展讯 | 新粮仓空间首展「筒仓，算力，垂直之梦」将于10月1日开幕！

文摘 2024-09-20 15:11 安徽

筒仓，算力，垂直之梦

Silo Dreams

艺术家 Artists：

陈拍岸 Chen Pai'an

龚斌 Gong Bin

经傲 Jing Ao

李关帅 Li Guanshua

李喷泉 Li Penquan

李涛 Li Tao

李昕頔 Li Xindi

任莉莉 Li Li Ren

松郎 Song Long

宛超前 Wan Chaoqian

谢林佑 Xie Linyou

邢万里 Xing Wanli

策展人 Curator：

陈鋆尧 Chen Junyao

展期 | Exhibition Period

2024.10.01-2024.11.17

开幕 | Opening

2024.10.01 15:30-18:00

可以画廊，合肥市蜀山区新粮仓15号，周一至周日

15# Building, New Grain Warehouse, Shushan District, Hefei.

Open Monday to Sunday.

可以画廊欣然宣布将于10月01日在合肥新空间举办群展「筒仓，算力，垂直之梦」。这将是在合肥新空间——新粮仓KKP举办的第一个首展，展览将集中呈现陈拍岸、龚斌、经傲、李关帅、李喷泉、李涛、李昕頔、任莉莉、松郎、宛超前、谢林佑、邢万里12位艺术家的22件新作。展期将持续至11月17日。

KeYi Gallery is pleased to announce the upcoming group exhibition "Silo, Computing Power, Vertical Dream," opening on October 1 at the New Space in Hefei. This will be the inaugural exhibition at the new grain warehouse KKP in Hefei. The exhibition will showcase 22 new works by 12 artists: Chen Paian, Gong Bin, Jing Ao, Li Guanshuai, Li Penquan, Li Tao, Li Xindi, Ren Lili, Song Lang, Wan Chaoqian, Xie Linyou, and Xing Wanli. The exhibition will run until November 17th.

高耸起伏的简仓，以极强的空间意识和突破日常的建筑形式创造了全新的空间，在装载着粮食与货物的熙攘车流中，在铁路、桥梁和吊车构建起的城市里，在蓬勃生长的城市天际线下，一个巨大、垂直的直面混凝士建筑陡然矗立，与周遭的一切相映成趣。

The towering and undulating silos create a new space with a strong sense of spatial awareness, breaking free from everyday architectural forms. Amid the bustling traffic carrying grain and goods, within a city constructed of railways, bridges, and cranes, a massive, vertical concrete structure suddenly rises, contrasting and complementing everything around it under the flourishing city skyline.

作为画廊新粮仓空间的开幕首展，“筒仓，算力，垂直之梦”始于这一特殊展览空间的建立：兴建于世纪末的筒仓由存放储备粮转向关注当代文化的内容生产。

As the inaugural exhibition of the gallery's new grain warehouse space, "Silo, Computing Power, Vertical Dream" begins with the establishment of this unique exhibition space: the silos, built at the turn of the century, have transitioned from storing reserve grain to focusing on the production of contemporary cultural content.

空间的建筑改造与情景轮替是社会空间在应用功能上的转变，展览将其视作社会活动与经济发展转型的投射，具体展现新兴技术产业、算法逻辑和平台经济主导下后现代劳动力与生产关系的流转更迭，以社会关系与空间结构间的非线性联系勾勒并探讨当代城市面临的发展现状与挑战。

The architectural transformation of the space and the shifting contexts represent a change in the functional application of social space. The exhibition views this as a projection of the transformation of social activities and economic development, specifically showcasing the dynamics of postmodern labor and production relations under the dominance of emerging technology industries, algorithmic logic, and platform economies. It aims to outline and explore the nonlinear connections between social relations and spatial structures, addressing the current development status and challenges faced by contemporary cities.

展览集合了12位艺术家的绘画、影像、雕塑与特定场域装置作品，剖析并回应以社会生产结构剧烈变化和由此引发的时空流动性为基调的当代社会生产关系与组织形态，希望为显现于当下，并将在未来更为普遍的社会空间实践体验提供解读、思考与处理的视角。

The exhibition brings together paintings, videos, sculptures, and site-specific installations by 12 artists, analyzing and responding to the dramatic changes in social production structures and the resulting temporal and spatial fluidity that characterize contemporary social production relations and organizational forms. It aims to offer interpretations, reflections, and approaches for understanding the emerging social spatial practices that are present today and will become more prevalent in the future.

新粮仓的前身——安徽省机械化粮库——于1992年立项修建，作为粮食收购、储存、加工、商贸的集合体促进粮食储备与流通，回应了当时的社会情境与诉求。

The predecessor of the new grain warehouse, the Anhui Mechanical Grain Storage Facility, was initiated in 1992. It served as a hub for grain procurement, storage, processing, and trade, facilitating grain reserves and circulation in response to the social context and demands of that time.

如今，曾经的六个粮食筒仓作为工业遗产被再利用为艺术空间，新粮仓亦在城市更新中重筑为文化商业的新场域。粮仓空间功能的轮替所象征的微观社会生活场境的转译成为社会实践变化的表征，仍然残存着稻谷壳的混凝土墙壁筑就了记录时代变迁的纪念碑，空间本身的质性与意义也随之成为揭示空间的社会与生产变革的索引。

Today, the former six grain silos are repurposed as artistic spaces, while new silos are being rebuilt into cultural and commercial hubs as part of urban renewal. The transformation of the silos' functions symbolizes the translation of micro-social living environments, representing changes in social practices. The concrete walls, still bearing the remnants of rice husks, stand as a monument recording the shifts of an era. The qualities and meanings of the space itself become indices revealing the social and production transformations of the area.

