Cai Zhisong


Like most people, I was constantly admonished to “establish far-reaching ambitions”, “realize my self value” and “struggle to change my destiny” since I was a child. Full of fantasies about the future, I tirelessly strived for these goals. I had faith that all of my efforts would be rewarded one day.


In a time of great social flux, where decades of social upheaval have contributed to a frequently contradictory cultural identity, Cai Zhisong’s sculpture looks back to the stability of the past. His is not a banal reiteration of Chinese history however, but a reaffirmation of the past and its relevance to contemporary times. Cai entitles his series ‘Motherland’, a word which is synonymous with pride and nationalism. As we shall see however, the themes in his work cannot be limited to one nation and are universal in nature.Whether figurative or not, an ongoing concern with time pervades all of Cai’s works and is coupled with an awareness of the change that accompanies it. What is of particular interest to the artist, however, is that which does not change; the unerring presence of human emotion, and in particular the existence of suffering. In looking at Cai Zhisong’s warriors one is given an immediate impression of the hardship that they appear to endure, this being particularly evident when gazing at the nude figures in the ‘Ode’ series. We see their strong, physical bodies being slowly crushed by an intangible, indecipherable weight. This inner torment is something that relates to all of us, as Cai states: “Pain is universal, no matter who you are, everyone feels pain at some point.” This has, of course, held true throughout history, with external phenomena constantly changing, but the same emotions continuing to exist. Cai is acutely interested in the individual’s response to emotional pain and the way in which the intensity of the emotion varies depending upon the manner that one chooses to deal with it. Certain situations, without doubt will cause negative emotions, but Cai argues that it is necessary for one to realise that no one event can be held responsible.
As he sees it, the cause of significant pain is a collection of small events that combine to become forceful enough to have an adverse effect upon the subject. It is possible, therefore, to dismantle the causes that precipitate pain and observe them not as a severe whole, but as a gradation of lesser events. When this has been achieved, and the causes have been fractioned and worked into their smallest possible components, the events, now seen in isolation, appear insignificant enough to seem nonexistent. When it is also remembered that situations in the world are never constant, it is possible to perceive these negative feelings as being irrelevant. This process, although possessing the potential to relieve suffering, is not, as Cai states, one which comes naturally to people, and as such, many allow their suffering to consume them. This occurs when pain is left unchecked. It perpetuates itself, continuing in an unrelenting cycle that becomes increasingly difficult to break free from and as this happens, we become further removed from the foundations of our distress and are left only with the negativity that it has engendered. We can see this state, this continual cycle of torment, represented in Cai’s warriors who, like many others, are trapped in an interminable state of suffering.
 Cai has given these theories on pain and its nonexistence much time and consideration, incorporating his ideas into his work and continuing to explore the theme in his various forms. They are ideas which were briefly touched upon by Confucius, but Cai is careful not to portray himself as a philosopher. Rather, he puts his care and attention into his painstaking processes, creating compassionate works that capture the innate suffering of the world. Our observations of his insightful and visually striking sculptures leave one feeling emotionally affected and contemplative. These reactions are brought about in such a subtle and gentle manner however, that one is never quite sure what it is that has touched them. In his finely articulated works we see Cai proudly but sensitively continuing the legacy of an ancient Chinese culture, whilst also reminding us of the universal qualities that tie everyone and everything, including the past and the present, together.



