即将开幕｜BROWNIE Projcet x Afternoon Projects《激悦和隐蔽的私密地带》

陈问村本科毕业于中央美术学院版画系，研究生先后毕业于伦敦艺术大学切尔西艺术学院、英国皇家艺术学院。现任教于中国美术学院。陈问村的艺术创作是自我求索式的，关注人的共通之处而非差异，在他多样的作品形式中可以看到他对身份、语言、文字和集体经验等命题的关注。其创作涉及绘画、装置、影像、实验音乐等多个领域，观察和回应是他保持艺术鲜活的方式。

Chen Wencun Completed his undergraduate from the Engraving Department of China Central Academy of Fine Arts and pursued his postgraduate from the Chelsea College of Art and the Royal college of Art. He now teaches at China Academy of Art. Chen Wencun’s artistic creation is self-exploratory, focusing on commonalities among people rather than their differences. His interests in topics of identity, language, text and collective experience are manifested in his multifaceted use of diverse media. His practice spans in various fields such as painting, installation, video and experimental music. Observation and response are his ways of keeping his art alive.

江一帆是一位加拿大华裔艺术家，从事油画、动画、装置和表演等工作。她从纽约的哥伦比亚大学获得硕士学位，从加拿大温哥华的艾米丽卡尔艺术大学获得学士学位。江一帆的作品通常从一个概念，一个想法开始，用一种诙谐的视角去探索科学、感性和哲学之间的交叉点。最近的个展包括“一束感知”在德克萨斯州，达拉斯的Meliksetian | Briggs；“零和博弈”在丹麦哥本哈根的Christian Andersen；“假期”在新墨西哥州罗斯威尔的罗斯威尔博物馆。她的作品曾在犹太博物馆、纽约公共艺术基金会、克罗地亚萨格勒布动画节，伦敦国际动画节和鹿特丹国际电影节等机构展出。

Yifan Jiang is a Chinese-Canadian artist working in painting, animation, installation, and performance. Jiang received her MFA from Columbia University, New York, and her BFA from Emily Carr University of Art and Design, Vancouver, Canada. A project-based artist, Jiang uses elements of painting, animation, sculpture, and performance. Taking an irreverent approach to epistemology, she explores the grey intersection between the scientific, the psychological, and the magical. Recent exhibitions include A Bouquet of Senses at Meliksetian|Briggs, Dallas, Texas; Zero-sum Game at Christian Andersen, Copenhagen, Denmark; Vacation at Roswell Museum, Roswell, New Mexico. Her work has been featured by the Jewish Museum, New York Public Art Fund, Rotterdam International film festival, and London international animation festival, among others.

Joseph Buckley (1990年出生于英国 Ellesmere Port), 毕业于耶鲁大学， 现居美国纽约。他的作品把科幻元素，以及个人经历带入到与当代社会议题一个不安的亲近距离。通过他的雕塑创作，他把雕塑的制作变成关于对当今社会问题再生产的隐喻。他的作品在西雅图Specialist Gallery, 伦敦Lock Up International，纽约Anton Kern Gallery，利兹Tetley，考文垂Warwick Arts Centre，爱丁堡Fruitmarket， 莫斯科美术馆，格拉斯哥当代美术馆等地展出。在2021年，他获得了Jerome Hill Artist Fellowship。在2022年，他开始在耶鲁大学艺术系雕塑专业任教。