©陈拍岸 Chen Pai'an

1609005210112 ‍

2024

矢量图、艺术微喷 / Vector painting 、Ultragiclee

160 × 90 cm

独版 / Unique edition

陈拍岸放弃了与抽象表现主义相关的学术内涵，转而着眼于广告的应用逻辑，将商品作为形式、符号和材料带到绘画的前沿。他以幽默和机智的方式在不同的媒体中工作，在符号和内容之间摇摆，以数码绘画与微喷还原现代场景光滑的工业产品质感，借科技传达新的风格化空间视觉体验。在自然和人工景观中找到崇高的感觉。

Chen Pai'an has shifted away from the academic connotations associated with Abstract Expressionism, focusing instead on the logic of advertising application, bringing commodities as form, symbol, and material to the forefront of painting. He works across various media with humor and wit, oscillating between symbols and content. Using digital painting and micro-spraying techniques, he reproduces the sleek industrial product textures of modern scenes, conveying new stylized spatial visual experiences through technology. In both natural and artificial landscapes, he seeks a sense of the sublime.

©经傲 Ao Jing

哼的咳嗽 / Humph ! A Cough

2023

邻居家自然死亡的树，铜，铝，鱼钩，珊瑚，陶瓷，皮，我妈种失败的葫芦

neighbor's tree that died naturally , copper , aluminium , fish hook , coral , ceramic , leather , rope , a gourd my mother planted unsuccessfully

230 × 140 × 120 cm（尺寸可变 / Size variable）

经傲探索各种质材在不同环境中成为雕塑、行为、影像的发生方式，在非二元对立的语境中，探索“物质”与“非物质 "、 “意识”与“无意识”间的暧昧关系。相较于当下以辩证思维为主导的艺术生产模式，经傲的创作更偏向于叙事性文学，通过不断地提出问题并在疑问中游走，将自身对生命所有的态度与抉择，均诚实地呈现于作品中。她的雕塑中材料物质性在不同环境中的偶然转化与发生，随机潜能与高度控制间存在了不同的复杂动态。

Ao Jing explores how various materials can manifest as sculptures, performances, and images in different environments, examining the ambiguous relationships between "material" and "immaterial," as well as "consciousness" and "unconsciousness," within a non-binary framework. Unlike the current art production models dominated by dialectical thinking, Jing Ao's work leans towards narrative literature. By continuously posing questions and navigating through uncertainties, she honestly presents her attitudes and choices regarding life in her work. In her sculptures, the materiality of the materials undergoes incidental transformation and occurrence in different environments, revealing complex dynamics between random potential and high control.

©李关帅 Li Guanshuai

脚步流淌遍布身心 / Footsteps flow through me

2024

布面油画 / Oil on canvas

200 × 300 cm

李关帅将人内心的神圣和人与神性中细微的情感视为一种未知与神秘。整个过程表现为从自信到纠结，再到发现自身认知的缝合，转到失望再到接受并参与博弈，这些环节无序地出现在他的生活态度和作品中。细微的情感附着于巨大的、形象化的人的意志；附着于具体文本中人性部分的想象延伸上，包括人对仪式感的具体化和信仰的形象化。他以人性与神性间的摇摆博弈刻画复杂、残缺、对抗的普遍境遇；但这些都起于他在信仰中个人的想象力与求知欲的私心。李关帅的绘画中具有当下人们对未知、神性、仪式的新的个人的认知与情感判断。这古与新的意志和私心在他生活和画中交替，注定是个难题。

Li Guanshuai views the sacredness within the human psyche and the subtle emotions between humanity and divinity as realms of the unknown and the mysterious. This process is characterized by a progression from confidence to confusion, followed by the realization and integration of one's own understanding, shifting to disappointment and eventually to acceptance and engagement in the struggle. These stages appear disorderly in both his life attitude and his work. Subtle emotions are attached to grand, personified will; they are extended through imaginative elements in specific texts related to humanity, including the concretization of ritual and the visualization of faith. Li Guanshuai portrays the complex, fragmented, and confrontational nature of universal conditions through the interplay between humanity and divinity. However, this stems from his personal imagination and curiosity within the realm of faith. His paintings reflect contemporary individuals' new personal cognition and emotional judgments regarding the unknown, the divine, and rituals. The interplay of ancient and modern wills and personal motives in his life and art creates an ongoing and profound challenge.

©任莉莉 Li Li Ren

蜕 / Landscape from within

2022

网格，绒线，硅胶，羊肝菌，蛇蜕，莲子

Canvas, yarn, silicone, Morchella, snake slough, lotus seed

400 × 200 cm

在任莉莉的实践里，她探索物体与空间不断变化的关系，经常通过生物学诠释和高度幻想，寻找形状、内容和环境的内部通道，从而逃离现实空间的物理框架。在建构这个世界的过程中，任莉莉寻找流通在人类世、海洋、生物学、变化体和母性之间的内容，强调人和非人之物的共性混淆或回避它们原本的内涵，瓦解传统人文主义的稳定性。即是对当代社会碎片化及不稳定性的超验阐释。

In Li Li Ren practice, she explores the ever-changing relationship between objects and space, often using biological interpretations and heightened fantasy to seek internal pathways of shape, content, and environment, thereby escaping the physical confines of real-world space. In constructing this world, Ren Lili seeks content that circulates among the Anthropocene, the ocean, biology, metamorphosis, and maternity, emphasizing the confusion or avoidance of the original meanings of both human and non-human entities, thus dismantling the stability of traditional humanism. This approach serves as a transcendental interpretation of the fragmentation and instability of contemporary society.

