≡ 马凌画廊 | ART021 2020廿一当代艺术博览会 | 展位 C03

≡ 郑洲 Zheng Zhou

清晨Morning, 2020

布面丙烯与油彩 Acrylic and oil on canvas

174 x 154 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

艾域克‧柏达 Eric Baudart 

冈瑟·弗格 Günther Förg

何意达 He Yida

刘茵 Liu Yin

娜布其 Nabuqi

谢素梅 Su-Mei Tse 

杨嘉辉 Samson Young 

于吉 Yu Ji 

郑洲 Zheng Zhou 

(Scroll down for English version)

马凌画廊很荣幸在2020上海廿一当代艺术博览会展出艾域克·柏达（1972年生于法国）、冈瑟·弗格（1952年-2013年）、何意达（1980年生于中国）、刘茵（1984年生于中国）、娜布其（1984年生于中国）、杨嘉辉（1979年生于中国香港）、谢素梅（1973年生于卢森堡）、于吉（1985年生于中国）和郑洲（1969年生于中国）九位艺术家创作的作品。

在艾域克‧柏达的创作中，透过将物质特性细腻巧妙的错置，让作品与当代生活产生呼应共鸣。无论是蜂窝状塑胶物、方格纸，甚或胶带，柏达让日常生活用品脱离惯有情境并赋予它们新的作用，作品中处处可见其巧思与技法。柏达曾参与多次国际大展，联展经历包括迈阿密巴斯美术馆（2014）、日内瓦当代美术馆（2013）、布鲁塞尔当代艺术中心（2013）、巴黎小皇宫（2007），个展经历则包括巴黎利卡德基金会（2011）、巴黎红楼（2007）等机构。2011年，他获颁“莫里斯当代艺术大奖”。柏达的创作也曾被国际媒体报导，包括《慕斯杂志》、《斜线巴黎》以及《华尔街日报》。柏达的作品也在各个著名的博物馆收藏，其中包括波士顿MFA和日内瓦MAMCO 。

≡ 艾域克·柏达 Eric Baudart

Concave, 2017

海报，喷漆 Poster, spray paint

120 x 89 x 26 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

形状、色彩、节奏，是知名德国抽象艺术家冈瑟·弗格艺术实践的重要基石。他的创作横跨绘画、雕塑及摄影。自上世纪70年代起，弗格就以探索色彩及手势的“栅栏”或“格子”绘画跻身成为现代主义艺术的重要代表人物之一。弗格是其所处时代最为重要的艺术家之一，曾于达拉斯艺术博物馆（2019）、阿姆斯特丹市立博物馆（2019）、慕尼黑布兰德霍斯特博物馆（2014）、巴塞尔贝耶勒基金会（2009），不来梅艺术馆 （2006），巴塞尔美术馆（2006）等重要机构举办过大型回顾性个展。他也曾参加过芝加哥当代艺术博物馆（2020）、卢森堡让大公现代美术馆（2018）、法兰克福现代美术馆（2017）、柏林汉堡车站美术馆（2013）等地所举办的群展。他曾于1996年获得科隆路德维希博物馆沃尔夫冈·哈恩奖。弗格的作品现存于全球多个重要的公共及私人收藏之中，其中包括：纽约现代艺术博物馆，威尼斯弗朗索瓦·皮诺基金会，柏林戴姆勒当代艺术馆，柏林汉堡火车站美术馆，圣莫尼卡布洛德当代美术馆，伦敦泰特现代美术馆，旧金山现代艺术博物馆，明尼阿波利斯沃克艺术中心，马德里索菲亚国家艺术中心博物馆，洛杉矶当代美术馆（格兰德大道馆），都灵里沃利城堡当代美术馆，巴塞尔美术馆。

