“我们并非为道德而制定规则，而是为行动得以进行。”
“Les règlements ne sont établis que pour assurer l’exécution des actions.”
—— Les 120 journées de Sodome
南柯画廊欣然宣布展览项目“所多玛一百二十天”将于2026年1月10日开幕，展览将呈现艺术家陈高杰、段林冬、郭宇剑、高崇艺、侯惪华、黄天宇、廖小舟、邱锡鹏、吴牧寒、谢灵柔、宰鹏飞的作品。在展览主题中，这些艺术家的作品通过古典主义范式的共性相互连接，而人类的情欲、冲动却又在这种范式束缚下的幽微之处激活，并拉扯出尖锐而锋利的张力。
Nan Ke Gallery is pleased to announce that the exhibition project The 120 Days of Sodom will open on January 10, 2026. The exhibition brings together works by artists Gaojie Chen, Lindong Duan, Yujian Guo, Michael Gao, Dehua Hou, Tianyu Huang, Xiaozhou Liao, Xipeng Qiu, Muhan Wu, Lingrou Xie, and Pengfei Zai. Within the exhibition’s thematic framework, these artists are connected through a shared engagement with classical paradigms—yet it is precisely within the subtle fissures of these inherited forms that human desire and impulse awaken, generating a sharp and compelling tension.
《索多玛的一百二十天》(Les 120 journées de Sodome) 是一部由萨德侯爵(Marquis de Sade)于1785年囚禁在巴士底狱中创作的长篇小说。该著作以狂暴且看似低俗的形式闻名，又与彼时启蒙运动的理性主义对立，却深刻探究了欲望与权力表象后的复杂人性，在二十世纪初首次出版时引起轩然大波。萨德的一生与世俗观念对抗，这种“纯粹”追求使他成为理性与疯狂、善与恶边界的象征。西蒙·波伏娃(Simone de Beauvoir) 亦曾强调：“我们不应焚毁萨德，是因为他的反叛” 。
The 120 Days of Sodom (Les 120 journées de Sodome) is a long-form novel written by Marquis de Sade in 1785 during his imprisonment in the Bastille. Notorious for its violent and seemingly vulgar narrative, the work stands in stark contrast to the rationalism of the Enlightenment, probing deeply into the complexities of human nature beneath the surface of desire and power. Its first publication in the early twentieth century sparked intense controversy. Sade’s lifelong resistance to social convention—his pursuit of a kind of “purity”—has made him a symbol hovering at the boundary between reason and madness, good and evil. As Simone de Beauvoir famously noted, “We must not burn Sade, for it is because of his rebellion.”
《索多玛》在文学史上具有独特地位并非因为极端与浪荡的内容，而是它在启蒙理性主导的时代里，以一种近乎暴烈的方式揭露了其背后的黑暗洞穴。萨德以古典的叙事外形写下对文明秩序的根本质疑，使文学成为反叛行为。这种面对权力、道德与规范时的激烈抵抗，与当代精神的内核不谋而合：当代艺术正不断回到古典语言，使古典不再是被供奉的准则，而成为可以被撕开、重写、干扰的现场。当下的艺术家在古典范式中寻找的也是波伏娃所言之“反叛”：一种将现代理解的混乱与欲望重新刻入历史纹理的方式。
The singular place that The 120 Days of Sodom occupies in literary history lies not merely in its extremity or libertine excess, but in its brutal illumination of the darkness beneath Enlightenment rationality. Sade employs the outward structure of the classical narrative only to carve out a fundamental critique of civilized order—transforming literature into an act of revolt. This intense resistance against power, morality, and normativity resonates strongly with the core of contemporary sensibilities: today’s artists persistently return to classical languages not as sacralized rules to obey, but as materials to tear open, rewrite, and disrupt. What they seek within classical forms aligns with what Beauvoir described as rebellion: a method of re-inscribing the chaos and desire of the modern condition into the textures of history.
不锈钢鞋甲、骑士靴、轮滑鞋、牛皮鞋底
Stainless steel shoe armor, knight boots, roller skates, cowhide soles
50h x 50w x 40d cm
© Courtesy of the artist
展览以四层独立空间结构连接小说原著中“四个三十天”的延展，亦呼应萨德侯爵的四幕式写法。随着楼层的上升，古典主义的范式得到补全、越发完备，而所寄托的情绪与思考却是与当下的主题更为相关的，走向亲密、不安与脆弱。
The exhibition unfolds across four independent spatial levels, echoing the novel’s structure of “four sequences of thirty days,” and extending Sade’s four-act architecture. As visitors ascend through each floor, the classical paradigm becomes increasingly complete and formally coherent—yet the emotions and reflections embedded within grow more closely aligned with contemporary urgencies, moving toward intimacy, unease, and vulnerability.