Ma Han


Ma Han is a Chinese visual artist who was born in 1968. Ma Han has had several gallery and museum exhibitions, including at the Pearl Lam Galleries, Beijing and at the Beijing Tokyo Art Projects. Numerous works by the artist have been sold at auction, including 'Plan of the Ants - Red' sold at Sotheby's Hong Kong in 2008 for $62739. Han Ma 1968 born in Hunan, China Lives and works in Beijing, China 
Education
1994 Graduated from the Department of Oil painting of the China National Academy of Fine Arts, Hangzhou, China
Solo Exhibitions
2009 "Permeating: A Visual Experience With No Place to Hide" Ma Han's Solo Exhibition
2003 "FLOATING: MA HAN'S WORKS EXHIBITION", Beijing, China
1994 The Installation Performance Art Exhibition by Ma Han , Exhibition Hall in China National Academy of Fine Arts, Hangzhou.
Group Exhibitions
2009 Hong Kong International Art Fair- Installations Exhibition, Exhibition Center, Hong Kong
2008 Escape, Today Museum, Beijing
Hypallage \endash  The post-modern mode of Chinese contemporary art
Hua Museum, Shen Zhen
Biennale d'Arte di Sabbioneta, Sabbioneta,Italy
Unpack, The museum of China National Academy of Fine Arts, Hangzhou
Dialogues at Art Dubai, Contrasts Gallery in Dubai Art Fair
3.15- Consumption. Xin Dong Cheng Space for Contemporary Art, Beijing
2007 Rewind <<Remix>> Fast-Forward: Chinese Contemporary Art.
Contrasts Gallery, Shanghai
China onward: the Estella Collection : Chinese contemporary art,1996-2006,
Louisiana Museum, Denmark; Israel Museum, Jerusalem
Chinese Contemporary Social Art, The State Tretyakov Museum, Moscow
2006 Comtemporary Art from China, Marchina Arte contemporanea, Brescia, Italy
Crossovers: beyond art & design, Contrasts Gallery, Shanghai
Made in China, Vecchiato Gallery, Padova, Italy
2005 From Jingdezhen to PVC, Chinese Contemporary Gallery, Beijing
Dream Producers (IV/VI)-The Imaginary Museum of Chinese Contemporary Art,
Xin Dong Cheng Space for Contemporary Art, Beijing
China- Dynamics of the Public Space, L.A. Galerie Lothar Albrecht, Germany
2004 Art-Space-China, Schwaebisch Hall, Germany Distance, Aomori Contemporary Art Center, Aomori, Japan
1st Beijing Architectural Biennial, The program exhibition hall of china, Beijing
Asia factory, Bologna Museum of Contemporary Art, Bologna, Italia
One to One-Visions, Chambers Fine Arts, New York
I like Lille, I like eating Lille, Lille Contemporary Art Center, France
2002 Beijing Afloat: Beijing Tokyo Art Project - Opening Exhibition, Beijing
Transit, Gallery Steiner, Erlach, Switzerland
Long March- A Walking Visual Display, kunming, zunyi
Welcome China, Gallery Soardi, Nice, Miami
2001 Take Part II - Chinese Contemporary Art, Galerie Urs Meile, Luzern, Switzerland
Visibility, China Art Archives &Warehouse, Beijing
Crossroad: Artistic Scenario Exihibition on the Urban Public Environment, Chengdu
Disorientation: Photography & Video in China Today, Chambers Fine Arts, New York
New Starting Point Art Exihibition, Artist Storehouse, Beijing
2000 Post-Material: Interpretations of Everyday Life by Contemporary Chinese Artists,
Red Gate Gallery The watchtower, Beijing
1998 he Report of Mahan's Studio, Beijing



Zhou Jun


Zhou Jun, is born in Nanjing, Jiangsu Province, China and graduated from the Nanjing Normal University, Academy of Fine Arts, Photography Department. He currently lives and works in Nanjing.  The last thirty years of the Chinese economic miracle has led to unprecedented changes, perhaps the most obvious being the metamorphosis of the numerous Chinese capital cities. At times marveled for their engineering endeavors and glamourous makeovers, these metropolises have equally been the focus of much debate as a result of the demolition of ancient architecture and heritage sites that stood in the way of this transformation. The result is a new modernity that bears testament to the contradictions and contrasts of the new China today. As a photographer, Zhou Jun seeks to reveal through his unique brand of black and white photography the socio-historical narration of some of these sweeping changes. Like the works of Bernd and Hillar Becher who photographed the abandoned mineshafts and silos in post-war Germany, Zhou Jun is dedicated to immortalizing the icons of China s architecture in their states of glory, construction and isolation. With a distinct palette of greys, deliberately devoid of strong blacks and whites, Zhou Jun is constantly exploring and redefining with heightened sensitivity this constantly evolving landscape. He constructs a brave new world almost devoid of human existence where imposing buildings dominate and engage with one another. While a Northern Song landscape painting in accordance with Taoist principles pays homage to Nature by reducing the presence of human existence to an insignificant proportion, Zhou Jun creates a contemporary universe where the human condition  kowtows instead to a concrete jungle that has taken a life of its own. The viewer is struck immediately by the red overlay that has become the artists trademark and by its multifaceted symbolism. The rouge quote  that is an awe-inspiring political symbol continues to shape and leave an indelible mark on a society where the old confronts the new and conflicting ideologies co-exist in a delicate equilibrium. Zhous works is available at Gallerie Paris-Beijing in Paris ( see bellow the presentation ) that we invite you to take in ocnsideration, as they pay a really big attention on contemporary chinese artists, so you will be astonished of the quality of art you can see exposed there.