Joseph Buckley (b.1990, Ellesmere Port) lives and works in New York City, USA. Buckley’s work brings a formidable knowledge of science fictional premises, traumas, and catastrophes into uncomfortable proximity with contemporary class and race politics. Through a critical sculptural practice, he foregrounds the violence of fabrication as an analogue for the social reproduction of inequality, bigotry, and ecological collapse. Selected solo projects include Cannibal Galaxies, Specialist Gallery, Seattle; Letter From The Home Office, Lock Up International, London; Traitor Muscle, Art in General, New York and Brotherhood Tapestry, Tetley, Leeds. Selected group exhibitions include Phantom Sculpture, Warwick Arts Centre, Coventry; Poor Things, Fruitmarket, Edinburgh; Friends & Family, Anton Kern Gallery, New York; Trouble in Outer Heaven: Portable Ops Plus, Southwark Park Gallery, London; I Don’t Know Whether The Earth is Spinning or Not..., Museum of Moscow and Cellular World: Cyborg-Human-Avatar-Horror at Gallery of Modern Art, Glasgow as part of Glasgow International. In 2021 he received a Jerome Hill Artist Fellowship. In 2022 Buckley was appointed faculty in the Sculpture Department at the Yale School of Art, New Haven.

李宇嘉2000年出生于海南，现居纽约。她高中赴美，于2023年获取美国罗德岛设计学院绘画专业的硕士学位，并在深圳及纽约参与群展。

她的作品的核心主题围绕着模糊和隐藏。我对朦胧、隐晦事物的兴趣源自于害怕向家人透露真实的自我。她的作品中引用了佛教Jatakas的故事（释迦摩尼的“生前故事”），文化杂合（基于她作为朝鲜少数民族童年的记忆），以及摄影（捕捉过去的残余）的元素。

Yujia Li is a Chinese artist born in 2000, currently living and working in New York, USA. She grew up in Shenzhen, China, and moved to California, USA, in 2015. In 2023, Li graduated with a BFA in Painting from the Rhode Island School of Design, USA.

Ambiguity and concealment have been the central themes in her practice. Her interest in obscurity originates from the fear of revealing my true self to my family. Her work references Buddhist Jatakas tales ("Birth Story" of Gautama Buddha), cultural hybridity (based on my childhood memory from being a Chinese-Korean ethnic minority), and archived photography (capturing the remnants of the past).

Max Keene是一位来自加拿大的艺术家。他的绘画作品采用了定义过去与现在的视觉文化的工具，主要使用喷枪和感光材料创作。结合了微妙和意外的物质性和自我参考的创作，他的作品灵感来源于我们对于幕后与隐藏的景象窥视的欲望。他曾在蒙特利尔画廊Pangée，墨西哥城Material艺术博览会等地举办过个展和群展。

Max Keene is a Canadian artist. His paintings employ tools and techniques that have defined our past and present visual culture, primarily using a combination of airbrush and photosensitive material. With subtle unexpected materiality and content that itself reference’s production, his work considers our desire to glimpse behind the scenes. He has exhibited across Canada in both a group and solo capacity, most recently in “Back of House”, a solo exhibition at Pangée in Montreal.

奢杨思博 (b.1996, 中国)，横断山脉儿子的一个、阿母来自大小凉山、阿达来自乌蒙山脉。系古西南夷诺苏乌蒙鳛部扯勒兹莫后裔，墨者扯勒五十八世。自幼习画，来回行走于高山峡谷和高楼公路之间。以行动、事件、影像、诗歌、装置、声音等方式介入现实。

Sheyang sibo (b.1996, China) a son of the Hengduan Mountains. His mother comes from Da Xiao Lingshan Mountain range, and his father comes from the Wumeng Mountain range.

He is a descendant of the Nuosu Yi People of Wument, a branch of the ancient southwest Yi tribe (Nuosu Wumengxun), and the 58th generation of the Chelezmol lineage. He started painting at a young age, lived through high mountains, canyons, and urban skyscrapers, and engaged with reality through actions, events, imagery, poetry, installations, sound, and other means.

冯 · 柯芬1983年出生于美国华盛顿州Kirkland, 毕业于美国耶鲁大学（硕士）和芝加哥艺术学院（学士）。他们的作品曾在上海，孟菲斯，洛杉矶艺术博览会，Bellevue大学美术馆展出。

Von Coffin (b. 1983 Kirkland, WA, USA) received their MFA from Yale University (2016) and BFA from the School of the Art Institute of Chicago (2007). Recent exhibitions include The Co-op at Galerie Dengyun, (Shanghai), Meta-figuration at TOPS Gallery (Memphis, TN), and Dude, I almost Had You at Other Places Art Fair (Los Angeles, CA, USA). Their solo show at Bellevue College Gallery (Bellevue, WA, USA) opens November 21st.