©宛超前 Wan Chaoqian

‍‍CH Inn. #04

2023

布面油画与丙烯 / Oil and Acrylic on canvas

180 × 170 cm

宛超前以家用电器定义的家居空问提供现代生活的画像，关注技术发展对空间与生活经验的重塑。通过对互联⽹、视觉⽂化和⽣活中碎⽚式图像的收集与再创作，以多样绘画⽅法开拓出⼀⽚荒诞与悖论兼容的图像地景。抽象与具象、随机与既定、创造与破坏、共情与冷漠、诙谐与严肃在宛超前的作品中发⽣对撞，以丰富的层次探讨当代社会令⼈乐此不疲⼜倦怠⽆⽐的控制机制与⽣存⾯貌。

Wan Chaoqian defines domestic spaces through household appliances, providing a portrait of modern life while focusing on how technological advancements reshape spatial and experiential dimensions. By collecting and reinterpreting fragmented images from the internet, visual culture, and daily life, he creates an absurd and paradoxical landscape through diverse painting techniques. In Wan Chaoqian's work, abstract versus figurative, random versus predetermined, creation versus destruction, empathy versus indifference, and humor versus seriousness collide, exploring with rich layers the contemporary society’s endlessly engaging yet exhausting mechanisms of control and modes of existence.

©谢林佑 Xie Linyou ‍‍‍‍

War of Tomorrow

2023

CG 动画视频、有声 / CG Animated video, Sound

时长 / Duration：3"53'

版数 / Edition : 1/3 + 2AP

谢林佑的作品集人工智能、多元文化背景下的移民潮、电子游戏和散文诗的超现实，以贝托尔特·布莱希特的 In the Dark Times 为灵感，用碎片化的方式搭建了一个反乌托邦的现实框架—— War of Tomorrow一词是对我们今天面临的无数冲突以及未来即将到来的问题的隐喻：一场跨越文化、性别、政治等多个层面的战争。通过融合各种象征性元素，影像展现了一个崩解的超现实世界，通过五个虚构的场景，反映当今我们所面临的不同问题。这些场景通过一个类似水上游乐设施的方式连接在一起，形成一个循环，唤起我们对所面对挑战循环往复的感受。

Xie Linyou’s work combines elements of artificial intelligence, the immigrant wave within multicultural backgrounds, video games, and surrealist prose. Drawing inspiration from Bertolt Brecht's In the Dark Times, he constructs a dystopian reality through a fragmented approach. The term War of Tomorrow serves as a metaphor for the countless conflicts we face today and the issues looming in the future—a war spanning multiple dimensions of culture, gender, and politics. By integrating various symbolic elements, his images depict a disintegrated surreal world through five fictional scenes that reflect the diverse problems of our time. These scenes are interconnected in a manner reminiscent of an aquatic amusement park, creating a cycle that evokes our feelings of the repetitive nature of the challenges we face.

影像中的3D角色站在一艘不停行驶的，装有一台电竞电脑的非法移民船上，代表着个体在虚拟框架和群体在现实框架下所遭受冲突的结合。船的运作方式类似水上乐园的漂流设施——虽不断前进，但最终总是回到起点，意味着一段没有实质进展的旅程。而作为字幕出现的散文诗以一种类似冥想的方式提供了一种精神性的视角来解读内容，引导观众对旧世界进行告别，而在这告别之后，某些新的事物正在等待着我们。未来不可知，而你，被邀请加入下一场战争。

In the imagery, a 3D character stands on an illegal immigrant boat, which is constantly moving and equipped with a gaming PC, representing the intersection of individual conflicts within virtual frameworks and collective conflicts within real frameworks. The boat operates like a water park's lazy river—continuously advancing but ultimately returning to the starting point, symbolizing a journey without substantial progress. The prose poem that appears as subtitles offers a meditative perspective for interpreting the content, guiding viewers in bidding farewell to the old world. After this farewell, new things are awaiting us. The future is unknown, and you are invited to join the next war.

©邢万里 Xing Wanli

乐园 VI / Paradise VI

2024

布面油画 / Oil on canvas

151 × 106 cm

邢万里的作品指向文学作品中的非线性叙事结构，并引用符号学中对能指的物质性和所指的心理表象之间的关系进行图像处理。他借由现实生活中的体验将这些文字重组转换成以“记忆”为母题的场景。其画面注重对文字的呼应与感性的体验，以碎片化元素重组电子时代图像、文字、记忆的虚拟现实。

Xing Wanli's work points to the non-linear narrative structures found in literary texts and utilizes semiotic theories to explore the relationship between the materiality of signifiers and the psychological representations of signifieds. Drawing from experiences in real life, he reconstructs and transforms these texts into scenes centered around the theme of "memory." His imagery focuses on the interplay between text and sensory experience, using fragmented elements to reassemble the virtual reality of images, texts, and memories in the electronic age.

社会经济结构与芳动关系越发复杂化、灵活化、分散化，后现代芳动力与社会生产关系向临时性、不稳定性变迁，但无论时代风云变幻抑或建筑功用更迭，粮仓这一特殊空问所带来的对劳动至上的推崇与尊重，终为当下讨论的伊始莫定着丰天且富于浪漫主义的象征。

As social and economic structures and labor relations become increasingly complex, flexible, and decentralized, postmodern labor dynamics and social production relationships are shifting towards temporariness and instability. However, whether in times of change or shifts in architectural functions, the unique space of the granary continues to symbolize a profound and romanticized reverence for labor. This enduring symbol serves as a rich and romantic starting point for contemporary discussions.