Lu Chunsheng


Particularly generative aspect of Lu Chunsheng's work is the way it breaches the boundary between documentary and fiction. His conceptual and methodological coherence broadens and extends the inquiry into everyday life rather than merely illustrate it. Lu Chunsheng is now focusing on photography and video art. In his work, he articulates a surrealistic and neutral attitude in his videos. Using fixed camera positions, endless drawn-out shots and unprofessional shooting techniques, he documents human behavior in bizarre situations. But unlike many of his fellow artists emerging from the same generation, he does not focus on the alienation following an accelerated urbanization (including its stream of rapidly moving images and perplexed inhabitants). Instead, he has developed an oeuvre that consists of characters in bizarre situations. The absurdity takes its form in a series of photographs entitled "Water" (2000), where a man stands motionless in a nightgown while growing seawater accumulates at his feet. This is documented in progressive stages without any recognizable narrative or explanation. Similarly strange, the large-scale photograph "I Want to Be a Gentleman" (2000) depicts nine men standing on tall plinths in front of a run-down industrial building like statues on display in a museum.
In a recent series of photographs entitled "Carlin", Lu Chunsheng strikes a balance between documentary realism and filmic aesthetic encounter. The quasi-documentary directness is created consciously with respect to a given site. These pictures are beautifully composed with a strictly demarcated horizontal line resembling traditional landscape photography, playing on foreground and background. However, this reading is subverted by a human figure riding a broom, as if it was an imaginary horse. The interpretive process is thus one of deferral or unraveling.
Lu Chunsheng graduated from China National Academy of Fine Arts, Department of Sculpture. He has exhibited widely in China and abroad. He resides and works in Shanghai. Recent exhibitions include PERSPECTIVES: LU CHUNSHENG, Arthur M. Sackler Gallery, Washington D.C, U.S.A.(2011); Moving Image In China : 1988-2011, Minsheng Art Museum, Shanghai(2011); Lu Chunsheng, Part of Everybody Knows This Ss Nowhere: A Programme of International Moving Image, Stephensons Work, Newcastle, U.K.(2010); The Materialists are All Asleep, A Retrospective of Lu Chunsheng, The Red Mansion Foundation, London, U.K.(2008); 10th International Istanbul Biennial , Not only Possible, But also Necessary-Optimism in the Age of Global War, Istanbul, Turkey(2007); China Contemporary Art, Architecture and Visual Culture, Museum Boijmans van Beuningen, Rotterdam(2006), The Thirteen: Chinese Video Now, P.S.1 Contemporary Art Center, New York(2006), Out of Sight, De Appel Foundation, Amsterdam(2005), Double Vision, 1st Lianzhou International Foto Festival, Guangdong(2005) and Zooming Into Focus: Chinese Contemporary Photography and Video from Haudenschild Collection, National Art Museum, Beijing(2005) and subsequently in Mexico City and Shanghai.
 