如同在原著“四季轮回”的情节进展，“规矩愈发收紧，而表现则愈发失控。”在限制的作用下，理性思考的能力、复杂的情绪涌动、本能的欲望与信仰精神的召唤同时迸发，呼应文艺复兴与新古典主义时期对于古希腊罗马范式的复用，展现具有当代性的人本主义。
As in the novel’s cyclical progression of “four seasons,” “the rules tighten, yet expression becomes increasingly unrestrained.” Under constraint, rational thought, turbulent emotion, primal desire, and the pull of spiritual belief erupt simultaneously. This dynamic mirrors the Renaissance and Neoclassical revivals of Greco-Roman forms, revealing a humanism that is distinctly contemporary.
珀尔修斯与美杜莎 Perseus and Medusa, 2025
120h x 80w cm
© Courtesy of the artist
昏暗的房间预示着一切的起源。古董书籍原本被庄重地呈现在层层的帷幔之下，拉开探寻的序幕。下方端正地摆放着金属制的骑士靴甲，使我们可以想象迎宾处矗立着萨德侯爵的幽灵。旁侧的画作则同样描绘了精细的帷幕，以轴对称的形态层层推开，烘托缜密而恢弘的古典主义意境。然而，靴子下面附加的滑轮、画作中的网格与非自然几何体则暗示着表象下的另一面，提示现代痕迹于古典规则之下的萌芽。
The dimly lit room signals the origin of everything. Antique books, once solemnly displayed beneath cascading drapery, open the prelude to inquiry. Below them, a pair of meticulously arranged metal knight’s sabatons invites the imagination to conjure the ghostly presence of the Marquis de Sade standing at the threshold. Nearby, a painting echoes this classical staging: layers of finely rendered curtains unfold in axial symmetry, amplifying an atmosphere of precision and monumental classicism. Yet the wheels affixed to the sabatons, along with the grids and unnatural geometric forms embedded within the painting, gesture toward another dimension beneath the façade—hinting at the emergence of modern traces under the weight of classical rule.
Charcoal and acrylic on paper
140h x 140w cm
© Courtesy of the artist
60h x 50w cm
© Courtesy of the artist
拾级而上，下一个空间明显地钩织着有关肉体的冲动。大面积裸露的肌肤重叠地存在，以仰视的角度出现，如若在群山中拔剑的英雄。巨大的吊灯悬挂于正中，而原本该放置蜡烛的地方则被用来改换生理性别的人造物替代，呈现出模拟自然月相的轮回。
绘画上的巨大吊灯与之呼应，却不再庄严，而是近乎超现实地贴近地面，烘托看不见面庞的普通男子与身型十分矫健的狗。围绕着罗马柱的角落，两件三联的作品相互对仗。拱形的立体结构分隔动态的飞鸟与鹦鹉螺化石，中世纪绘画般的群星底色上则呈现了有关生殖的比喻。
Ascending the steps, the next space unmistakably weaves an atmosphere charged with the impulses of the flesh. Expanses of exposed skin overlap one another, depicted from a low, upward gaze—as if heroes poised to draw their swords amidst towering mountains. A monumental chandelier hangs at the center, yet the spaces meant for candles have been replaced by artificial objects used in the alteration of biological sex, forming a simulated cycle of lunar phases.
A painting of a similarly grand chandelier responds to this gesture, though its presence is no longer solemn; instead, it hovers almost surreally close to the ground, framing an ordinary man whose face remains unseen beside a dog of striking athletic build. In the corner framed by Roman columns, two triptychs stand in mirrored dialogue. Arched three-dimensional structures divide the fluttering movement of birds from the fossil of a nautilus, while a star-studded backdrop—reminiscent of medieval painting—offers metaphors related to reproduction.
300h x 85w x 85d cm
© Courtesy of the artist
Sneaking Out Before Dessert, 2025
70h x 60w cm
© Courtesy of the artist
83h x 140w cm
© Courtesy of the artist
62h x 128w cm
© Courtesy of the artist
肉身的主题延续存在，变得更加绞缠和亲昵。手、躯干与肢体模糊地融化在一起，又被极具侵略性、边缘锋利的巨大利刃刺穿，分割清晰的光影结构。与理性表征相对的是朦胧而强烈的内在情绪：衔尾的蛇上方喷吐熊熊燃烧的火，使欲望在无穷的时间里蔓延。
The theme of the flesh continues, becoming more entangled and intimate. Hands, torsos, and limbs seem to blur and melt into one another, only to be pierced by enormous blades—aggressive, sharp-edged forms that cut clean divisions into the structure of light and shadow. Opposed to these rational delineations is a haze of intense interior emotion: above an ouroboros, flames roar upward, allowing desire to proliferate across an infinite expanse of time.