赵玉本科（DNAP）及硕士（DNSAP）毕业于法国巴黎国立高等美术学院。她的创作主要致力于将“自文化”转化为“他文化”视角，并置进时空深层框架进行思考，她通过图像、视频、写作及装置等诸多媒介进行转译。她基于行走、基于个人经验，借用符号学、文学以及相关社会学科中的元素对场景进行重构，籍此呈现世界范围内的文明流动，文化流变，一个“新”的叙述者从中产生，以“闯入者”的形象迫问历史之真，探讨和回应原本与副本的复杂勾连。

她的主要展览项目包括：《激悦和隐蔽的私密地带》，BROWNIE Project，上海（2023）；《石榴》，MOU PROJECTS，香港（2023）；《潮汐复朝夕》，七木空间，北京（2023）；《楼上的城市》，ASE基金会，上海（2023）；《北京艺术双年展｜大地热流：回到太阳时间的访客》，北京友谊艺术社区，北京（2022）；《多少次呵，我离开了我日常的生活 》，69 ART CAMPUS，北京（2022）；《熔炼的暗礁》，We Space，上海（2022）；《感性对话》，碧云美术馆，上海（2022）；《炼金的任务》，Arch Gallery，长沙（2022）；《流动的身份》，广东美术馆，广州（2022）；《“辣条”时代：年轻力观察》，年代美术馆，温州（2022）；《隐喻与凝视》，LA VIE物质生活艺术中心，深圳（2022）；《靡菲斯特的舞步》，沪申画廊，上海（2021）；《未来祭中祭2》，喜马拉雅美术馆，上海（2021）；《O，Cat在欢乐谷》，OCAT研究中心，北京（2021）；《语言外世界II》，梵融美术馆，苏州（2021）；四重奏，阿里巴巴西溪园区，杭州（2021）；《你走不出它的边际，无论你远行到何方》，斯沃琪和平饭店艺术中心，上海（2020）；《风暴山谷》，無同空间，长沙（2020）；苏格兰高原的狮子——写作的平行展览，OCAT 研究中心，北京（2019）；L'Entre- Deux, Zetoart, 却道艺术，巴黎（2019）；《我们在何处相遇》，全国农业展览馆，北京 (2019)；《观看的剩余》，第七届济南国际摄影双年展，济南（2018）；《另一种设计》，华 · 美术馆，深圳（2018）；第十届三影堂摄影奖作品展《起承》，三影堂艺术中心，北京（2018）；《Waiting For》，Galerie du Crous，巴黎（2018）；《Dear mom, What Do People Cross When Crossing The Boundary?》，Kunstraum Potsdamerstraße, 柏林（2018）。

参与的艺术驻留项目包括：“燃冉”UCCAx新天地艺术家驻留（2023）；天目里美术馆之驻艺术家驻留（2022）；斯沃琪和平饭店艺术中心驻地（2019-2020）；“Paris X Berlin”巴黎、柏林驻地（2018）及方志小说（2017）等。

赵玉的写作见于假杂志、《艺术世界》、 CEF实验影像中心、泼先生、招隐等媒体。2018 年联合策划编辑了 2018 年 11 月《艺术世界》的长读项目《苏格兰高原的狮子》；2019年入围OCAT研究中心“研究型策展计划”终选名单，同年出版短篇小说《美丽城地铁站》。

Pocono received her DNSAP (MFA) from École nationale supérieure des beaux-arts de Paris.

A "newcomer", a "future long-dweller". Pocono Zhao Yu’s works focus on transforming the perspective from "self-culture" to "other-culture" and reflecting in the deep spatio-temporal framework. She translates the world through various media such as image, video, writing and installation. Based on personal experience, she reconstructs the scene by borrowing elements from semiotics, literature and related social disciplines, thus presenting a "new" narrator to question the authenticity of history as an "intruder" and explore and respond to the complex connection between the original and the copy. She also focouses on issues of identity and territorial anxiety arising from globalization.