Liu Bolin


Liu Bolin is a young Beijing based artist who has exhibited primarily in China until last year’s solo show at Paris’ galerie Bertin Toublanc and a group show with the gallery in Miami. He recently finished up a show at Eli Klein fine art in New York showcasing a variety of his pieces including some form the series ‘camouflage’. This series is an exploration of human nature and animal instincts which features Chinese citizens painted to blend into their surroundings.
Liu works on a single photo for up to 10 hours at a time, to make sure he gets it just right, but he achieves the right effect: sometimes passers-by don’t even realize he is there until he moves. Bolin spends about 10 hours being painted for each work so he perfectly matches the background.
The talented Liu Bolin says his art is a protest against the actions of the Government, who shut down his art studio in 2005 and persecutes artists. It’s about not fitting into modern society. Despite problems with Chinese authorities, Liu’s works are appreciated at an international level.Spots he has chosen in China and the UK include a phone box, a cannon and even earthquake rubble.
Liu Bolin is the amazing artist who paints himself into any background.He has been disguising himself to blend in urban or nature backdrops, creating the illusion of a human chameleon or a ghost.
One of Bolin's recent projects includes painting fashion designers to visualize how other creative people – such as Angela Missoni and Jean Paul Gaultier – get lost in their work. But Bolin's most famous project is 'Hiding In The City' with installments in Beijing, New York and Venice.





Zhang Peng


Zhang Peng
All of the young girls in Zhang Peng's artworks are delicate and helpless. Their big, sad eyes are filled with tears and seem to appeal to the audience. What kind of pain and sadness are these girls, who are supposed to be the purest souls in the world, hiding? 
Carefully examining Zhang Peng's artworks, you can sense a feeling of sadness which is different from that of most other artworks. It is different from the solitude and suppressed sadness of Zhang Xiaogang's Family Series. Zhang Peng's young girls do not reveal their sadness and pain. Seeing their awkward jewels and makeup on their small and slender bodies, they seem sad although they are not crying and are splendid yet miserable.

Zhang Peng was born in 1981. He lives and works in Beijing. Zhang Peng’s photography takes young, vulnerable women and girls as its central theme. There is a profound sense of sorrow and empathy that is evoked in his haunting images of doll-like girls sitting timidly on richly-colored settees and in bloody bathtubs. Their indescribable expressions of hurt and vulnerability leave the viewer unsettled, disconcerted and heavy hearted.
Zhang Peng’s work looks gorgeous! This is going to be a super exhibition. It will feature new photography, paintings and watercolors. At 27, Zhang Peng is considered to be one of China’s most talented, interesting and promising young artists. It is still early in his career, yet he has already received attention from important collectors and media throughout the world. Images of his work have appeared in Newsweek, The New York Times online and have graced the covers of numerous art magazines.
Zhang Peng said that he spends more time looking out to the world than staying in his studio to actually create art. He is an innocent and courageous artist who intends to capture the truths and contradictions of this world in his art. 

Zhang Peng converted his art from painting to photography in 2006. The term of 'convert' might be too restraining to Zhang Peng. When asked why he 'converted' to photography, the artist expressed that there was no special season with a perplexed face. "There is no special reason. When I changed my genre from painting to photography, many people were just like you. They were curious as to why I changed my media so suddenly and kept asking me why. However, all I wanted was to express many thoughts and emotions in my mind through more diversified means." He states that photography, which can capture a moment of an event and sensibility, is more suitable for him compared to painting that offers only a limited time to express all of his thoughts. However, his photography is not as simple as his humble statement. He makes flawless compositions, carefully arranged as theater sets and elaborately controls the lighting effects to create dramatic scenes. Furthermore, there are computer manipulations to make abnormally big eyes and slender bodies. His work has not become any easier than painting. Zhang Peng's previous paintings and full-color photographs were strongly attached to red - red flowers, red blood, and so on. "Red symbolizes either China itself or blood. As the national economy grows, each individual within it becomes relatively small. Red implies the meaning of this duality."
His recent black-and-white photographs do not reveal red, but the omission of red seems to add brutality and subtlety to his art. We can clearly see blood on the glass in front of the girl who is holding a knife, half-naked in a barber shop, which is a place dominated by males. Seeing the expressionless face of girls, holding colorful jewels they obtained by dissecting a swine, we are urged to think about who is responsible for not being able to protect the innocence of these girls. Classification between painting and photography, or color and black-and-white is only a package that limits Zhang Peng's art. For a young artist who has just made his first step into the battleground of society and art sector, endless experimentations with various genres and media are only a process of finding himself. Zhang Peng displays a young, passionate contemplation beyond genre and media.