关于艺术家 / About Artists

陈拍岸，1988 年生于中国广州，现居广州。本科毕业于中国广州美术学院雕塑系，后从事艺术实践至今。他放弃了与抽象表现主义相关的学术内涵，转而着眼于广告的应用逻辑，将商品作为形式、符号和材料带到绘画的前沿。他以幽默和机智的方式在不同的媒体中工作，在符号和内容之间摇摆，在自然和人工景观中找到崇高的感觉。

他参与的个展有：“那你要不要做艺术家?”，弥金画廊，（上海，2021）；“开什么玩笑”，广州画廊，（广州，2019）；“滋生在尾房的”，1a Space，（香港，2018）。他参与的群展有：“ASPHALT”，弥金画廊，（上海，2024）；“从叠影中穿过”，弥金画廊，（上海，2022）；“吾辈”，SNAP 艺术中心，（上海，2022）；“60169019”，Brownie Project，（上海,2019）；“前置未来”，东莞市文化馆，（东莞，2019）；“From Its Course Into Channels”，Hessel Museum of Art，（纽约，2019）；“大健身”，南京艺术学院美术馆，（南京 2018）；“陈拍岸，黃永生，伍思波”，TABULA RASA，（北京，2018）。

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.

His solo exhibitions include:"Be An Artist Then?", Gene Gallery, (Shanghai, 2021), "What Kinda Joke Is This", CantonGallery, (Guangzhou, 2019); "Breeding in the Last Room", 1a Space, (Hong Kong,2018). His group exhibitions include: "ASPHALT", Gene Gallery, (Shanghai, 2024); "Passing Between Reality and Falsehood", Gene Gallery, (Shanghai, 2022), "Fellows", SNAP, (Shanghai, 2022);"60169019", Brownie Project, (Shanghai, 2019); "Prepositive Future", Dongguan Culture Center, "Dongguan, 2019); "From Its Course Into Channels", Hessel Museum of Art, (New York, 2019); "Big Workout", AMNUA, (Nanjing, 2018); "Chen Paian, Wong Wing Sang, Wu Sibo", TABULA RASA, (Beijing, 2018).

龚斌，1992年生于的中国益阳，于 2014 年获得湖北美术学院版画系插画专业文学学士学位。他的创作寻求一种避世之思，以此为心灵带来慰藉。他充满活力和趣味的绘画作品融合了富有表现力的色彩和半抽象的图形，描绘那些只存在于幻想里的场景和景观。龚斌拥有插画和版画的教育背景，热衷探索图像之间可能的叙事联系，而这也将他的作品变成一个充满着浪漫谜题的视觉迷宫。他经常用诗歌、人物和虚构的地点来命名作品，在他的画布上，坐落在广阔的环境中的物件和物体被赋予了生命、活力以及不同的角色，拥有了爱与被爱的能力。

他参与的个展有：“赫赫之光”，妙有艺术，（北京，2023）；“是爱，动太阳而移群星”，MOU PROJECTS，（香港，2022）；“荒芜的绿，暗沉的蓝”，妙有艺术，（北京，2019）。他参与的群展有：“北京当代艺术博览会”，妙有艺术，（北京，2024）；“西岸艺术与设计博览会”，妙有艺术，（上海，2023）；“西岸艺术与设计博览会”，MOU PROJECTS，（上海，2023）；“ART021 博览会”，无事发生画廊，（上海，2023）；“少年的梦想”，华氏画廊，（上海，2023）；“绘画小时代”，33ml off space, （上海，2023）；“ I Waited For You”，无事发生画廊，（上海，2023）；“ Seoul Modern Art Show ”，无事发生画廊，（首尔，2023）；“In and Out”，MINE PROJECT，（香港，2022）；“生于 1992- 中韩青年艺术家交流展”，大韩民国驻上海总领事馆，（上海，2022）。

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).

经傲，1993年出生，现生活工作于北京，先后毕业于伦敦大学金史密斯学院和英国皇家艺术学院当代艺术实践公共研究方向。经傲探索各种质材在不同环境中成为雕塑、行为、影像的发生方式，在非二元对立的语境中，探索“物质”与“非物质 "、 “意识”与“无意识”间的暧昧关系。相较于当下以辩证思维为主导的艺术生产模式，经傲的创作更偏向于叙事性文学，通过不断地提出问题并在疑问中游走，将自身对生命所有的态度与抉择，均诚实地呈现于作品中。

近期个展：意中人，苏河皓司 - skyline，上海，中国（2024）；一个蒜一个坑，魔金石空间，北京，中国（2023）。近期群展包括：年轻艺术家的求索，亚纪画廊，台北，台湾（2024）；在缠绕里编织，在穿刺间缝补，69Art Campus，北京，中国（2024）；超媒体艺术节 MMAF，上海，中国（2023）；木之所及，P.art Group，上海，中国（2023）；消失的展览 | 第四幕：自然之默，知美术馆，成都，中国（2023）；环形容器，元美术馆，北京，中国（2023）；建议以看待树林的方式阅读展览，魔金石空间，北京，中国（2022）；遇见·预见，中国当代艺术藏家推荐展，博乐德艺术中心博物馆展厅，北京，中国（2022）；一双，蜂巢艺术中心，北京，中国（2021）；当且仅当，狂风卷起巨浪，阿那亚艺术中心，秦皇岛，中国（2021）；世袭领地，宝龙美术馆，上海，中国（2021）。经傲曾获得 UCCA Young Associates 年度艺术家奖项（中国北京，2023）。

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.

