术高度发达的今天，各种新兴的艺术形式与之而来，“绘画过时、绘画已亡”的口号不断冲击着传统艺术形式，同时也考验着当代艺术家们的创作面貌，以及如何把握住符合每个时代节点的思考与表达。贡布里希在《艺术的故事》中言：艺术史一直是“试图表现超越现实真理的艺术”和“优先参考现实世界的艺术”之间的交替；它使我们能够将这一理论应用于个人绘画，并更好地理解每幅画位于二元性的哪一边（抽象表现或具象现实），或者是否处于过渡时刻的边缘。绘画，记录着人们观看世界的方式。具象绘画作为传统艺术的重要一环，同时面临着当代艺术潮流的碰撞与挑战。今天，艺术家在以具象绘画为主进行创作时，除了内容主题形式的探索，也彰显了更多的个人经验与精神追求，从传统到现代的困境，也不单单是观看的方式，更多地涉及到人和世界的关联以及如何有意识地参与到对世界感知的建构中。本次展览“崭新的建筑，具象盘踞在每一个楼层”，通过探讨具象绘画的新面貌为主旨，以此呈现新、中生代的艺术家在个体经验的差异下对具象绘画的不同诠释，在将传统绘画技艺与艺术的当代性相结合的语境下，折射出他们看待世界的独特视角。郭兆霖通过观察世界的特殊视角去拆解、重组事物，以碎片化的图式打破常规的叙事方法，从而建立绘画新图像，形成独特的视觉效果。刘志成的作品以绘画的形式探讨当代人与物象在虚拟空间中的异化式日常以及科技附魅后的新神秘主义特质，进而重新思考事物的图像化定义以及在绘画中指涉的当下含义。尼安德特 / Homo neanderthalensis 狗头鹿 / A deer with a dog's head 刘声擅长观察和记录周遭的人事物，他的作品着眼于现实世界，通过质朴的绘画语言呈现自己在时代洪流中所见所闻，创造出一种微妙荒诞的又具有普适性与独特性的日常生活。李创李的绘画关注着现代生活中我们和机器以及环境的相互关联，在使用工具的同时也被工具塑造的过程中人的身心面对的种种问题。
人体肖像005 / Body portrait 005
黎家齐沉溺于电子器物，探究异域审美输出带来的文化真空，通过绘画和现成品创作，杂糅相关视觉记忆，思考潜藏在背后的消费逻辑。梁腾的作品试图在画面中探讨绘画本体和人类性的结合，以此呈现出在这个时代下人类的潜意识状态。
坐着的人像 NO.1 / sitting figure NO.1 布面油画/ Oil on canvas
200 x 150cm
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徐堂昊对于能激发情感表达愿望的图像情有独钟，通过对这些或不安，或卑贱，或神圣的图像进⾏再创作，以记录和反思⽣活中这些不易察觉的精彩。叶兆丰的画作通过具象的手法描绘了今天我们是如何通过智能技术来面对和表达与他人的互动交流，在数字技术带来的重大变革中探讨现实生活中的矛盾和冲突。
邹易韦喜欢描绘漫画式的形象，以概念化的形象作为一个窗口，将现实世界的困惑、隐藏的暴力、潜在的欲望通过这个窗口，从而开启自恋的无厘头叙事。曾庆强的创作理念衍生于现代城市生活中各式黑色幽默与不满足的欲望，作品带有混乱和荒谬，呈现出他所处时代下受创的乐观情感，探讨科技资本主义的缺陷、物质文化、未完结的过去。
朱钇名的创作以个人视角看待周遭的环境和探求自己的内心，将看到的提炼成绘画语言，释放出他对“草根”的同情。正如玛丽·卡萨特所言：“画家有两条路可走，一条是易于通行的通衡大道，另一条则是坎坷的羊肠小路”，而我们今天所看到的在具象绘画道途中的艺术家们，和她一样，走的是后一条。艺术史在不断地修正、重建中轮回反复，今天，我们正处在一个关键时刻，具象绘画或许正引领着我们走出一条可以发生转变的解救之途。“我们还不能在此停下来，因为艺术还有更崇高的呼唤”，在这个属于我们这个时代的高楼里，具象绘画，正盘踞在艺术史这座摩天建筑的每一个楼层，并且逐渐清晰起来。。。KeYi Gallery is pleased to announce that a group exhibition titled "Brand-new architecture, Figurativism loom on every floor" will be held at Hefei Space on June 21st. This will be the last exhibition to be held in the factory space of Hefei, and the exhibition will focus on more than 30 new works by 11 artists, including 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 19th. "Art is a ladder of constant discovery, but if it is overused, one may fall back to the ground.""Everything speaks." As the first manifestation of human transformation of the world, architecture is more than just a knowledge system, better like a "container," with the structural aesthetics of reinforced concrete leading the art revolution. Painting is an unparalleled key structure in this huge container of art. Throughout the history of art, traditional forms of painting have been traced from ancient Greece to the Renaissance, through Neo-Classical, Romantic, Impressionist and Post-Impressionist. With its long exploration of the language of painting, it opens the trend of modern art. Including Brutalist, Cubist, Dada, Surreal, Pop, etc. Until the beginning of the 20th century, under the influence of Cézanne structural painting, Delang gave up subjective expression and turned to intuitive depiction of the object. The representation of figurative painting was gradually established in the reflection and exploration of the modern art movement. In the 21st century, representational painting achieved unprecedented prosperity, and it is not difficult to find that art style is always alternating and renewing in a diverse social context. Today, when photographic technology is highly developed, new forms of art are emerging, and the slogan of "painting is obsolete and painting is dead" has been constantly challenging traditional art forms, as well as testing the art spirits of contemporary artists and how to grasp the thinking and expression that corresponds to the nodes of each era.Gombrich in "The Story of