Lu Zhengyuan



Born Dalian, Liaoning, 1982

Lu Zhengyuan says he loves colour, but in his group of Mental Patients (2006), the only colour is the red flower in an old woman’s hair. Everything else—the seven patients, the bed, the hospital cabinet—is grey. “If you dilute any colour enough, you get grey. And if you mix all the colours together, you get greys,” the artist says. He recalls reading somewhere that “Grey is not associated with a flower. As a mental state it is indecisive. As an emotion, it calls for pharmaceuticals.” He made the sculptures from memory after spending two weeks in a mental hospital, taking care of a friend who had had a nervous breakdown. The World Health Organisation estimated in 2009 that about 1.8 million Chinese have a mental illness; the Chinese government has admitted that Beijing alone has 150,000 mentally ill residents and just 7000 psychiatric beds. Chinese citizens’ frantic race to improve their economic health has no meaning for Lu Zhengyuan’s subjects. While their country changes around them at breakneck speed, in the half-light of the hospital nothing changes at all. Living in perpetual limbo, these people could be citizens of any country—or of none.

“There is a boundary between life and art, but the boundary is not very clear or rigid.” 




Li Shan


Li Shan has undergone many stylistic changes throughout his unique artistic career but has never lost his ability to express internal sensibilities as well as external reluctances. The latest paintings in his "Rouge" series show mutant beings with butterflies as ears or as part of their faces. They seem to evoke the two contradictory strains that entail humor, laughter and self-mockery on the one hand and a cynical undercurrent of criticism on the other. "Rouge" is based on the principle of ambiguity. Li Shan attempts to find an evolving form that can address the problem of trying to extract the recognizable out of the unrecognizable. 
Most recently in a series entitled "Reading" (2005), he created computer images of various insects and plants. Closer viewing reveals that these insects are composed of human body parts like fingers, ears and genitalia. Through his uncannily realistic representation of interspecies insects, Li Shan questions the hypocrisy and lack of equality of human values in today's politically informed bio-scientific experiments. In terms of artistic style, he has adopted decorative methods similar to those of folk art, thus creating intimate, eccentric and oddly organic objects. Indeed, they seem to be mutant creatures from some hypothetical textbook on horticulture. The synthesized insects are constructions of digital imagery morphed into abstracted pictures. He raises the question of whether it is still possible to identify the boundaries between any particular organism and the world it inhabits. Li Shan's seemingly infinite variety of work reveals a sort of consistency upon closer inspection. All the works evoke a tension within the idea of the yet unknown. He manages to reconcile opposites in a way that leaves them un-reconciled, allowing viewers to reach their own conclusions.



Li Shan was born in Lanxi County in Heilongjiang province and graduated from the Shanghai Academy of Drama in 1968. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery-a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been "neutered" by the combined social effects of knowledge, language and authority. Li Shan is one member of "New Art From China: Post-1989" and become internationally Known as his Political Pop style.

 Li Shan's work has been exhibited in many important exhibitions such as Painting the Chinese Dream: Thirty Years of Chinese Contemporary Art, Minsheng Art Museum, Shanghai(2010); The First Guangzhou Trienniale - Reinterpretation: A Decade of Experimental Chinese Art (1990 - 2000), Guangdong Museum of Art, Guangzhou(2002); Chinese Art 30 Years after the Revolution, that traveled through America, ending at the Brooklyn Museum, Inside Out, New Chinese Art, Exhibition of Art from China, Taiwan and Hong Kong, Asia Society Galleries; PS1, New York; SFMoMA / Asian Art Galleries, San Francisco etc.(1998); 22nd International Biennial of Sao Paulo, Brazil(1994); China's New Art, Post 1989 Art Centre, Hong Kong(1993) and the 45th Venice Biennale(1993) etc.