何意达于1980年生于上海，2007年在英国伦敦切尔西艺术学院获得学士学位。目前在上海工作生活。何意达的艺术实践专注于这两点展示和表达：对于雕塑语言的探索，并用其对我们熟悉的认知进行重新审视，将“真实”和“假象”并列，去挖掘它们的相互关系。在雕塑语言上的探索对何意达来说是一种更接近搜寻真实的过程，不同的材料和形态只承载表达的语言，轻盈或褶皱，柔软或坚硬，雕塑语言的表达方式变成了承载的内容，除去了指代的投射，它是最接近本体的真实。在她的作品中，即便形态各异、材料各个不同，但“重要的”和“核心内容”从不出席，而“空”（void）总是在场。利用那些无关紧要的事物、被抛弃的元素、配件，何意达试着用缺省的部分去塑造对象，从而重新审视我们对事物的认知过程。结合著她的表面化、形态化的雕塑语言，她的世界是在假象中被重新认识的真实，也是在真实中被投射出的假象，并行交互。她的个展包括：正确的错位（亚洲艺术中心，上海，2016），提.防（C空间，北京，2013）。参加的群展有：Longan（House of Egorn，德国柏林，2019），藏木于林（香港大馆当代美术馆，香港，2019），林中的树倒下而没有人在（上海当代艺术博物馆，上海，2018），难看：暧昧的伦理，去阶级眼光（剩余空间，武汉，2016），炼金术（Between Art Lab，上海，2015），窥视秀（长征空间，北京，2015），+关注（上海当代艺术馆，上海，2011）。2018年何意达结束了位于英国曼切斯特中国当代艺术中心（CFCCA）的利物浦双年展驻留项目。

刘茵2010年毕业于广州美术学院，常驻在广州和香港。她常常运用黑色幽默的图像来指涉我们日益自满的媒体消费方式。刘茵通过往现成公共图像中加入大量风格化、奇幻、漫画式的眼睛和背景，来改变了我们观看这些图像的方式，从而让揭露这个快消媒体时代中图像作为真理的承载者的虚假性。其作品曾展出于北京泰康空间（2014）、柏林IMPORT Projects（2014）、广州观察社（2010）、罗马Adele C画廊（2009）和法国贝桑松Ecole Régionaledes美术学院（2009）。她也为广州艺术家独立出版的月度杂志《冯火》做封面创作。

≡ 刘茵 Liu Yin

胡萝卜Carrot, 2020

布面丙烯 Acrylic on Canvas

60 x 52.5 cm

 图片由艺术家和马凌画廊提供

Image courtesy of the artist and Edouard Malingue Gallery

无论是被我们视作是真实的事物，还是我们与物件及物质相作用过程的心理本质，都是娜布其艺术创作的长期主题。从手工塑造的雕塑作品，到应用了大量现成物的装置作品等，娜布其的艺术实践一直牵引观众前去观察细节及语境，去适应并考虑虚构与实在之间的复杂关系。娜布其由此建立的领域强调我们对周遭世界的理解，并将我们引入关于空间政治的探索之中去。娜布其探索视觉现象、观察的维度，以及我们接受并质疑的既成现实。通过讨论自然、私人空间等熟悉的主题，娜布其将观者引入关于“在场”的思辨之中，让观者反思其感知面对之物在当下、过去及未来状态的方式。娜布其的庞杂装置作品因此指向了我们的认知习惯，并以智慧及戏剧性鼓励我们反思既定思维模式的意义。娜布其于2013年毕业于中央美术学院，现生活工作于北京。其近期展览包括：第58届威尼斯双年展（威尼斯，2019）；“寒夜”，（UCCA当代艺术中心，北京，2017）；“缺失的段落”，（Museum Beelden aan Zee，海牙，2017）；“球场”（中央美术学院美术馆，北京，2017）；第十一届上海双年展：“何不再问？正辩，反辩，故事”（2016），以及第十一届光州双年展“第八种气候（艺术做什么）”（2016）。

≡ 娜布其 Nabuqi

 游戏以及关节的重要性

Game and the importance of the joints

2020

铜，木头，不锈钢，漆 Copper, wood, stainless steel, paint

118 x 88 x 112 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

香港艺术家、作曲家杨嘉辉擅长通过谱奏融合图像和声音的多文化交响乐。杨嘉辉受过专业的跨文化作曲训练，通过将形式主义的界限推向创意跨媒体，用旋律触动关于身份、战争和文学的话题。从电子游戏声、大张旗鼓的前进隆隆声、粤语童谣到名著，杨嘉辉通过意料之外的声音来强调嬉戏和知识妙语的感受，也建立了特别的场景来挑战人们日常和物体、故事及空间的联系。作为跨界当代艺术家的杨嘉辉曾受专业作曲训练，2013年于普林斯顿大学获得音乐博士学位（作曲专业），2017年曾代表香港参加第57届威尼斯双年展。此外，他曾在世界各地举办个展，包括东京森美术馆（2020）、京都两足院（2020）、芝加哥大学斯马特美术馆（2019）、爱丁堡大学塔尔波特·瑞斯美术馆（2019）、香港视觉艺术中心（2019）、温哥华亚洲当代艺术国际中心（2019）、香港M+展亭（2018）、曼彻斯特华人当代艺术中心（CFCCA，2017）、德国杜塞尔多夫美术馆（2016）和广岛市现代美术馆（2015）等。他亦曾参加世界各大著名机构举办的群展，包括纽约第8届PERFORMA双年展（2019）、柏林格罗皮乌斯博物（2019）、纽约古根海姆美术馆（2018）、悉尼双年展（2018）、大坂国立国际美术馆（2018）、首尔MMCA国立现代美术馆（2017）和卡塞尔文献展之卡塞尔电台广播（2017）等等。杨嘉辉同时是多个乐队的成员，并和世界各地乐团保持合作。他参加过多个艺术节，也曾获得多个奖项，包括2015年宝马艺术之旅奖项和2018年香港艺术中心艺术荣誉奖、香港艺术发展局的年度最佳艺术家奖（2013）、奥地利媒体艺术节电子艺术大奖（2012）、彭博新一代艺术奖（2007）。