Art" says: the history of art has always been an alternation between "art which tries to express something beyond real truth" and "art that prioritizes reference to the real world"; it enables us to apply this theory to individual paintings and better understand which side of each painting is in duality (abstract or figurative reality), or whether it is on the verge of transition. Painting records the way people view the world. Representational painting, as an important part of traditional art, is also facing collisions and challenges from contemporary art trends. Today, artists who create figurative paintings are not only exploring the themes, forms, and content of their works, but also demonstrates more personal experience and spiritual pursuit. The dilemma between tradition and modernity is not just about the way of viewing, but also involves the relationship between humans and the world, and how to consciously participate in the construction of the world's perception. The exhibition "Brand-new architecture, Figurativism loom on every floor" exploring the new face of figurative painting, which presents the new and mid-career artists' different interpretations of figurative painting in the context of combining traditional painting techniques with the contemporary art. Guo Zhaolin observes the world through a special perspective to deconstruct and reassemble things, breaking the conventional narrative method with fragmented patterns to establish a new image of painting and form a unique visual effect. Liu Zhicheng's 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. Liu Sheng is skilled at observing and recording people and things around him, and his works focus on the real world, presenting what he sees and hears in the tide of history through a simple painting language, creating a subtle and absurd yet universal and unique everyday life. Li Chuangli's paintings focus on the mutual relationship between us, machines, and the environment in modern life, and the physical and mental problems faced by people in the process of using tools and being shaped by them. Li Jiaqi looks into electronic devices, studies the cultural bobble comes along with exotic aesthetic, blends related visual memories, and thinks about the consumption logic. Liang Teng's 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.Xu Tanghao 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's paintings depict how we interact and express ourselves through intelligent technology today, exploring the contradictions and conflicts in real life amidst the major changes brought about by digital technology. Zou Yiwei 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. Zeng Qingqiang's works are chaotic and absurd, reflecting the traumatized optimism of his time, exploring the flaws of technological capitalism, material culture, and the unfinished past. Zhu Yiming's 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". As Mary Cassatt once said, "There are two roads an artist can take; one is the well-worn highway of conventionality; the other is the winding, hilly road where the artist makes his own way," and the artists we see today on the path of representational painting, like her, have chosen the latter.Art history is constantly being revised and reconstructed, and today,we are at a critical moment when figurative painting may be leading us out of a path of salvation that can be transformed. "We cannot stop here yet, Because art has a more noble call", in this tall building of our era, figurative painting, it's lying on every floor of this skyscraper in the history of art, and it's getting clearer...