Li Hongbo


李洪波 
“The challenge for Li Hongbo,” says art critic Yin Shuangxi,  “is to explore the cultural significance of paper rather than the craft of manipulating paper.”
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is for him an 
endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering.  The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance. 
“This visual impact had me realize that an alternative possibility existed in the language of paper texture and form: from concrete to abstract; from physical to the intangible; from standardization to liberation; or vice versa. The continuity of paper has thus become a key element in the language expression here; its gathering and dispersing, ups and downs, twists and turns have presented to us a set of unpredictable images.
- Li Hongbo

Born in 1974 in Jilin Province, China, Li Hongbo lives and works in Beijing. He graduated in 1996 from 
the Fine Arts Department of Jilin Normal University with a bachelor’s degree, then went to the Central 
Academy of Fine Arts in Beijing and obtained in 2001 an M.F.A. from the Folk Art Department and an M.F.A. from the Experimental Art Department in 2010. Li Hongbo’s works have entered such prestigious collection as the Sydney based White Rabbit collection and the UBS collection for Americas. The artist’s works have been shown by institutions notably the afore mentioned White Rabbit Gallery in Sydney (2010-11) and in Beijing at the Found Museum in solo (2011) and group shows (2010) and Sishang Art Museum (2010).





Hong Lei

Hong Lei (1960 Jiangsu) is a well-known conceptual and visual artists. His photographs of classical Chinese paintings, doctored and painted to create images of beauty and decay, have been popular here for years and acquired by some of the biggest collectors of Chinese contemporary art. This has been Hong's long-running motif. His technique is said to be superb and the images have an air of authencity and sharpness. he lives and works in Changzhou, Anhui provence now.
Hong Lei specialises in subverting images by careful editing and retouching.  In doing so, he subverts the rule of reason, using eerie juxtapositions to appeal directly to the viewer’s unconscious.  Early in his career, he used photography to recreate classical Chinese paintings, then added bizarre twists.  El Jardín de Senderos Que Se Bifurcan (The Garden of Forking Paths, 2007) is part of a new phase in which, rather than riffing on well-known works, he stages tableaux of his own. The title comes from a 1941 story by Jorge Luis Borges.  One of the first works of “hypertext fiction”, it centres on a Chinese spy and his ancestor, creator of a labyrinthine artwork in which “all possible outcomes occur; each is the point of departure for other forkings”.  Against blank back­drops, Hong Lei’s triptych presents goats, horses and dogs sur­rounded by flies (linked in China with death), butterflies (love and long life), and dragonflies (transience).  Borges’s tale makes no mention of mammals or insects. In borrowing its title, Hong Lei suggests that art and life are both labyrinths, in which anything can happen and each viewer interprets the same event in his own way.

“I just reveal the traditional Chinese culture that exists in my heart, the way I understand it. It’s like a poet once said: ‘I love deeply and also hate the land under my feet.’ ”




He Sen



He Sen emerged during China’s post-Cultural Revolution years of the early 1990s. Initially painting still-life images of objects that epitomized the nation's growing consumer culture, including toys and western music, he eventually began to include figures in his work, creating provocative, large-scale works that considered the effects of global consumerism on Chinese youth.  He Sen’s latest series of photorealist images depicting young Chinese women with stuffed animals continues this exploration
He Sen has been painting young women and soft toys since 1998. The presence of teddy bears aims to create a tension between a certain childishness and the paraphernalia of adulthood that surround the girls. Eyes are significant to He: his first paintings in this series featured young women whose eyes were rubbed out, blurring their expressions. More recently He has chosen to represent the eyes of the young women he paints, and their bored, melancholy or occasionally smiling expressions are rendered in detail. The "blurring" previously attained by the erasing of the eyes can now be seen in the blue-grey cigarette smoke that curls around their heads, or the shadows cast on the monochrome grey background. The soft toys still feature at times, negating the self-consciously grown-up poses of the models. Heavily made up and often provocative, He Sen's young women seem to be caught between childhood and fully fledged adult life
He Sen has been painting young women and soft toys since 1998. The presence of teddy bears aims to create a tension between a certain childishness and the paraphernalia of adulthood that surround the girls. Eyes are significant to He: his first paintings in this series featured young women whose eyes were rubbed out, blurring their expressions. More recently He has chosen to represent the eyes of the young women he paints, and their bored, melancholy or occasionally smiling expressions are rendered in detail. The "blurring" previously attained by the erasing of the eyes can now be seen in the blue-grey cigarette smoke that curls around their heads, or the shadows cast on the monochrome grey background. The soft toys still feature at times, negating the self-consciously grown-up poses of the models. Heavily made up and often provocative, He Sen's young women seem to be caught between childhood and fully fledged adult life.