≡ 杨嘉辉 Samson Young

Composers (16 March 2020, Betsey B.)

2020

纸本粉蜡笔、铅笔及墨水

Pastel, pencil and ink on paper

 21 × 29.7 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

作为一名专业的古典大提琴演奏家，谢素梅善于通过其艺术创作编织演绎令人沉思的故事。被赋予音乐的语言，谢的创作横跨多个媒介，即影像、装置和雕塑。通过研究地域、文化和传统的关联，谢的细腻创作激发多重感官的交互刺激，从而萦绕出一种时间于平缓的成思中悬置的状态。谢2003年代表卢森堡参加威尼斯双年展后开始崭露头角，她的三重装置作品《空气调节》获得当届国家馆金狮奖。谢的艺术作品已在多个国内和国际艺术机构展出，个展包括阿尔高尔美术馆，瑞士 （2018）；卢森堡现代艺术博物馆， 卢森堡 （2017）；米罗基金会，巴塞罗那 （2011）；伊莎贝拉嘉纳艺术博物馆，波士顿 （2009）；水户艺术馆，日本 （2009）；西雅图美术馆 （2008）；P.S.1当代艺术中心，纽约 （2006）；《卡西诺》展于当代艺术论坛，卢森堡 （2006）；芝加哥大学文艺复兴社会美术馆 （2005）；现代美术馆，瑞典 （2004）。群展包括波昂艺术博物馆，德国 （2009）；萨黑塔国立美术馆，波兰 （2009）；新加坡双年展 （2008）；苏黎世美术馆 （2006）；艾波当代艺术中心，阿姆斯特丹 （2005）；圣保罗双年展，巴西 （2004）。另外，谢也荣获了诸多奖项，包括摩纳哥皮尔王子基金会颁授的当代艺术奖 （2009） 以及卢森堡爱德华·史泰钦奖 （2005）。

于吉，生于上海，目前主要生活工作于上海和维也纳。她以多样且具实验性的实践闻名，使用包括装置、表演和视频等媒介，其中雕塑是她创作的核心。于吉的近期作品大都基于对特定地域和空间场域的地理考察而展开。她专注于以时间、空间和移动来工作，通常使用朴实的材料，将非物质和无形的事物注入物质存在。于吉近年主要展览包括：第58届威尼斯双年展（2019）；滕斯塔当代艺术中心，瑞典（2018）；外滩美术馆，上海（2017）；第11届上海双年展（2016）；东京宫，巴黎（2014）等。在2017年，于吉入围当年Hugo Boss亚洲新锐艺术家大奖。于吉将于2021年2月在伦敦Chisenhale艺术中心举办大型个展并进行委托创作。

郑洲1969年出生于中国浙江温州，1990-1994年就读于浙江美术学院版画系，1994-1996在中国美术学院版画系工作，2000-2010年在中国美术学院附中工作，2013年至今，以自由艺术家身份生活及工作于北京。郑洲以画画反映思维永不停息的流动，对外界信息的接收及反馈，对内心幻想和隐秘欲望的剖析，皆以绘画为途径为出口。技巧上看似漫不经心、随心所欲，平面缺乏透视，颜色大胆线条狂乱，突破时间空间的逻辑，不受制约的纯主观性的东西，像意识流文学中对灵感、直觉和潜意识的表达，连绵、多变、跳跃。

≡ 郑洲 Zheng Zhou

借助人形的色彩构成

With the help of color composition of human body

2020

布面丙烯与油彩 Acrylic and oil on canvas

110 x 48 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

Edouard Malingue Gallery is pleased to present at ART021 2020 works by Eric Baudart (b. 1972, France), Günther Förg (1952-2013), He Yida (b. 1980, China), Liu Yin (b. 1984, China),  Nabuqi (b. 1984, China), Samson Young (b. 1979, Hong Kong, China), Su-Mei Tse (b. 1973, Luxembourg), Yu Ji (b. 1985, China) and Zheng Zhou (b.1969, China).

