Yves Scherer is born in Switzerland in 1987, he currently works and lives in New York. He has graduated from the Royal College of Art in London with a Master in Sculpture in 2014 and obtained a Bachelor's degree in Cultural Sciences from the University of Lucerne in 2011. Scherer's creative mediums are rich and diverse, including painting, photography, sculpture, and installations. He combines personal narratives with fan fiction and celebrity culture, drawing inspirations from news and social events on topics of gender identity, life experiences, Hollywood culture, and public media. Through the visual illusions created in his works, he locates and reproduces the phantasms of life: using a variety of materials and media, in flat and three-dimensional spaces, to present his understanding and questioning of life and virtual culture.

Scherer has been nominated twice for the Swiss Art Award, and has won Pro Helvetia in Zurich’s Cahier d’Artistes Prize and the Förderpreis Bildende Kunst des Kantonalen Kuratorius für Kultur from Solothurn in Switzerland, he has been honored with a special art project promoted by Gucci and has been included in Gucci's art collection; he has been nominated as Forbes' 30 under 30 list for "Art & Design." Scherer's works are collected worldwide, including the Portland Art Museum and the Farnsworth Art Museum in the United States, the Kunstmuseum Olten and the Kunsthaus Grenchen in Switzerland, STOA169 in Germany, Bank Julius Baer & Co.Ltd in Mexico, among others.

Some of Scherer’s solo and duo exhibitions include: “Imagine”, Peres Projects (Seoul, 2024); “Sunshine”, The Stable (S-Chanf, 2023); “Tennis Elbow 116”, The Journal Gallery (New York, 2023); “New York Minute”, Gallery Glosa (Oslo, 2023); “Yves Scherer, with Louisa Gagliardi”, Galerie Eva Presenhuber (New York, 2022); “Family Tree”, Galerie Guido W.Baudach (Berlin, 2021); “By Your Side”, Cassina Projects (Milan, 2021); “Candids”, Kunsthaus Grenchen (Grenchen, 2020); “Sunset”, Kunstverein Wiesen (Wiesen, 2019); “The Last of the English Roses”, Salon Kennedy (Frankfurt, 2018) and etc.; Some of Scherer’s group exhibitions include: “Ja, wir kopieren! Strategien der Nachahmung in der Kunst seit 1970”, Kunstmuseum Solothurn (Solothurn, 2023); “Swiss Art Awards”, Messe Basel, Basel (Basel 2022); “The Dreamers, 58th October Salon, Belgrade Biennial” (Belgrade, 2021); “Witch, Cub and Dream Hunter”, BROWNIE Project (Shanghai, 2020); “Jahresausstellung”, Kunstmuseum Olten (Olten, 2019); “Art Basel Bern”, Ballostar Mobile (Bern, 2019); “20 Years Anniversary”, Kunstraum Riehen (Riehen, 2018); “New Swiss Performance Now”, Kunsthalle Basel (Basel, 2018); “Video Room”, curated by Balthazar Lovay and Sylvain Menétrey, Kunsthalle Friart Fribourg (Fribourg, 2016); “Swiss Art Awards”, Messe Basel (Basel, 2015); “Art Parcours”, Art Basel (Basel, 2015); “Grand Century”, National Gallery (New York, 2014) and etc

Guo Yingguang’s artistic practice revolves around public issues, opening up personal experiences to the public, then incorporating external feedbacks and impacts into individual reflection and extension on works, suffused a tug between publicity and privacy. She is adept at multi-media practice, combing installation, videography, sculpture, painting, photography, happening as well as external composition to convey abundant yet delicate emotions. She often adopts intricate and concise visual language, controversial themes, to lead reflection and spark discussion in both the art world as well as in society. 

Guo Yingguang, born in 1983 in Liaoning, China, holds a Master’s degree in Photography from London College of Communication (UAL), a Bachelor’s degree in Photography Communication University of China. She currently lives and works in Beijing and Huaxin. Guo Yingguang has won Jimei ARLES  2017 Madame Figaro Women Photography Festival with the series “The Bliss of Conformity” at the start of her career and was invited to exhibit at Rencontres d’Arles International Photography Festival in France. She was recommended by international artists such as Sophie Calle and Paul Graham. In 2019, at the invitation of Simon Baker (former chief photography curator at Tate), Guo Yingguang’s first solo exhibition “Guo Yingguang: The Bliss of Happiness” opened at Maison Européenne de la Photographie, making her the first Chinese female artist to hold a solo exhibition at MEP.  After years of reflexivity and creative overthrow to cope with public voices, Guo Yingguang’s second solo exhibition realized in 2022 with a more abstract, integrate and agile method to experiment her practice, continuing her path of two-way critical acceptance on external public/social structure and chimeric art, illustrating individual identity and personal experiences in new perspectives.