He Chengyao


He Chengyao was born in Sichuan, China and lives in Beijing. She graduated from the Sichuan Fine Art University in 1989. Her solo shows include the Live Arts He Chengyao, One World Art Center, Beijing; He Chengyao’s Live Art Photographs Exhibition, Soobin Art Gallery, Singapore; and Juhua Space, Shanghai, China. More recent work has appeared in the following: Busan Biennale, Korea; Asian Women’s Art, Tokyo Joshibi University’s Art Museum, Japan; The New Vision of Chinese Photography, Taibei Modern Art Museum, Taiwan; Cruel\Loving Bodies, Duolun Museum of Modern Art, Shanghai; 798 Space, Beijing, Art Center Hongkong, China; 14th Rencontre Internationale Art Performance Quebec; LE LIEU Centre Art Action, Quebec City; and Clark Gallery Montreal, Canada. She was included in a panel discussion and exhibition of Asian-Pacific Women Artists at Taipei Artist Village, Taiwan. The China Live Art exhibition toured to eight art centers in Britain. Reshaping Contemporary China Art toured to the Millennium Art Museum, Beijing, China and The University at Buffalo Art Galleries, New York, USA. Other group shows include the Southeast Asia Performance Art Symposium and 7th Asiatopia Performance Art Festival, Queens Gallery, Tanland. Her performance art documentations from China include SUMU Titanik Gallery, Finland; International Exhibitionist, Curzon Soho Cinema, London, UK; and the ”Vital”-International Chinese Live Art Festival, Chinese Arts Centre, Manchester, UK.

"In 99 Needles, I took up ‘role-playing’ to re-enact the impression of my mother from my childhood memories. By using psychoanalytical ideas, this kind of ‘live-art’ practice is also a measure of the effectiveness of art in therapy and redemption; it is also made to investigate the temporal reaction on the body, in the past and presence. "



Fan Mingzheng

Fan Mingzheng, was born in Hebei in 1972, graduated from Tsinghua University in 2005, master and now lives in Beijing. Major exhibitions: 2007 "Art Beijing" Beijing; 2006 "free way", PIFO New Art Space, "excess", PIFO New Art Space, Beijing; 2005 "Fan Ming is Oil Painting Exhibition", Tsinghua University, Beijing; 2004, first in the country Tenth Art Exhibition, Guangdong Museum of Art, Guangzhou; 2003 "Source • Habitat" Oil Painting Exhibition, Millennium Gallery, Beijing; 1999 Ninth Shandong Province Art Exhibition, Art Museum, Shandong Province, Jinan. 2007, "AA'2007-AA second time", (Chengdu • Chongqing • Beijing; "Asian Youth Arts Festival", Seoul, Korea; today's China Art Exhibition, China Art Museum, Beijing. 



Wang Qingsong



Wang Qingsong is an influential contemporary Chinese artist known for his large-scale photographs which explore the political, social, and cultural issues of a rapidly changing China. 
Wang Qingsong was born in 1966 in Heilongjiang Province, China, and lives and works in Beijing. He graduated from the Sichuan Academy of Fine Arts in 1991. He has had solo exhibitions at Albion Gallery, London; PKM Gallery, Beijing; PKM Gallery, Seoul; MEWO Kunsthalle, Memmingen, Germany; and Marella Arte Contemporanea, Milan. His work has been exhibited internationally in numerous group shows, including Action–Camera: Beijing Performance Photography (Belkin Art Gallery, Vancouver, 2008); Fabricating Images from History (Chinablue Gallery, Beijing, 2008); 21:Contemporary Art (Brooklyn Museum, 2008); Beyond Icon: Chinese Contemporary Art in Miami (Art Basel, Miami, 2007); Mirror Image of Diversity (Beijing Tokyo Art Projects, Beijing, 2007); and Body Language (National Gallery of Victoria, Melbourne, Australia, 2008). Wang has also participated in the 2008 Shanghai Biennale; the Busan Biennale; and the 2006 Bucharest Biennale. This is his first solo museum exhibition.