Her main exhibitions include: The Secret Realm of Thrills and Concealment, BROWNIE Project, Shanghai (2023); Pomegranate, MOU PROJECTS, Hongkong (2023); At sunrise and sunset, tides rise and fall, Qimu Space, Beijing (2023); Upstairs Cities, ASE Foundation, Shanghai (2023); 2022 BEIJING Biennale | Earth Heat Flow: The Visitor Who Returns to Solar Time, BEIJING Friendship Art Community, Beijing (2022); How Many Times, I Have Left my Everyday Life, 69 ART CAMPUS, Beijing (2022); The Molten Reef, We Space, Shanghai (2022); Un Dialogue Avec La Sensibilité- Ecriture, Désir, Amour, BeingArt Museum, Shanghai (2022); La Mission d’alchimie, Arch Gallery, Changsha (2022); Floating, Guangdong Museum of Art, Guangzhou (2022); Metaphor and Gaze, La Vie material life art center, Shenzhen (2022); Tangle of revolution and political soul, SAG Gallery, Shanghai (2021); Rituals in Rituals of the future, Himalayasmuseum, Shanghai  (2021); O, Cat in Happyvalley!, OCAT Institute, Beijing (2021); Extro-Language World II, Fanrong Museum, Suzhou (2021); Quaretet, Alibaba, Hangzhou (2021); Don't Forget Spring. Long Museum, Shanghai (2021); A Room of One's Own | Saint Valentine's Day, Fu Kan space, Shanghai (2020); The Storm Valley, Wooton Gallery, Changsha (2020); You Will Never Cross Its Boundaries, No Matter How Far You Go, Swatch Art Peace Hotel, Shanghai (2020); Lions of the Scottish Highlands—Parallel Exhibition of Writing, OCAT, Beijing (2019); Where We Met? - Nomination Exhibition Of Contemporary Image From Post 90s Generation, Beijing National Agricultural Exhibition Centre, Beijing (2019); Residual Of Watch, The 7th Jinan International Photography Biennale, Jinan (2018); Another Way to Design, OCT Art&Design Gallery, Shenzhen (2018); Interlink: 2018 the 10th Three Shadows Photography Award, Three Shadows Photography Art Centre, Beijing (2018); Waiting For, Galerie du Crous, Paris (2018); Dear Mom, What Do People Cross When Crossing The Boundary?, Kunstraum Potsdamerstraße, Berlin (2018); “Power of the Image” China (Datong) International Photography Culture Exhibition, China Sculpture Museum, Datong (2018).

Her mainly participating art resident projects include: Ranran, Xintiandi X UCCA Art Residency(2023); By Art Matters Residency(2022); the residence of swatch Art Peace Hotel(2019-2022); "Paris x Berlin" Paris, Berlin(2018) and FANGZHI Novel(2017), etc.

Pocono has contributed art reviews to various publications such as Jiazazhi, ArtWorld Magazine, CEF, PULSASIR, ZHAOYIN Echo. In 2018, Pocono Zhao Yu worked with Rie Kung as guest editors for a special Long Reading project titled Lions of the Scottish Highlands for the Chinese art magazine Art World. In 2019, she was shortlisted for the "research-based curatorial project" of OCAT Institute, and published the short story "La station de Métro Belleville" in the same year.

Major writings of Pocono’ s include “Toward Which of These Futures the Favoring Winds Are Driving MacGuffin?” (2018), “We Thought We Will Never Forget Uqbar” (2018), and a short novel The Metro Station of Belleville (2019).