Guo Yingguang’s recent exhibitions include: “The Hours”, ARTiX³ (Tokyo, 2024); “Urban Fluidity — 2024 Wuhan Biennale”, Wuhan Art Museum (Wuhan, 2024); “Exteriors — Annie Ernaux and Photography”, Maison Européenne de la Photographie (Paris, 2024); “From the other Hill”, Guardian Art Center (Beijing, 2023); “GUO YINGGUANG”, BROWNIE Project (Shanghai, 2022); “NEW CONNECTION”, Enjoy Art Museum (Beijing, 2022); “NEW CONNECTION”, X-Space (Shanghai, 2022); “Rediscovery: A Selection of Jimei x Arles Awards”, ZiWU (Shanghai, 2021); “Public·Park”, Shanghai Duolun Museum of Modern Art (Shanghai, 2020); “China Imagined, Breda Photo 2020”, Grote Kerk (Breda, 2020); “Yinguang Guo: The Bliss of Conformity”, Maison Européenne de la Photographie (Paris, 2019) and etc. Guo Yingguang's works are widely collected globally, including private collectors in Asia and art museums in China and abroad, as well as banking groups in Europe.

Johannes Bosisio (b. 1994) is an Italian-born artist based in London whose practice spans painting and sculptural installation. His work celebrates transformation, freedom, desire, and hybridization by depicting organic bodies fused with technological prostheses. Through his use of once-smooth and shiny chrome surfaces that are now scratched, rough, and alive, Bosisio reconsiders our relationship with technology and its impact on our lives and identities. His approach is informed by the work of authors Donna Haraway and Andy Clark, and his art challenges traditional boundaries and creates new possibilities by merging organic and technological forms.

Bosisio has exhibited his work internationally and has garnered critical acclaim for his unique style and perspective. His recent solo exhibitions include: (Duo-show w/ Sian Fan) Another Self, Night Café Gallery (London, 2024); It is not made of mud and cannot dream of returning to dust, BROWNIE Project (Shanghai, 2024); (Duo-show w/ Sang Woo Kim)Welcome to my Melancholy, Supermarkt Gallery (Tokyo,2023), Souls from Objects from Souls from Objects From Souls, Zerui Gallery (London, 2022); SHARP HYBRID CRASH, Doris Gehtta Gallery (St. Ulrich, 2022); Hybrids, Project room Cineast (Berlin, 2018). His recent group exhibitions include: Do Cyborgs Dream of Electric Sheep, Studio Hanniball (Berlin, 2024); Outside of History, The Who Gallery (London, 2023); Junger Berliner Salon, Ludwig Space (Munich, 2023); The consolation of cliname, Tabula Rasa Gallery (Beijing, 2023); Slides Trio Exhibition, W.ONESPACE (Shenzhen, 2023); on the flip side was Guts Gallery Projects (London,2022); Detox Retox, Kali Gallery (Lucerne,2022);MY MOTHER WAS A COMPUTER, Indigo+Madder Gallery (London, 2022); Groupshow, 104 Gallery (Tokyo, 2021); LEASING VOL.1, Project room Autohaus (Kassel, 2021); Und das Ist auch gut so, Judith Andrae Gallery (Bonn, 2021). Recent scholarships and residencies include: Artist Inside scholarship (Berlin, 2021) and Spazio Speciale residency Program (Palermo, 2019). He studied DIPLOMA Fine Art Painting at Weissensee School of Art Berlin (2014-2019) and MA Fine Art Painting at the Royal College of Art and Design (2020-2022). His works have been included in key museums and collections worldwide, such as HOW Museum (Shanghai, China), X Museum (Beijing, China) and Raiffeisen Landesbank Südtirol (Bozen, Italy)

Xingyun Wang (b. 1997) is a New York-based Chinese artist, specializing in the transformative use of paper as her primary medium. Her abstract works delve into the realms of feminism, queerness, and intercultural experiences, offering a poignant exploration of personal and psychological narratives. Wang's artistic process involves layering thin sheets of paper, creating textured surfaces that reflect the nuanced interplay between body and landscapes; vulnerability and resilience.

Wang Xingyun has showcased her works in various exhibitions. Her recent exhibitions include: “The 4th Xinjiang China International Art Biennial”, Xinjiang Art Museum (Urumqi, 2024); “A Journey FROM the Center of the Earth”, Shanghai Bund Art Center 185 Space (Shanghai, 2024); “glitch”, BROWNIE Project (Shanghai, 2024); "Jianghu: The Discrete Center”, ZIAN Gallery (Hangzhou, 2024); "Thank God Every Day That the Whole House Did Not Burn Down”, Hunter College (New York, 2023); "I Want Enough Luck”, Bob’s Gallery (New York, 2023); "Terrible Terrible”, 205 Hudson Gallery (New York, 2023); “Pulp”, Pierogi Gallery (New York, 2022); "Forbidden Fruit”, Piano Craft Gallery (Boston, 2021). Xingyun Wang studied at Bard College and received her BFA at SUNY Purchase (2021). She is currently an MFA candidate at Hunter College (2022-2025).

郭盈光

约翰内斯·博西西奥

伊夫·舍雷尔

王行云

Dori Deng

2024 武汉双年展

2024.10.5-2025.5.31

此时此刻 The Hours

2024.11.2-11.17

Another Self

2024.10.24-11.22 

High Art & Sister

2024.3.9-11.10

Propagation Suspended Roots

2024.10.18-

Geometry of Light

2024.10.31-12.31

武汉

东京

伦敦

首尔

纽约

京都