Delicately transposed, it’s the displaced materiality in Eric Baudart’s (b. 1972) works that spurs their contemporary resonance. Honeycombed plastic, millimetre paper, adhesive tape – everyday, commonplace utensils are flushed of everyday contextualisation and repurposed to create oeuvres that titter on the edge of artifice. Baudart has been widely exhibited internationally with group exhibitions at Bass Museum of Art, Miami (2014); the MAMCO, Geneva (2013); La Centrale for Contemporary Art, Brussels (2013); Le Petit Palais, Paris (2007), as well as solo exhibitions at the Fondation d’entreprise Ricard (2011) and La Maison Rouge, Paris (2007), among other locations. In 2011 he was the recipient of the Meurice Prize for contemporary art. Baudart’s work is held in various notable museum collections, including the MFA, Boston and the MAMCO, Geneva.

Form, colour and rhythm are the cornerstones of renowned German abstract artist Günther Förg’s (1952-2013) practice, which spans painting, sculpture and photography. Since the 1970s, Förg has been a key artistic voice in the world of modernism, establishing recognition for his ‘gitter’ or ‘grid’ paintings that articulate considerations of colour and gesturality. Förg is one of the most seminal artists of his generation and has held major solo retrospectives at Dallas Art Museum, Dallas (2019), Stedelijk Museum, Amsterdam (2019), Museum Brandhorst, Munich (2014), Fondation Beyeler, Basel (2009), Kunsthalle Bremen, Bremen (2006), Kunstmuseum Basel, Basel (2006), amongst others. Group exhibitions include Museum of Contemporary Art, Chicago (2020), MUDAM, Luxembourg (2018), Museum Für Moderne Kunst, Frankfurt (2017), Hamburger Bahnhof, Berlin (2013), amongst others. In 1996 he was the recipient of the Wolfgang-Hahn Preis from the Museum Ludwig, Cologne. Förg’s work is held in multiple notable public and private collections across the world including the Museum of Modern Art, New York; François Pinault Foundation, Venice; Daimler Contemporary, Berlin; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Broad Contemporary Art Museum, Santa Monica; Tate Modern, London; SFMOMA, San Francisco; Walker Art Center, Minneapolis; Museo Nacional Centro de Arte Reina Sofía, Madrid; MOCA Grand Avenue, Los Angeles; Museo d’Arte Contemporanea Castello di Rivoli, Turin; and Kunstmuseum Basel. 

He Yida (b. 1980) currently lives and works in Shanghai. She graduated from Chelsea College of Art and Design, London in 2007. He Yida’s practice is not just an exploration of the language of sculpture, but also a reexamination of our cognitive process of familiar urban elements. Focused on presentation and representation, He juxtaposes actuality and image of things, which challenge the way idea forms. Exploring the sculptural language is an approach towards reality for He. Materials and forms carry their specific language of expression. Whether light or heavy, fragile or strong, the composition of the individual materials forms the expression. The presentation becomes the representation it carries. Without the projection of reference, the actual substance emerges. In He’s works, regardless of various forms and materials, “essential” and “core” are absent while "void" is always present. Using inessential things, abandoned elements and attachments, He Yida tries to shape the object with missing parts and re-examine our cognitive process of things. He’s sculptural language of superficiality and morphology simultaneously becomes a reality regenerated from images, as well as phantom haunted from behind. Her solo exhibitions include: Right Misplacement (A+ Contemporary, Shanghai, 2016), In Case (C-Space, Beijing, 2013). Her selected group exhibitions include: Very Natural Actions (Tai Kwun Contemporary, Hong Kong, 2019), Longan (House of Egorn, Berlin, 2019), A Tree Fell in the Forest, and No One’s There (Power Station of Art, Shanghai, 2018), NAN KAN: Inexplicit Ethics and De-ranking Perspective (Surplus Space, Wuhan, 2016), Alchemy (Between Art Lab, Shanghai, 2015), Peepshow (Long March Space, Beijing, 2015), Follow (MOCA Shanghai, Shanghai, 2011).