Cang Xin



Chinese, b. 1967
Born in Suihua city of Heilongjiang province, Man- chu, in 1967; he attended literature classes in Tianjin Music College in 1988-89. He started learning paint- ing in 1991. From 1993 he moved to the eastern part of the Beijing Painterˇs Village. Suffering from ill- ness in his childhood and the divorce of his parents, Cang Xin has grown into an internationally active Chinese artist. Cang Xin believes that his art inherits the spirit of Saman and his behavioral works per- ceive the world with a whimsical perceiving method, taking himself as the focus that maintains the natural and social relationships. His exhibitions included: second part of the series ¨Step on the Face〃 (perfor- mance art), (Beijing, 1994); ¨Heighten the Unnamed Hill for One Meter〃 (Beijing, 1995); ¨Exhibition of Modern Four-Person-Photograph〃(Japan,1999);¨Ex hibition of Contemporary Four-Person-Photograph〃, (London, 2000); Photograph Exhibition of Action Performance in ¨Asian Art Festival〃, (Paris, 2000) etc.







Huang Rui



Huang Rui is a Chinese artist known for his social and cultural criticism. He is widely considered one of the founding members of the Chinese contemporary art movement, and continues to produce work that reflects the concerns of a highly socially engaged artist through satires of reality and references to history.
An original founder of the avant-garde art Stars in 1979 and now vocal advocate for the 798 Art District, Huang Rui is an artist whose works avoids easy taxonomy. Over the years his works have taken on many forms. Most of them are characterized by a spirit of rebelliousness and an interest in exploring how the human condition faces up to the impenetrable walls of authority.
Huang Rui's works convey a daring simplicity, captured by the clean geometry and symmetry of his installation works and the consistent reliance on primary colors in his paintings and sculptures. All of his works stand alone as objects of beauty. At the same time, Huang Rui is a highly socially engaged artist who incorporates important political and historical references into his works. He has a particular fascination with Chinese political slogans from the 1980s reform era, which, using tidy, controlled brushstrokes, are deliberately enlarged on stark white canvases. Nearly three decades since the formation of the Stars, and fifteen years since his return from self-exile in Japan, Huang Rui's works continue to be inextricably linked to the society that he lives in.
Early on, Huang Rui mostly created paintings that referenced various Western artistic styles such as Expressionism, Abstract Expressionism, Fauvism, and Cubism. However, as his style developed, he became more experimental and began exploring different mediums including photography, printmaking, installation art, and performance art. As a result, his work is not easily classified.
Huang Rui’s work is characterized by symmetry and simplicity of form, as well as by the use of primary colors. His work stands alone as aesthetically pleasing; however, he is recognized as a socially minded, and thus often controversial, artist. Throughout his career, he has continued to be vocal about his belief in the importance of free expression, and as a result, he has faced significant censorship from the government.

Huang Rui is an artist that has the ability to combine extreme intellect with highly sensitive and personal approach. His works are finely crafted and meticulously finished. Within a minimalist exterior hides mountains of meanings and connotations stemming from ancient Chinese philosophy, modern-day communist hypocrisy, or current society’s middling obsessions. There is never just one thing hidden in Huang Rui’s works, for his mind turns the pieces around and around, as his ideas grow like shoots of complexity.
Most recently, Huang Rui has been considered the major vocal advocate of the 798 Art District in Beijing. He was instrumental in the establishment of the art district in 2002, and in efforts to protect the area from demolition in 2004 and 2005. In 2006, 798 became the first state-recognized and protected art district in China. This success was due in a large part to Huang Rui’s efforts to promote the district through the Dashanzi International Art Festivals (DIAF) and his book Beijing798. ...less
Born in 1952 in Beijing, Huang Rui is one of the pioneers of Chinese Contemporary Art
and considered the founder of the '798 Art District'. Over the years his works have taken
on many forms and defy easy categorization.
As a leading intellectual, and vocal critic of the oppressive Communist regime he has
been imprisoned and exiled to Japan for more than 10 years.