郭兆霖，2000年出生于辽宁省盖州市。2022年本科毕业于鲁迅美术学院油画系第二工作室，现研究生就读于鲁迅美术学院油画系。他擅长利用观察世界的特殊视角去拆解、重组事物，用绘画的方式建立新的图像，形成迷幻独特的视觉效果。碎片化的图式打破常规的叙事方式与透视效果，以一种理性又自由的视角去质疑惯常的感官，对空间与形式之间的关系进行发问。他近期参加的展览有：“艺术命题”，山上美术馆，（大连，2024）；“小联展”，鲁迅美术学院美术馆，（沈阳，2023）；“丛生”，中国美术学院，（杭州，2022）等。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.刘志成，2010 年本科毕业于中国美术学院雕塑系，2017 年参与德国汉堡美术学院工作坊项目， 2018 年研究生毕业于中国美术学院油画系，绿手实验室(Green Hand Lab)发起人。现工作生 活于杭州。他的作品主要以绘画的形式探讨当代人与物象在虚拟空间中的异化式日常以及科技附 魅后的新神秘主义特质，重新思考事物的图像化定义以及在绘画中指涉的当下含义。他的作品曾 被星美术馆，X 美术馆，广东当代艺术基金会，中国国家博物馆收藏。他的主要个展包括:“OUT OF THE FLOW“，STEVE TURNER，（洛杉矶，2024）；“原野”，艺术仓库，(北京，2023)；“终端丛林”，可以画廊，(合肥， 2022)；主要群展包括:“后浪拼图-新绘画的新面孔”，玉兰堂，（北京，2023）；“在动物园散步才是正经事”，可以画廊，(合肥，2023)；“半盐半咸”， COSPACE，(上海，2023)；“可便携文档格式”，SIMULACRA画廊，(北京，2022)；“冬季失眠症”， 索卡艺术，(北京，2022)；“我与我的赋格曲”，艺术仓库当代艺术中心，(重庆，2022)；“Prada 虎年行动特别呈现”，Prada 荣宅，(上海，2022)；“浮世探戈”，林大艺术中心，(北京，2022);“莽 原回声”，油罐艺术中心,(上海，2022)；“相向而行·Interyouth 国际青年展推广展”，上海西岸艺术中心，(上海，2021)；“新西湖·湖中岛”，上海当代艺术馆,(上海，2021)；“和动力 - 首届济南国际双年展”，山东美术馆，(山东，2020)等。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.![]()
刘声，1971年生于广东，1994年毕业于广州美术学院油画系，现生活工作于广州及遂溪县。他的主要个展有：“糖”，青田艺术区，（顺德，2021）；“水流柴”，本来画廊，（广州，2019）；“无声的号子”，本来画廊，（广州，2017）；参加的主要群展有：“离岸之歌”，广东时代美术馆，（广州，2021）；“深港城市-建筑双城双年展”，深圳当代艺术与城市规划馆，（深圳，2019）；“北京当代艺术博览会”，全国农业展览馆，（北京，2019）；“珠江夜游”，广东美术馆，（广州，2019）等。Liu Sheng, born in Guangdong Province in 1971, graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 1994, now works and lives in Guangzhou and Suixi county.His major solo exhibitions include: “Sugar”,Qingtian Art District,(Shunde,2021); “Floating Firewood”,Bonacon Gallery,(Guangzhou,2019); “The Silent Chant”,Bonacon Gallery,(Guangzhou,2017);and group exhibitions include: “One song is very much like another,and the boat is always from afar”,timesmuseum,(Guangzhou,2021); “Bi-city Biennale of Urbanism-Architecture ”,Shenzhen Museum of Contemporay Art and Urban Planning,(Shenzhen,2019);“Beijing Dangdai Art Fair”,National Agricultural Exhibition Center,(Beijing,2019); “Night Tour of the Pearl River”,Guangdong Museum of Art,(Guangzhou,2019),etc.