Her solo exhibition includes: Theory of Emotion, SUHE HAUS – Skyline, Shanghai, CN (2024); In the Pit, Magician Space, Beijing, CN (2023).Her recent group exhibitions include: The Quest of Young Artists, Each Modern, Taipei, TW (2024); Weaving in Entanglement, Mending in Punctures, 69 Art Campus, Beijing, CN (2024); META MEDIA ART FESTIVAL, Shanghai, CN (2023); Where Wood Stands, P.art Group, Shanghai, CN (2023); Invisible V.4: The Silence of Nature, Zhi Art Museum, Chengdu, CN (2023); Vacuum, Yuan Art Museum, Beijing, CN (2023); To the Public: Please Read the Exhibition the Way One Perceive the Woods, Magician Space, Beijing, CN (2022); Encounter & Foresight: A Contemporar y Art Exhibition Recommended by Collectors, Blanc Art Group, Beijing, CN (2022); A Couple of, Hive Center for Contemporary Art, Beijing, CN (2021); When and Only When, the Strong Wind Rolled up the Surge, Aranya Art Center, Qinhuangdao, CN (2021); Hereditary Territory, Powerlong Museum, Shanghai, CN (2021).She obtained UCCA Young Associates’ Choice Awards (Beijing, 2023).

李关帅，1997 年生于山东东营，2019 年本科毕业于四川美术学院版画系，2022 年研究生毕业于四川美术学院造型艺术学院，曾在四川美术学院驻留，现工作生活于重庆。在四川美术学院驻留，现工作生活于重庆。亘古的未知与当下的未知给李关帅的作品带来隐形的博弈。他将人内心的神圣和人与神性中细微的情感视为一种未知与神秘。整个过程表现为从自信到纠结，再发现自身认知的缝合，转到失望再到接受并参与博弈，这些环节无序地出现在他的生活态度和作品中。细微的情感附着于巨大的、形象化的人的意志;附着于具体文本中人性部分的想象延伸上，包括人对仪式感的具体化和信仰的形象化。但这些都起于他在信仰中个人的想象力与求知欲的私心。李关帅的绘画中具有当下人们对未知、神性、仪式的新的个人的认知与情感判断。这古与新的意志和私心在他生活和画中交替注定是个难题。他的作品曾被白兔当代艺术基金，广东当代艺术基金会，罗中立美术馆，鲸美术馆，X 美术馆等机构收藏。

他参与的个展有：“赞歌”，可以画廊，（合肥，2023）；他参与的群展包括 :“ 离谱”，三远当代艺术，（北京，2024）；“记忆”，BLANKgallery，（上海，2024）；“驿驿其达”，龙美术馆，（重庆，2023）；“在动物园散步才是正经事”，可以画廊（合肥，2023）；“动态刷新”，罗中立美术馆（重庆，2023）；“罗中立奖学金作品展”，芒果美术馆（长沙，2023）；“向前的前一步”，赛麟空间（上海，2022）；“折叠·覆盖”，鸿坤美术馆（北京，2022）；“固体与偏差”，重庆星汇当代美术馆（重庆，2022）；“信息捕捉器、超未来、启示、友爱共生”，北京妙有艺术（北京，2022）；“无论盛开还是不盛开，花都是花” ，可以画廊（合肥，2022）；" 礼物提名奖 " 作品展，并获得提名奖，罗中立美术馆（重庆，2022）；明日视线奖，（杭州，2021）；作品《我为什么在这里》，中国美术馆（北京，2018）等。

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. He has been in residence at the Sichuan Fine Arts Institute, and now lives and works in Chongqing.The ancient unknown and the contemporary unknown create an invisible tension in Li Guanshuai's work. He perceives the sacredness of the human heart and the subtle emotions between humanity and the divine as a form of mystery. This entire process is manifested as a journey from confidence to entanglement, then to the realization of self-awareness, moving through disappointment and ultimately towards acceptance and participation in the tension. These phases appear chaotically in his life attitude and artworks. Subtle emotions are attached to the vast, personified will of humanity; they are connected to the imaginative extensions of humanity within specific texts, including the concretization of ritual and the embodiment of belief. However, all of this stems from his personal imagination and curiosity within the realm of faith. Li Guanshuai’s paintings reflect contemporary individuals' new understanding and emotional judgments regarding the unknown, the divine, and rituals. The interplay of ancient and modern wills and personal desires in his life and art presents an inevitable challenge.His works are collected in the White Rabbit Art Museum, Sydney, Australia, Guangdong Contemporary Art Foundation, Luo Zhongli Art Museum, etc.

His solo exhibitions include:"Paean", KeYi Gallery, (Hefei, 2023);and group exhibitions he participated: "Memory", BLANKgallery, (Shanghai, 2024); "Sprouting",Dragon Art Museum,(Chongqing,2023);“Walking in the Zoo is the most Serious Thing”, KeYi Gallery,( Hefei, 2023);“Dynamic refresh” ,Luo Zhongli Art Museum, (Chongqing, 2023);“Luo Zhongli Scholarship”, Mango Art Museum, (Changsha, 2022);“Look Before You Leap”, Sailing Space, (Shanghai, 2022);“Fold and cover”，HK Fine Art Museum,( Beijing, 2022);“Solids and Deviation”, Galaxy Museum of Contemporary Art, (Chongqing, 2022);“MOUart X Meta MOUart Group Exhibition 2022: Information catcher, super future, revelation, fraternal symbiosis”, MOUart, (Beijing, 2022);“Whether in Full Bloom or not, All Flowers are Flowers”, KeYi Gallery, (Hefei, 2022);“The 4th Gift Nomination Award” and won the nominated award, Luo Zhongli Art Museum,( Chongqing, 2022);“Hyper Youth Award”, (Hanghou,2021);The Work: “Why I am Here”, NAMOG, (Beijing, 2018),etc.

