北京当代·艺术博览会 2023｜BROWNIE Project 展位 A3

李子勋，1973 年出生于台北，1995 年至2009 年间旅居德国，于2003 年毕业于德国杜塞尔多夫艺术学院，获硕士学位。1999 年曾获得“杜塞尔多夫艺术学院– 旅游奖学金”赴纽约游学，2001 年荣获德国巴登美术馆第54 届艺术展“最受欢迎奖”，2006 年德国科隆市政府颁予“弗里德里·沃尔登贝赫奖学金”，2007 年荣获德国第1 届“Bosch Rexroth AG 艺术奖”，李子勋被认为是台湾当代最具代表性的艺术家之一，现今生活和工作于中国北京。

李子勋擅长将心灵对世界的虚幻感受，用极度物理现实的操作手法来展现，两者之间的张力构成了其作品独特的魅力。他的创作主要源于个体对内在生命的感知与体验，并以重新虚构的想像来呈现世界所不可见的本质。他的创作过程如同搭建一个近似于推演法则的独立实验系统，在逻辑的极限内争取自由发展的可能性，藉由不断地自我进化，来构筑完善一个非现实的想像世界。他的大型剧场装置，自然地营造出一种梦境时空氛围，以及诗意和理性秩序并存的个人化美学风格；2007 年开始创作“异星”系列则藉由融汇运动、声音、光等不同介质，将高度制作技术带入纯艺术形式，创造了一种介于生命体、无生命体之间的“仿生机械” 与其半抽象独特的机械美学秩序与语言。

他曾多次参加国内外大型展览，其中重要个展：“异星系”（台北市立美术馆，2018）；“异星系列”（佩斯北京，2012）；“玻璃珠游戏的秘密”（台北诚品画廊，2004）。联展选辑如下：《迷惑的潘朵拉》 发表于台中台湾美术馆（2015）、上海当代艺术馆（2008）；《迷宫剧场》发表于台北双年展（2002）；《爱情殿堂》分别发表于北京今日美术馆（2009）、 法国克雷泰伊艺术之家、莫伯日演艺剧场（2007）、台北当代艺术馆（2001）、德国舒林恩的巴登美术馆（2000）等；《大鱼》发表于北京中国美术馆（1999）、台北历史博物馆（1999）、高雄山美术馆（1999）；《机械人Ⅱ》发表于德国科隆视觉艺术家协会（2006）、美国纽约康奈尔大学/ 赫伯特F·约翰逊美术馆（2004）、高雄市立美术馆（2002）与德国杜塞尔多夫艺术宫（1997）。他的作品被海内外各大美术馆、基金会、艺术机构、藏家收藏。

Born in Taipei in 1973, Lee Tzu Hsun lived in Germany from 1995 to 2009 and graduated with a master's degree from the Kunstakademie Düsseldorf in 2003. In 2001 he was awarded the "Most Popular Award" at the 54th Art Exhibition of the Kunsthalle Baden, in 2006 he was awarded the "Friedrich Woldenbech Scholarship" by the City of Cologne, in 2007 he was awarded the 1st "Bosch Rexroth AG Art Prize" in Germany. "Bosch Rexroth AG Art Prize" in 2007, Lee Tzu Hsun is considered one of the most representative contemporary artists in Taiwan and currently lives and works in Beijing, China.

Lee Tzu Hsun is adept at presenting the mind's illusory feelings about the world with the manipulation of utmost physical reality, and the tension between the two forms the unique appeal of his works. Lee’s work originates from the artist's perception and experience of inner life, which he translates into symbolic images that correspond to each other, and through complex mechanical design, he constructs a continuous running scenic installation. Lee Tzu Hsun's work uses re-fictional imagery to present the invisible nature of the world, and uses a precise and detailed expression to map the relationship between people and the world. His large-scale theatre installations naturally create a dream-time atmosphere and a personal aesthetic style where poetic and rational order coexist. "The Alien Galaxy" series that Lee began to create in 2007 is a 'bionic machine' that lies between living and inanimate objects. In this way, Lee Tzu hsun mimics life forms, exploring whether there are forms of existence outside the human perspective in order to consider a redefinition of the consciousness of life.