李创李，1991年生于武汉，现工作生活于武汉。他的的绘画在关注我们和机器以及环境的相互作用关系，呈现我们在工作、现代社会生活中怎样使用工具的同时也被工具塑造，在这个过程中人的心理、健康和舒适等问题。他参加的主要展览有：“静谧的回溯”，式外空间，（武汉，2023）；“约翰莫尔绘画奖”，民生现代美术馆，（上海，2020）；“非由述作”,宝龙艺术中心，（上海，2018）；“inter-youth国际青年绘画展”，中国美术学院美术馆，（杭州，2017）；“柏拉图”,美成空间,（深圳，2016）等。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.黎家齐，2019年本科毕业于中央美术学院，期间赴英国格拉斯哥艺术学院访学；2021年以国家公派留学生的身份从美国芝加哥艺术学院硕士毕业。现工作生活于大湾区。他专注视觉艺术领域，擅长绘画和现成品创作。他沉溺于电子器物，探究异域审美输出带来的文化真空，杂糅相关视觉记忆，思考潜藏在背后的消费逻辑。他的主要个展有：“AMBULANCIAGA”，工作室画廊，上海（2024）；“明度-纯度-光鲜度”，協力空间，北京（2023），参加的群展有：“分形共振：模因十六象”，年代美术馆，上海（2023）；“希望的原理”，中间美术馆，北京（2021）；“艺术传递·韩国2021”，CICA美术馆，金浦（2021）；“全世界回不来的人”，湖南美术馆，长沙（2020）；“青年艺术100开幕展”，嘉德艺术中心，北京（2018）等。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.梁腾，2000年出生于四川省成都市，四川美术学院油画系硕士研究生在读，现工作生活于重庆。他的作品试图在画面中探讨绘画本体和人类性的结合，以此呈现出在这个时代下人类的潜意识状态。
他参加的展览有：“第四届大艺博”，武汉国际会展中心，（武汉，2023）；“第四届重庆小幅油画展”，重庆交通大学，（重庆，2023）等。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.徐堂昊，1998 年出⽣于安徽合肥。2022 年毕业于四川⼤学绘画系，现⼯作和⽣活于中国。他对于能激发情感表达愿望的图像情有独钟，通过对这些或不安，或卑贱，或神圣的图像进⾏再创作，以记录和反思⽣活中这些不易察觉的精彩。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.叶兆丰，1996年出生于无锡，2015年毕业于中国美术学院附属中学，后进入中国美术学院学习，并在中国美术学院油画系获得学士和硕士学位，2022年毕业后留校任教于中国美术学院，现工作生活于杭州。他的绘画展现着我们现实生活中存在的矛盾和冲突，他关注于数字技术在人类历史进程的重大变革以及这种变革对生活的影响。他的画作通过具象的手法描绘了今天我们是如何通过智能技术来面对和表达与他人的互动交流，正是这样的交流互动使物理空间和虚拟现实之间的界限变得越来越模糊。他的个展有：“悄然消失的一切”，Sens Gallery，（香港，2024）；他近期的主要群展有：“北京当代艺术博览会” ，全国农业展览馆（北京，2024）；“ART021 上海当代艺术博览会”，上海展览中心，（上海，2023);“青年艺术博览会”，油罐艺术中心，（上海，2023);“正在加载”，EveryArt Gallery, （上海，2023);“生活里·共同生活”，浙江美术馆，（杭州，2022) ; “西岸设计艺术博览会On Flight 青年艺术家特展”，油罐艺术中心，（上海，2022);“交集之域”，西湖大学，（杭州，2021);“国际青年艺术季·五月薪火”，浙江展览馆，（杭州，2021);“AUCART Timestamp”，AucArt, （英国，2021);“AUCART Artist”，AucArt ，（英国，2020);“沉睡者的抵抗”，UCCA沙丘美术馆，（北戴河，2020);“以美扶智”特邀艺术作品，中国美术馆，（北京，2020)等。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.![]()