周心语的创作围绕着个人经验以及公共性的事件，但她并不将这些直接转译为画面，而是从其中衍生的情绪生发出创作。她从失真的影像、光影碎片中汲取灵感，并且关注现实生活的脆弱感以及转瞬即逝的诸多事物。她笔下的人物常浓郁地体现出与现实世界的疏离感，停滞的情绪与冷静的凝视相交织，她将绘画作为一种向现实世界提问的手段。

周心语的创作技法受她少年时期数码绘画的直接影响，作为“95后”一代，她在少年时期更多地使用数位板在Photoshop中绘画，以及后来动画及版画的教育经历，使得“图层”（layer）对她影响颇深，因此她专注于利用多种绘画媒介层层叠加，以复现日常生活中的具体时刻。这些具体的记忆被聚焦、定格，层层附着于平面之上，让原意变得更加难以捉摸的同时，使画面中的材料纹理呈现出一种新的表述，将这转瞬即逝的回忆重新带回令人失神的时刻。

女性人物肖像常是周心语的表现主题，这些肖像形象往往取自她身边最亲密的挚友（尤指2021-2022年的肖像作品），但她往往刻意地去除肖像本身形象特征，而去强调一种氛围与情绪，她希望所呈现的肖像作品不是对某一个体的摹写，而是更具共性的“肖像”本身。

她的主要展览项目包括：《激悦和隐蔽的私密地带》，BROWNIE Project，上海（2023）；《单独时间》Union Pacific, 伦敦（2023）；《三面镜子》，ARR画廊，杭州（2022）；《亚洲艺术文献库2022年度筹款》，香港佳士得，香港（2022）；《花园哑剧》，弥金画廊，上海（2022）；《一间自己的房间》，当代唐人艺术中心，香港（2022）等。

Zhou Xinyu's creations revolve around personal experiences and public events. However, she doesn't directly translate these experiences into imagery but instead draws from the emotions that arise from them. She draws inspiration from distorted images and fragments of light and shadow, focusing on the vulnerability of real life and the fleetingness of many things. The characters in her artwork often embody a sense of detachment from the real world, where stagnant emotions intertwine with a calm gaze. She sees painting as a way to pose questions to the real world.

Zhou Xinyu's creative technique is directly influenced by her digital painting experiences during her teenage years. As a member of the "post-95" generation, she frequently used digital tablets to paint in Photoshop during her youth. Her later experiences in animation and printmaking left a deep impression of the concept of "layers" on her. As a result, she focuses on layering various painting media to recreate specific moments from everyday life. These vivid memories are magnified, frozen, and layered upon the surface, making the original intent more elusive, while the material texture in the artwork presents a new narrative, bringing these fleeting memories back to a mesmerizing moment. For example, in "Pouring" (2023), she uses acrylic and oil sticks to achieve a water-oil separation effect, reminiscent of peeling old walls. However, her arrangement of textures is calm and restrained, with these textures subtly hidden in secondary parts of the artwork. Silent clocks, a wine glass suspended in mid-air tipping over, frozen raindrops, and calm, firm side profiles of people - everything is captured in this moment, as if with a snap of the fingers, everything could collapse in an instant. A fierce wind and sudden rain, yet to fall.

Female portraits are a common theme in Zhou Xinyu's work. These portraits are often derived from her closest friends (especially in the portraits from 2021-2022). However, she often intentionally removes distinctive features from the portraits, emphasizing atmosphere and emotion instead. She hopes that the portrayed images are not depictions of specific individuals but rather represent a more universal "portrait" itself. For instance, in "Lose Sleep" (2022), the strokes and colors of the artwork revolve around emotion. She chose the slightly melancholic shade of blue to present the depth of the image. She mentioned, "I wanted to intensify this sense of stillness, making every stroke in the painting seem as if it's bound by it."

Her major projects include: The Secret Realm of Thrills and Concealment, BROWNIE Project, Shanghai (2023); Alone Time, Union Pacific, London (2023); Three Mirrors, ARR Gallery, Hangzhou (2022); Asian Art Archive Annual Fundraising Auction Preview, Christie’s Hong Kong, Hong Kong (2022); Pantomime In The Garden, Gene Gallery, Shanghai (2022); A Room of One’s Own, Tang Contemporary Art, Hong Kong (2022).