Lee has participated in many major exhibitions both at home and abroad, among which are important solo exhibitions: "The Alien Galaxy" (Taipei Fine Arts Museum, 2018); "The Alien Galaxy" (Pace Beijing, 2012); "Mystery of the Glass Bead Game " (Cheng Pin Gallery, Taipei, 2004). Selected group exhibitions are as follows: "Confused Pandora" published at the National Taiwan Museum of Fine Arts, Taichung (2015) and the Museum of Contemporary Art, Shanghai (2008); "Maze Theatre" published at the Taipei Biennale (2002); "Temple of Love" published at the Today Art Museum, Beijing (2009), Maison de l'Art de Créteil, France, Theatre de l'Acte de Maubeuge (2007), Museum of Contemporary Art, Taipei (2001) and Baden-Museum in Schwerin, Germany (2000), among others. “Big Fish” was published at the National Art Museum of China, Beijing (1999), the Museum of History, Taipei (1999), and the Kaohsiung Museum of Fine Arts (1999); "Robot II" was published at the Association of Visual Artists, Cologne, Germany (2006), Cornell University/Herbert F. Johnson Museum of Art, New York, USA (2004), the Kaohsiung Museum of Fine Arts (2002), and the Kunstpalast, Düsseldorf, Germany (1997). His works have been collected by major art museums, foundations, art institutions and collectors in China and abroad. 

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，以呼应艺术史的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 was born in Hebei, China in 1995. He graduated with an MFA in Painting from the Glasgow School of Art in 2017. Currently, he lives and works in Beijing. Wan looks to manipulate pre-existing imagery predominately drawn from the Internet, visual culture and fragmented information whilst to formulate a landscape where the absurd and the paradoxical coexist in a way that echoes the art history. The tension of dichotomies, such as figuration and abstraction, chance and control, creation and deconstruction, empathy and apathy, rigidity and fluidity, cultivates a non-uniform format to explore the enchanting yet exhausting contemporary life and the control mechanism within.

金亚楠2012 年毕业于中国美术学院雕塑系，获得硕士学位， 现工作于中国美术学院雕塑系。金亚楠感兴趣于局部语境中的对话关系。早前他以参加艺术小组或群体性创作为途径， 探究个人与群体之间的相互制衡关系。随后又尝试进入公共事业当中工作，在社区设计、城市规划中探寻各层级之间因由错位逻辑引发的协商失效。近几年，他更关注个体或群体单元在共谋机制中呈现的差异化表现。他通过架构一类针对体制的隐喻化设计，加强单元间对话的可能性及相互的侵略性。目前，他的这类设计一部分透过其作品的叙事线索及空间设计来呈现，另一部分则通过长期的项目策划工作展开。

Jin Yanan graduated from the Sculpture Department of China Academy of Fine Arts with a Master’s degree, and now works in the Sculpture Department of China Academy of Fine Arts. Jin Yanan is interested in generating all kinds of dialogues through relatively complex work forms. Earlier, he took participation in art groups or group creation as a way to explore the relationship between checks and balances between individuals and collectives. He also took a path dedicated to public utilities, community design and urban planning to explore the failure of consultation between public segments and the logic behind the dislocation. In recent years, he has paid more attention to the differential performance of individual or group units in collusion mechanism, aiming at the metaphorical design of mechanism architecture to strengthen the aggressiveness of dialogue. At present, some of his designs are presented through the narrative clues and participatory experience of his works, and the other part is carried out through project planning.

谢灵柔1999 年出生于广东湛江，本科毕业于西安美术学院绘画艺术系，现就读于首都师范大学表现绘画工作室。谢灵柔的创作源自个人视角的生命形态重塑，并在奇异的臆想中尽情抒发内敛而真诚的情感和绵延不绝的柔美生命力。她在自身独特的生命经验中寻求形式资源， 同时从熟知的记忆深处挖掘描摹的对象，并尝试在两者间建立贴切的连接方式。在画布上表现为童年真实影像的挪用，和有关乱序记忆的不同意象（生命体和非生命体）的共同呈现。她将回忆在个体的自我图式上进行建构，不断前往、返还、留驻于有关儿时经验的荒诞想象， 通过多层次的遮挡意象去模拟记忆重写和覆盖的过程。谢灵柔在写实与表现之间营造出仿佛梦呓与属于碎片记忆的氛围；在具象和抽象的交织中寻找自身情感的契合点，构建出虚实画面的平衡。清冷的色调和暗沉的视觉意境延续着属于谢灵柔独有的艺术言语，像是生命平缓而有力的呼吸，并逐步去向一个豁然而柔和的臆想世界。