邹易韦，1993出生于四川，本科及研究生均毕业于中央美术学院油画系，期间曾学习于日本多摩美术大学油画系。现工作生活于燕郊。她喜欢描绘漫画式的形象。这种概念化的形象作为一个窗口，将对于现实世界的困惑、隐藏的暴力、潜在的欲望通过这个窗口，开启自恋的无厘头叙事。漫画式的形象是一层反差的皮肤，包裹着极端的、隐秘的内在，连通器一般将外部世界导入内部，重新对外部切分、归纳直至合理释放。她主要参加的群展包括：“无论盛开还是不盛开，花都是花”，可以画廊，（合肥，2022）；“ART021”，偏锋画廊，（上海，2020）、“青衿计划2019国家艺术基金2019年度资助项目”，观唐美术馆，（北京，2019）；“夹山改梁 第二期”，花家地北里小区，（北京，2019）等。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.曾庆强，1986 年出生于台北，十三岁时至纽约州留学，2009 年毕业于卡内基梅隆大学，2012 年肄业于 UCLA 研究所，2017 年肄业于牛津大学研究所。学位之间曾于旧金山、洛杉矶、纽约任职软体工程师。视觉艺术家，主要从事绘画和装置创作，现生活工作于德国柏林。他的创作理念衍生于现代城市生活中各式黑色幽默与不满足的欲望，作品带有混乱和荒谬，呈现出他所处时代下受创的乐观情感，探讨科技资本主义的缺陷、物质文化、未完结的过去。曾庆强的艺文创作跨越国界，曾于亚美尼亚、比利时、中国、丹麦、芬兰、德国、匈牙利、冰岛、意大利、日本、立陶宛、俄罗斯、韩国、英国、美国参展，并获得 Allegro Prize、Charlottenborg Foundation、李仲生基金会视觉艺术奖、台北美术奖、明天雕塑奖等众多机构认可表扬。他参与过世界各地的艺术驻留项目，包括 Boghossian Foundation、Bemis Center for Contemporary Arts、Massachusetts Museum of Contemporary Art、韩国国立现代美术馆、四川美术学院等。他的主要个展有：“The Little Death”,Uitstalling Villa，（比利时，2023）；“痛苦与欢愉”，台北市立美术馆，（台北，2022）；“Distance”，十方艺廊，（台北，2021）；“ Against Composition”，Art-Center Pushkinskaya-10，（圣彼得堡，2019）；近期主要群展有：“Charlottenborg Spring Exhibition”， Kunsthal Charlottenborg，（哥本哈根，2024）；“破冰艺术计划：溯痕”，鲁迅美术学院，（沈阳，2023）；“Summer Exhibition ”，Royal Academy of Arts ，（伦敦，2023）；“After They Left ”，Long Story Short ，（纽约，2023）；“Black Lodge”，Island Gallery，（纽约，2023）；“Paradox”，Armenian Center for Contemporary Experimental Art，（埃里温，2022）；“Iridescent”，国立现代美术馆，（南韩，2022）；“贴地飞行”，四川美术学院美术馆，（重庆，2022）；“亚洲数字艺术大赏”，福冈市美术馆，（日本，2022）；“第九届中国北京国际美术双年展”， 中国美术馆，（北京，2022）等。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.![]()
朱钇名，1996 年出生于河南，分别于 2019 年、2023 年获得天津美术学院油画系本科及硕士学位，现工作生活于天津。他的创作以个人视角看待周遭的环境和探求自己的内心，将看到的提炼成绘画语言，释放出他对“草根”的同情。他近期主要参加的群展包括：“暗夜公园”，山上艺术空间，（厦门，2024）；" 后浪拼图：新绘画的心面孔“，玉兰堂，（北京，2023）；“太平廣记”，魔灯院艺术客厅，（佛山，2023）；“画内：观念之外”，赛麟空间，（上海，2023）；“陌生的名单”，山上艺术空间，（厦门，2023）；“自由的陷阱”，叁拾空间，（北京，2023）；“风景画”，拾萬空间，（石家庄，2022）；“断片集”，伯年艺术空间，（北京，2022）等。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.
陆紫灵（b.1994），2017年本科毕业于西安美术学院版画系，2020年硕士毕业于合肥工业大学美术学油画及理论方向。现工作生活于安徽合肥。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.
关于可以画廊 / About KeYi Gallery可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
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.