≡ 何意达 He Yida

大厦在空荡荡的“我的街道”上拉出影子 2

Edifice drops shadow on empty “my street” 2

2019

铝合金，塑料 Aluminum alloy, plastic

131 x 63 x 81 cm

图片由马凌画廊提供

Image courtesy of Edouard Malingue Gallery

Graduated from the Guangzhou Academy of Art, Liu Yin (b. 1984) is an artist based Guangzhou and Hong Kong. Her darkly humoured images reflect upon our ever-growing complacent approach to media consumption. Liu changes what we see through imposing heavily stylised, fantastical, manga-style eyes and backgrounds to these found images, bringing to light the falsity of the image as the bearer of truth in our current age of fast-paced media. Her works have been exhibited at Taikang Space (2014, Beijing), Wiessensee School of Art (2014, Berlin), Observation Society (2010, Guangzhou), Adele C gallery (2009, Rome) and the Ecole Régionaledes Beaux Arts (2009, Besançon, France). Her work can also be found on the cover of the artist-published zine Feng Huo (馮火) which is printed monthly in Guangzhou.

What we perceive as real, the psychological nature of how we engage with objects and material, are running threads throughout the works of Nabuqi (b. 1984). Ranging from handmade sculptures to installations made from assembling readymades, there is a pull for the viewer to engage with detail and context, to be attuned to and reflect upon the spectrum between artificial and actual. As such, Nabuqi creates realms that prompt our understanding of the world around us and engage us in a play of spatial politics. Nabuqi plays with the optics and spectrum of observation, the programming that we accept and also question. Through addressing the familiar - nature, domesticity - the viewer is more deeply engaged in considering ‘presence’, how one perceives what is in front of them at present, what it was before and will be in the future. Nabuqi’s elaborate installations thus point to our epistemological idiosyncrasies and prompt, with wit and theatricality, a reflection on our constructed norms. Nabuqi graduated from the Central Academy of Fine Arts in 2013, and currently lives and works in Beijing. Her recent exhibitions include 58th Venice Biennale (Venice, 2019); Cold Nights (UCCA Art Centre, 2017); Absent Paragraph (Museum Beelden aan Zee, 2017); Any Ball (Central Academy of Fine Arts, 2017), The 11th Shanghai Biennale (2016) and the 10th Gwangju Biennale (2016). She has been nominated for the 2016 Art Sanya Huayu Youth Award.

Multicultural paradigms, weaved into a symphony of image and sound, are at the heart of Hong Kong artist and composer, Samson Young’s (b. 1979) practice. With a formal cross-cultural training in music composition, Young channels his attunement to melody by pushing it’s formalist boundaries to create innovative cross-media experiences that touch upon the recurring topics of identity, war and literature. Emphasising a sense of play and intellectual witticism through the inclusion of unexpected sounds, ranging from the ring of Gameboys, fanfare rides and Cantonese nursery rhymes, to references of great works of fiction, Young builds peculiar scenarios that challenge one’s everyday associations with objects, stories and spaces. Young was trained as a composer, and graduated with a Ph.D. in Music Composition from Princeton University in 2013. Young has had solo exhibitions at Mori Art Museum, Tokyo (2020); Ryosoku-in Temple, Kyoto (2020); The SMART Museum of Art, The University of Chicago, USA (2019); Talbot Rice Gallery, The University of Edinburgh, Edinburgh (2019); Hong Kong Visual Arts Centre (2019); Centre A in Vancouver (2019); M+ Pavilion in Hong Kong (2018); Centre for Contemporary Chinese Art in Manchester (2017); Kunsthalle Düsseldorf (2016); and Hiroshima City Museum of Contemporary Art (2015), among others. In 2017, he represented Hong Kong in the 57th Venice Biennale. Group exhibitions include Performa 19 Biennale, New York (2019); Gropius Bau, Berlin (2019); Solomon R. Guggenheim Museum, New York (2018); Biennale of Sydney (2018); National Museum of Art, Osaka (2018); National Museum of Modern and Contemporary Art, Seoul (2017); and documenta 14: documenta radio (2017) amongst others. Furthermore, he has participated in multiple festivals, as well as been the recipient of several prizes, including the 2015 BMW Art Journey Award and 2018 Hong Kong Art Centre Honorary Fellowship. Further awards include Artist of the Year (Hong Kong Arts Development Council, 2013), Prix Ars Electronica (2012, 2019), Bloomberg Emerging Artist Award (2007).

≡ 杨嘉辉 Samson Young

Composers (26 March 2020, Stephan M.)