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李喷泉，1994 年出生于河南洛阳，现居洛阳。艺术家一方面敏感捕捉日常事件的超验瞬间，另一方面他也博弈于忽左忽右的意识形态。无论是宏大叙事还是日常美学，再现神秘荒诞的体验一直是他所关注的焦点，而他的弱叙事性绘画正是对此体验的朴素回应。他的作品曾被广东当代艺术中心、X 美术馆等机构收藏。

他参加的个展有：“我在中国很想你”，可以画廊，（北京，2024）“中国许愿池”，可以画廊（合肥，2022），他参加的的群展有：“作为意志和表象的世界”，可以画廊，（北京，2023）;“2021 迎春画展”，站台中国，（北京，2021）；“mineplus”，MOU PROJECT，（香港，2020）;“夹山改梁”，夹山改梁，（北京，2018）等。

Li Penquan，born in 1994 in Luoyang, Henan, and now lives in Luoyang. On the one hand, the artist is sensitive to capturing the transcendental moments of daily events, on the other hand, he also plays with the ideologies of left and right. Whether it is grand narratives or everyday aesthetics, recreating the experience of the mysterious and absurd has always been the focus of his attention, and his weakly narrative paintings are a simple response to this experience. His works have been collected by Guangdong Contemporary Art Center, X Museum and other institutions.

He has participated in solo exhibition include: "WoZaiZhongGuoHenXiangNi", Keyi Gallery, (Beijing , 2024) ; "China Fountain", Keyi Gallery, (Hefei, 2022),His group exhibitions include:“The World as Will and Representation”，Keyi Gallery，（Beijing，2023）; "2021 Spring Festival Painting Exhibition", PLATFORM CHINA, (Beijing, 2021); "Mine plus", MOU PROJECT, (Hong Kong, 2020);"Jasagala", Jasagala, (Beijing, 2018)，etc.

李涛， 1971 年出生于河南郑州，1995 年毕业于河南大学美术系油画专业取得学士学位，1998 毕业于湖北美术学院版画系取得硕士学位。现工作生活于北京。

他参加的个展有：“椅子 \ BANK”，TABULA RASA，（北京，2024）；“椅子 \ BANK”，AYE 画廊，（北京，2024）；伦敦菜园，Tabula Rasa 画廊，（伦敦，2023）；“一周”，恬泽园，（新加坡，2023）；“彭州泡沫”AYE 画廊，（北京，2020）；“次生”，金杜艺术中心，（北京，2019）；“宇宙”，TABULA RASA，（北京，2019）；“八面玲珑：李涛作品展”，塔奥艺术中心，（北京，2010）；“中产阶级的魅力”，F5 艺术中心，（北京，2007）；“个人展览”，湖北省美术院，（武汉，1998）。他参加的群展有：“提醒：有可用更新版本”，魔金石空间，（北京，2024）；“TERRA” ，（法国勃艮第，2023）；“爱丽丝梦游奇境” 69 ART CAMPUS 艺术中心，（北京，2022）；“记忆术”+“记忆的宫殿” OCAT 深圳馆 X 华·美术馆，（深圳，2021）；“生生与共——数字时代的艺术与设计”，今日美术馆，（北京，2021）；“奇妙的旅行” OCAT 深圳馆，（深圳，2021）；“中国当代艺术年鉴展”，坪山美术馆，（深圳，2020）。

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).

李昕頔，出生于 1996 年，现生活和工作于北京。2019 年毕业于芝加哥艺术学院，主修雕塑。他的艺术实践受到汉斯·哈克 (Hans Haacke)和安德里亚· 弗雷泽 (Andrea Fraser) 等在机构批评 (Institutional Critique) 领域起到推动性作用的艺术家的影响。他的装置作品经常以无厘头的幽默以及对现实事物出其不意的戏仿，向文化机构在生产当代文化与定义社会审美方面的作用发出质疑。除了个人艺术实践外，李昕頔还以雇员的身份参与着公共艺术机构的日常运行。其职业经历促进了他对艺术机构运转方式的理解，启发了他对相关制度体系内所谓的“惯例”进行自省式的反思。

他的主要个展包括：“高空设施”，C5CNM，（北京，2023）；“R.D. 结构三”，盘子空间，（北京，2020）。他的主要群展包括：“隐藏的创作”，香格纳画廊 & 苏河皓司，（上海，2024）；“永昼”，美成空间，（深圳，2024）；“智能秩序”，69Art Campus，（北京，2023）；“示范：做决定技术的艺术”，复星艺术中心，（上海；2023）；“昨天是新的一天”，今格空间，（北京，2022）；“目及处，彼方物”，作者画廊，（北京，2022）；“GREEN GO HOME：隔离、断线与四海为家”，户尔空间，（北京，2021）；“合作，为了污染，不为完善：解放”，户尔空间，（北京，2021）；“八仙过海”，postpost，（北京，2020）；“在各处”，工作室画廊，（上海，2020）；"Within Receding Horizon", Sullivan Gallery, （芝加哥，2018）等。

Xindi Li, born in 1996 , lives and works in Beijing. Li holds a BFA in Sculpture from The School of the Art Institute of Chicago. Following the paths of pivotal artists who work in the realm of Institutional Critique, such as Hans Haacke and Andrea Fraser, Xindi Li’s installation works pose questions and critically comments on the nature of art institutions and their role in producing culture and defining aesthetics in contemporary society with unexpected parody and non-sequitur humor. Aside from his individual art practice, Li has also worked in private and public art museums professionally; these professional experiences have significantly contributed to his understanding of the functioning of art institutions and initiated his constant introspective examining of the norms within the institutional system.

