
The two wonderful exhibitions with different styles are both deeply related to the academicfoundation of oriental aesthetics, local cultural and philosophical traditions, and geographical andnatural attributes that ZHI ART MUSEUM has deeply cultivated, and they interact and dialogue witheach other.
Poster of "What Migrates Shall Remain"
Han Mengyun's solo exhibition "What Migrate Shall Remain" started with philosophical thinkingand is very poetic. It was lightly displayed in the top-floor exhibition hall that intersected withnature, like a flowing seed, carrying cross-civilization genes, rooted at the foot of Chengdu LaojunMountain.
As the title suggests, the exhibition aims to showcase the transcultural foundation of Han Mengyun’s art practice, as well as the field and academic research that grounds her work.
The group exhibition "Enrooting, the Heterogeneous Phenomenon" was hidden in theB1 exhibition hall of ZHI ART MUSEUM, originating in a cave space closer to the soil. Four artistspresented a bizarre and strange scene with a secret and magnificent naturalism. The curator waslike a gardener returning from afar, carrying seeds collected after traveling around, and cultivating anew garden on familiar land.
The two exhibitions seem to have very different styles, but they both point to a clear signal: a newmethodology for contemporary art creation under a new generation of pan-Asian vision under theglobal cultural integration and collision, and a unique appearance of a new round of artistic vitality.
After the enjoyable knowledge exploration, cultural leap and spiritual nomadism presented in thetwo exhibitions, what finally opens up is the self-awareness and reflection of each individual. In myopinion, this is the origin and end of art.
Everyone has a garden of their own
I am the only gardener in this garden
Remember to come back often
Roots are here

Han Mengyun (b. 1989 in Wuhan, raised in Shenzhen, China) is an interdisciplinary and multimedia artist, comparatist, filmmaker, poet and mother currently based in London.
Her practice addresses the decolonisation of the phenomena of Eurasian transcultural hybridisations that occurred across vast landscapes of time and space from the dominative mediation of the Western conceptual gaze. She was initially trained in the Western tradition of oil painting but diverted from the singular viewpoint of art production towards the complexity of historical ties in the profoundly intercultural context of the continent’s history and present. The broad focus of her research covers interdisciplinary manifestations of cultural dialogue and polyvocal aesthetic conversation — from religion, philosophy, and mythologies to trade, vernacular craftsmanship, and bookmaking. Her studies in Sanskrit, Persian, and Arabic, along with Indian and Islamic art and intellectual histories, have led her to forge an alternative paradigm for image-making. This paradigm is based on Indian and Islamicate miniature painting in manuscripts, inspired by the invention of paper and printing techniques in ancient China. She views the book as an open space connecting all cultures while maintaining the uniqueness of cultural perceptions. Therefore, her paintings are conceived as pages and books, paying tribute to the history of ancient globalization—such as the Silk Road—and the intercultural dialogues that have made the world inherently hybrid and interconnected.
Han Mengyun received BA in Studio Art from Bard College and has pursued the study of Sanskrit at various institutions such as Kyoto University before she completed her MFA at the University of Oxford with a research focus on Classical Indology and Indian aesthetic theories. Her recent projects and exhibitions include: “Night Sutra” (Busan Biennale, 2024); “The Unending Rose” (ShanghART Shanghai, 2023); "Painting Unsettled" (UCCA Edge, Shanghai, China, 2023); "Chinese Contemporary Art from the Uli Sigg Collection" (SONGEUN Art and Cultural Foundation, South Korea, 2023); Bordercrossing: Possibilities and Interactions (Yuz Museum, Shanghai. 2023); "The Dwelling Place of the Other in Me" (Power Station of Art, Shanghai, China, 2021); and “The Pavilion of Three Mirrors” (Diriyah Biennale, Saudi Arabia, 2021) etc.

(Arranged in alphabetical order by surname)
CAO Shu
LIU Yi
Liu Yi was born in 1990 in Ningbo, China. She obtained her Master's degree from the China Academy of Fine Arts in 2016. Currently, she resides in Hangzhou.She utilizes various mediums such as animation, multimedia, and space installation to reflect her daily experiences and explore the potential of her works. Through her eclectic creations, audiences are able to delve into a distinct parallel world. Liu Yi's video works and installations have been exhibited in renowned museums and institutions worldwide, including the Animist Tallinn Festival Exhibition.
ZHANG Wenxin
Robert Zhao Renhui
Singaporean visual artist Robert Zhao Renhui (b. 1983) works chiefly with photography but often adopts a multi-disciplinary approach, presenting images together with documents and objects in the form of textual and media analysis, video and photography projects. His artistic practice investigates man’s relationship with nature, utilizing convincing narratives to invoke doubts in its audience towards the concept of truth and its portrayal. His works has been exhibited globally, including solo exhibitions in Singapore, China, Japan, Australia and Italy. He represented Singapore in their national pavilion at the 60th Venice Biennale in 2024.
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