Xie Lingrou was born in Zhanjiang, Guangdong in 1999. She graduated from the Painting Department of Xi'an Academy of Fine Arts and is currently studying in the Expressive Painting Studio of Capital Normal University. Xie Lingrou’s creation is based on the reshaping of life forms from her personal perspective with a sincere expression of the inner emotions and the soft power of living in a fantastic way of imagination. She seeks the resources from her own life experience and excavates the objects from the depths of memories to form an appropriate connection between the two. The photographic vision of her childhood is appropriated onto the canvas by Xie Lingrou, as well as a joint presentation of different images (living and non-living) related to her disordered memories. She constructs the memories on her self-schema and with an absurd imagination to simulate the process of memory rewriting and covering through multi-layered occluded images. Between realism and expression, Xie Lingrou creates an atmosphere of somniloquence coming from the fragmented memory. She creates a balance between virtual and real images to match up with her emotions in terms of interweaving the concreteness and abstraction. The cool tones and dark visual conception have been continued in Xie Lingrou's creation as her unique artistic language, like life’s gentle and powerful breathing, leading to a wide and imaginary world. 

麦海士·辛格（1985，波卡罗，贾坎德邦）出生成长于印度，他本科与硕士毕业于新德里的国立伊斯兰大学， 同时获得了中国美术学院当代艺术专业的油画国际硕士(IMFA) 学位，目前为上海大学博士候选人。受东方宗教和哲学中转变、超越和神秘的观念影响，他的绘画呈现出内观的体验，并带有一种真空般的静止和永恒。他倾向于使用或明晰或晦涩的元素来构建画面，用一种充满暗示的方式引人深思，而画面主体通常为某种景观，来充当意识、梦和记忆的载体。从自身心灵的经验出发，麦海士试图让他的绘画可以在不同的维度被审视与解读。空间与身体，视觉与心理，艺术家与画布，这些链接与对话引领观者以直觉进入超越之旅，引发片刻的沉思与冥想。

Mahesh Singh (b. 1985, Bokaro, Jharkhand) was born and brought up in India. He got his BFA and MA degree from Jamia Millia Islamia University in New Delhi and holds an IMFA from the China Academy of Art, specializing in oil and acrylic painting, currently a doctoral candidate at Shanghai University. Influenced by the notions of transformation, transcendence and mystery in eastern religions and philosophies, Singh’s paintings present an inner experience with a sense of vacuum of stillness and eternity. He tends to use distinct or obscure elements to build a picture, which is full of indications to arouse people's deep thinking. Landscape usually serves as his subject, the carrier of consciousness, dreams and memories. Drawing from his psycho-somatic or psycho-spiritual experiences, Mahesh tries to suffuse his work with an awareness that allows the work to be contemplated and considered on multiple levels. Space and body, vision and psychology, artist and canvas, these connections and dialogues lead the audience to enter the journey of transcendence with intuition and trigger a moment of meditation. 

陈嘉俊1997 年出生于澳大利亚悉尼，2020 年毕业于纽约视觉艺术学院。作为一名新亚裔艺术家，频繁变化的生活空间使陈嘉俊在创作实践中关注个体身份的流动性，及其在文化母土与精神属地的迁移中找寻自我认同的过程与经验。陈嘉俊自传式的创作，是将其作为少数族群身份的行为及反思塑造出一种有关具象的幻象。他在其中展现着互为矛盾的各种角色，是脆弱的、漂浮的、笨拙的、几近消褪的。肆意流动的半透明画面在粗粝的麻布上形成自洽。

Stanley Chen was born in Sydney, Australia in 1997 and graduated from the School of Visual Arts in New York in 2020. Being the new generation of Asian artist, Stanley Chen concentrates on the fluidity of individual identity in his practice due to the frequently changing environment, as well as the the process and experience of exploring his self-identity in the migration between the cultural motherland and spiritual territory. Stanley Chen creates paintings in the form of autobiographies in which he shapes the physical form of an illusion by his actions and reflections on an identity as a minority group. He is playing various conflicting roles in the paintings which is fragile, floating, awkward and almost faded. He and his flowing translucent images have been self-referenced on the coarse linen.