He has participated in solo exhibition include: “Overhead Infrastructure”, C5CNM, (Beijing,2023) ;“R. D. Structure 3”, PLATE Space, (Beijing,2020).He has participated in group exhibition include:"Hidden Reflection: works from art workers”, Suhe Haus & Shanghart Gallery (Shanghai,2024);"Demostration: The Art of DecisionMaking Techniques", Fosun Foundation, (Shanghai ,2023);"Apocalypse of Yesterday", Ginkgo Space, (Beijing ,2022);"In and Out of the Media", Author Galler y, (Beijing ,2022);"Collaboration, Not for Perfection, but for Contamination”, HUA International, (Beijing ,2021);“Green Go Home”, HUA International, (Beijing,2021);"THere", Studio Gallery, (Shanghai ,2020);"When Mythology Jumps Into Economy: A Big Splash of Ecology!”, Postpost, (Beijing,2020);"Within Receding Horizon", Sullivan Gallery, School of the Art Institute of Chicago, (Chicago,2018).

任莉莉 1986 年出生于黑龙江，现生活、工作于伦敦。她先后获得中央圣马丁艺术与设计学院纯艺专业学士学位（2010 年）和英国皇家艺术学院雕塑专业硕士学位（2017 年）。在任莉莉的实践里，她探索物体与空间不断变化的关系，经常通过生物学诠释和高度幻想，寻找形状、内容和环境的内部通道，从而逃离现实空间的物理框架。在建构这个世界的过程中，任莉莉寻找流通在人类世、海洋、生物学、变化体和母性之间的内容，强调人和非人之物的共性混淆或回避它们原本的内涵，瓦解传统人文主义的稳定性。她的近期作品延续了对记忆机制的思考——碎片如何被遗忘，物质联系如何建立，历史如何分层。这些都成为她在视觉语言中构建叙事的重要工具。

个展：The World Forgetting, by the World Forgot, Sherbet Green, 伦敦，英国 (2024)；落日如灼伤，魔金石空间，北京，中国（2022）；Frantumaglia| 在此地与彼时之间，七木空间，北京，中国（2021）。重要群展：春困，拾萬空间，北京，中国（2024）；尺寸可变，比利时驻华大使馆，北京，中国（2024）；缺席 / 返场，银川当代美术馆，银川，宁夏，中国（2024）Frieze Sculpture，伦敦，英国（2023）；短篇小说，重美术馆，北京，中国（2023）；萦绕之所：X 美术馆三年展，X 美术馆，北京，中国（2023）；Into My Arms, Sherbet Green，伦敦，英国（2023）；我们从别人那里借梦想，像债一样，没顶美术馆，上海，中国（2022）；中国当代艺术年鉴展 2021，798 艺术中心，北京，中国（2022）；低度开发的记忆，七木空间，北京，中国（2021）。

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, UK (2024); Sunset as Burning Bruise, Magician Space, Beijing, CN (2022) andFrantumaglia, Qimu Space, Beijing, CN (2021).

松郎，1998 年出生于江苏省徐州市，2020 年本科毕业于西安美术学院实验艺术系，现生活工作于江苏。她的创作关注人与其生存空间的关系。她切身进入多种现实场景，通过对生活末枝的的异化来撬动惯常经验，打乱并重组日常规制，以精心营造的间离感或戏谑、或诗意地形成观念输出。其作品曾获 2021 年西戏 / 想象力学 / 马丁·戈雅生意“明日视线”第二名、2020 年绘画艺术坏蛋店第一届“新鬼”不得不服第一名。

她参与的个展有：“纯良流域”，可以画廊（合肥，2024）；“选择用力”个人驻地项目，华侨城盒子美术馆，（佛山，2021）；她参加的群展有：“松郎 x 张珂：游客中心”双人联展 , 想象力学实验室，（杭州，2022）；“换句话说”，原型画廊，（洛阳，2023）；“步行指南”，长征独立空间，（北京，2023）；“活成行为艺术家”，没顶美术馆，（上海，2023）；“不可思议的行动”，A4 美术馆，（成都，2022）；“存在与重复”，春美术馆，（上海，2022）；“明目视线”，西戏，（杭州，2022）；“无论盛开不盛开花都是花”，可以画廊，（合肥，2022）；“春分”，三域汇，（广州，2021）；“不加速方式”，上空间，（贵阳，2021）；“说我们的 100 种方式”, 新市剧院 & 歌德学院，（德国，2021）；“首轻哼”，南视觉美术馆，（南京，2020），等。

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 M o d e ” , U p A r t S p a c e , ( G u i y a n g , 2 0 2 1 ) ; “ 1 0 0 Ways to Say We”, Theater Neumarkt & GoetheInstitu,(german,2021);“Dagger Humming”, RCM, (Nanjing, 2020),etc.

宛超前， 1995 年⽣于河北省廊坊市。2017 年毕业于英国格拉斯哥艺术学院油画与版画系。现⼯作⽣活于北京。宛超前通过对互联⽹、视觉⽂化和⽣活中碎⽚式图像的收集与再创作，以多样绘画⽅法开拓出⼀⽚荒诞与悖论兼容的图像地景。抽象与具象、随机与既定、创造与破坏、共情与冷漠、诙谐与严肃在宛超前的作品中发⽣对撞，以丰富的层次探讨当代社会令⼈乐此不疲⼜倦怠⽆⽐的控制机制与⽣存⾯貌。

他的个展包括：“皆⼤欢喜”BROWNIE project，( 上海，2022) ; 主要群展包括：“异化景观”, 壹Art 艺术机构，( 合肥 ,2024);" 狂喜 " 想象⼒学实验室 x 23 号楼，（杭州，2024），“娜拉出⾛之后”，悠艺术中⼼，（北京，2024）；“提醒：有可⽤更新版本”，魔⾦⽯空间，（北京，2024）。

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："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).