2020

纸本粉蜡笔、铅笔及墨水

Pastel, pencil and ink on paper

21 × 29.7 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

A trained classical cellist, Su-Mei Tse (b. 1973) weaves a meditative tale through her work. Empowered by the language of music, Tse’s practice spans mediums of video, installation and sculpture. Investigating associations between places, cultures and traditions, Tse’s delicate work elicits a cross-stimulation of the senses, where time and its flow are suspended in a gentle state of contemplation. Tse rose to prominence in 2003 when she represented Luxembourg at the Venice Biennale and was awarded the prestigious Leono d’Oro award for her tripartite installation ‘Air Conditioned’. Tse’s work has since been exhibited nationally and internationally including solo shows at Aargauer Kunsthaus, Aarau (2018); Mudam Luxembourg, Luxembourg (2017); Joan Miró Foundation, Barcelona (2011); Isabella Stewart Gardner Museum, Boston (2009); Art Tower Mito, Japan (2009); Seattle Art Museum, Seattle (2008); PS1, New York (2006); Casino, Forum d’Art Contemporain, Luxembourg (2006); Renaissance Society, Chicago (2005); Moderna Museet, Sweden (2004). Group exhibitions include Kunstmuseum Bonn, Germany (2009); National Gallery of Art, Poland (2009); Singapore Biennale (2008); Kunsthaus Zurich (2006); De Appel, Amsterdam (2005); Sao Paulo Biennale (2004). Tse has additionally been the recipient of multiple prizes, including the Prize for Contemporary Art by the Foundation Prince Pierre of Monaco (2009) and the Edward Steichen Award, Luxembourg (2005).

≡ 谢素梅 Su-Mei Tse

藏石II #7Stone Collection II #7

2018

 石头，木制底座 Found stone and wooden base

石头 Found stone: 50 x 20 x 45 cm

木层 Wood base: 17 x 20 x 45 cm

底座 Pedestal: 90 x 50 x 50 cm

图片由艺术家和马凌画廊提供

 Image courtesy of the artist and Edouard Malingue Gallery

Yu Ji (b.1985) lives and works in Shanghai and Vienna. Yu Ji’s current practice is motivated by the ongoing investigation into the specific location with geography and historical narratives. Her works have been associated closely with field researches, and show a strong interest in the intervention of specific space with the body. Taking materiality of the media she employs as the starting point and sculpture as the core, Yu Ji has been developing and enriching her own vocabulary of art. Her performances that happen together with exhibitions of her sculptures, reflecting and moderating the fragile presence of human and objects in their everyday environment, often turn the space of art into the site of labor. Yu Ji has exhibited globally, including the 58th Venice Biennale (2019), Tensta Konsthall, Sweden (2018), Rockbund Art Museum, Shanghai (2017), 11th Shanghai Biennale (2016), Palais de Tokyo, Paris (2014), amongst others. In 2017 Yu Ji was nominated for the Hugo Boss Asia Art Award. Upcoming exhibitions include a major solo exhibition and commission at Chisenhale Gallery, London (2021). 

Zheng Zhou (b. 1969) was born in Wenzhou, Zhejiang, China. A graduate from the Zhejiang Academy of Fine Arts in Printmaking from 1990 to 1994, Zheng worked at the Printmaking Department of the China Academy of Arts from 1994 to 1996. Since 2000, Zheng Zhou has been a lecturer at the China Academy of Art Affiliated High School for 10 years. Zheng relocated to Beijing where he has been working as an artist since 2013. Delineated contours, a subconscious blur of decipherable imagery and extraneous elements, a wistful expressive tide between the figurative and the abstract; Zheng Zhou is a painter of instinct, conveying onto canvas observations from the world, as ad hoc as they may be. His strokes, furtive yet decisive, depict an urgency - to grasp, to depict, to capture that mesmeric multitude of the cosmos, the ‘phenomena’ we, or more precisely he, is a witness to.

正在展出 CURRENT EXHIBITION:

线上放映 Online Screening “A面 / B面”  "Side A/Side B" 何子彦 Ho Tzu Nyen  许家维 Hsu Chia-Wei  李爽 Li Shuang  林育荣 Charles Lim  劳丽丽 Lo Lai Lai  罗瑟林德·纳沙什比 Rosalind Nashashibi  潘涛阮 Phan Thảo-Nguyên  陶辉 Tao Hui  阿比查邦·韦拉斯塔古 Apichatpong Weerasethakul 20.10.12-11.6

上海 Shanghai “Forager” 于吉 Yu Ji 20.11.12-12.5