谢林佑， 1993 年出生于南京，现从事视觉艺术家、导演及动画师。2018 年至 2020年就读于英国皇家艺术学院，2015 年至 2018 年就读于德国魏玛包豪斯大学。他获得的奖项有：2023 年入围英国 CIRCA Prize；2023 年获得美国Denver Digerati - 提名；2021 年获得瑞士 Fantoche 动画电影节 - 提名；2021 年获得日本新千岁空港国际动画节 - 提名；2021 年获得 Anima布鲁塞尔国际动画电影节 - 提名；2021 年获得爱丁堡独立电影奖 - 最佳学生影片；2021 年获得丹佛 Supernova 数字动画节 - 提名；2020年获得柏林音乐录像奖 - 提名；2019 年入围 Nowness 中国天才计划。

他参加的主要展览有：“Latent Place, Subjective Gallery”,（纽约，2023）；“CIRCA Prize”, 皮卡迪利广场 ,（伦敦 , 2023）；“超群落”，油罐艺术中心，（上海，2022）；“所及之处”, 69 Art Campus，（北京，2021）；“假日”, 没顶画廊，（上海，2021）；“稍息”, OCT 当代艺术中心，（淄博，2020）“RCA2020”, 皇家艺术学院，（伦敦，2020）；“版图”, 史莱姆引擎，（线上，2020）；“WIP Show”, 皇家艺术学院，（伦敦，2020）；“Nowness 中国天才计划展映”, K11,（上海，2019）；“Summer Exhibition”, Elephant West Gallery, （伦敦，2019）；“我们在何处相遇？”，北京艺博会，（北京，2019）；“The other domain”, Safehouse,（伦敦，2019）；“Backwards Reading”, 508 Gallery,（伦敦，2019）；“ 海洋”，史莱姆引擎，（线上，2018）；“Club de Normie”, Reizueberflutung Artspace，（魏玛，2018）。

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).

邢万里，1992 出生于河北承德，曾就读于四川美术学院、西安美术学院，现工作生活于成都。他的作品指向文学作品中的非线性叙事结构，并引用符号学中对能指的物质性和所指的心理表象之间的关系进行图像处理。他借由现实生活中的体验将这些文字重组转换成以“记忆”为母题的场景。其画面注重对文字的呼应与感性的体验，碎片化的元素和生活中的灵感一一对应，构建出一系列从现实到预设再记录转化过程的开放性图式。他的作品曾被 X 美术馆等机构收藏，作品《刺杀骑士团长》入选“Cultural Cityof East Asia 2019 Toshima Award”。

他的个展包括：“事犹未了”，X 美术馆，（北京，2024）；“遥远的绿洲”，可以画廊，（合肥 2021）；“故事的形状”，MOMO 艺术中心，（西安市， 2019），主要群展包括：“返场时代”，时代美术馆，（北京，2024）；“作为意志和表象的世界”，可以画廊，（北京，2023）；“多少次呵，我离开了我日常的生活”，69 Art Campus，（北京，2022）；“斯普特尼克恋人”青矜计划，( 北京， 2020) 等。

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. He uses real-life experiences to reorganize and transform these words into scenes with "memory" as the main theme. His images emphasize the echoing of words and sensual experience, and the fragmented elements correspond to the inspirations in life, constructing a series of open-ended schemas that 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".

His solo exhibitions include:"There are more things", X Museum, (Beijing , 2024)，" Far Oasis", Keyi Gallery,（Hefei, 2021); "The Shape of Story", MoMo Art center, (Xi'an, 2019)，and major group exhibitions include："ERA OF ENCORE",Times Art Museum,(Beijing,2024);“The World as Will and Representation”，Keyi Gallery（Beijing，2023)；“How many times，I have left my everday life”，69 Art Campus, (Beijing , 2022); Qingjin Plan of "Sputnik Lovers", (Beijing , 2020)，etc.

关于策展人 / About the Curator

陈鋆尧（b.1995），独立策展人，目前工作、生活于上海和北京。2018年毕业于北京师范大学数字媒体系，并于2020年获得英国皇家艺术学院当代艺术策展硕士学位。他的策展研究和实践内容关注于剧烈社会转型下的空间政治、数字媒体的公共性和公共环境中的人文景观。

他曾作为主要发起人组织筹办首届未来策展人论坛（西岸美术馆，上海，2023）；入选国际现代艺术博物馆和收藏委员会（CIMAM）年度委员会成员（2022）；作为策展人组织筹办上海交大文创学院艺术创意谷艺术家驻留项目（2022-2023）；策展方案入围2022年集美·阿尔勒“影像策展人奖”（三影堂摄影艺术中心，厦门，2022）；其论文和研究项目《产业转型与策展思路介入下的城市再生——以深圳大芬村为例（Urban Regeneration with the Intervention of Industrial Transformation and Curatorial Ideas, A Case Study of Dafen Village, Shenzhen）》入选全球文化创意产业与发展国际会议（2021）并发表于跨学科期刊Telematics and Informatics Reports；他曾与国内外多家当代艺术机构和画廊合作，并为媒体和艺术家撰写评论文章。

近期主要策划展览/项目包括：“跨级社区”，上海油罐艺术中心，上海（2024）；“失神在三向度”，chi K11美术馆，上海（2023）；“无人时，可以翩翩起舞”，香格纳画廊M50空间，上海（2023）；“对照组：在棱镜般的视线中”，CLC Gallery Venture, 北京（2023）；“永恒与一日”，HdM Gallery, 北京（2023）；“雷电公寓”，雷电所，上海/CryptoVoxels（2022）；“大地边缘的人，狂醉中空想”，弥金画廊，上海（2022）；“Beyond”，CADAF，巴黎（2021）；“所及之处”，69 Art Campus，北京（2021）；“稍息”，OCAT淄博华侨城艺术中心，淄博（2021）；“100 Carat Diamond”，巴比肯艺术集团基金会，伦敦（2020）。

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;

本次展览由谭欣然作为策展助理和执行。

This exhibition is assisted and executed by Sylvia Tan as the curatorial assistant.

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.

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