90h x 60w cm x 3 pic
© Courtesy of the artist
100h x 70w cm
© Courtesy of the artist
顶端的房间彰示着极端的终章。喷泉作为城邦与文明起源的象征，以流水暗示更迭与传递。尖顶的花窗下，细致描绘的建筑内部结构直接回应了所多玛的叙事。人影幢幢，混乱与秩序同时到达极点，形成以欲念驱动的精密机器。两侧，对仗的拱门如同物理的真谛，迎合代表灵性的日落月升。局部的眼眸呼应合十的手，似古典的“爱人之眼”与信仰崇拜的重叠。来自神话的叙事被重新书写，以流动的状态迎来盛大的终结。
At the topmost level, the room announces an extreme final act. The fountain—an emblem of the origins of the city-state and of civilization—suggests renewal and transmission through its flowing water. Beneath a pointed stained-glass window, the meticulously rendered architectural interior directly echoes the narrative of Sodoma. Figures flicker in and out; chaos and order reach their simultaneous peak, forming a precision engine driven by desire.
On both sides, mirrored archways recall the laws of the physical world, aligning themselves with the rise of the moon and the setting of the sun—symbols of the spiritual realm. A solitary eye echoes a pair of clasped hands, merging the classical “lover’s eye” with gestures of devotion. Mythological narratives are rewritten here, arriving at a grand conclusion in a state of perpetual motion.
46h x 40w cm
© Courtesy of the artist
Charcoal and acrylic on paper
100h x 140w cm
© Courtesy of the artist
40h x 20w cm
© Courtesy of the artist
“所多玛一百二十天”希望为古典主义的当代艺术提供另一视角。艺术家由范式作为创作的起点，而今依旧承袭，或许并非仅仅由于模仿的惯性或者至美崇高的画面性，而是由于在规则的限制下，裂缝里能够产生“别的”、在纯粹的自由境界中无法获取的瞬间。
The 120 Days of Sodom seeks to offer another perspective on classical paradigms within contemporary art. For the artists in the exhibition, the classical canon functions not merely as a historical reference, nor as a habitual imitation of the sublime and the idealized image. Rather, it is within the constraints of such a paradigm that fissures open—cracks through which something other, something irretrievable in a state of absolute freedom, can emerge.
展览呈现了十一位艺术家化用古典主义范式实践：陈高杰、高崇艺以精细的绘画描述古典主义的透视与华丽画面；郭宇剑、黄天宇则延续了经典的叙事元素，描绘英雄神话、飞鸟、化石与花卉。侯惪华表现理性与神性并存的人体；而段林冬与邱锡朋则通过聚焦和放大局部的构图捕捉情绪的涌动。谢灵柔以双线叙事寻找时空重叠的瞬间，宰鹏飞以具有物理属性的严谨画面象征古老而恒定的哲思。装置艺术家吴牧寒、廖小舟则重新解构了发现物(Objet trouvé) 的意义，以在当代语境延展“物”的精神力量。
The exhibition brings together eleven artists who reinterpret and transform classical paradigms through diverse contemporary practices. Gaojie and Michael employ meticulous painting to articulate classical perspectives and opulent imagery. Yujian and Tianyu extend the language of traditional narrative, depicting heroic myths, birds in flight, fossils, and botanicals. Dehua explores the human body suspended between rationality and divinity, while Lindong and Xipeng capture emotional turbulence through compositions that magnify and isolate bodily fragments.
Lingrou constructs a dual narrative, searching for moments where timelines fold into one another. Pengfei utilizes disciplined, physically grounded imagery to evoke ancient and enduring philosophical sensibilities. Meanwhile, installation artists Muhan and Xiaozhou deconstruct the significance of the objet trouvé, extending the spiritual potency of “the object” within a contemporary context.
120h x 72w cm
© Courtesy of the artist
克里斯第瓦所想象的“卑贱”或许正好验证了当代性的一层精神核心：“在一切美的制度被建立之前，卑贱已经在那里等待。”卑贱是秩序无法完全吞没的部分，具有庞大而恐怖的力量。在一次次回溯古典的朝圣中，时代性特征不断与承袭的范式碰撞出新的张力，以推动艺术精神与创造的闪烁。
Kristeva’s notion of the abject may well affirm a core dimension of contemporaneity: before any system of beauty is constructed, the abject is already there, waiting. The abject is the portion that order can never fully consume—vast, unsettling, and charged with terrifying force. In each return to the classical, every pilgrimage toward inherited forms, the traits of our present era collide with these long-standing paradigms, generating new tensions that propel artistic spirit and creative radiance forward.
这正合人本主义的精神，即深入人性的坦诚描摹后，人们发现规则与自由并非只是社会学层面的冲突，也同样是人性本身的悖论。在顺应规则时，缝隙与暗处滋长出更加绝对的自由与狂热。如萨德侯爵最后写下，“我们为一切设下规则，却终究无法支配事情将走向何方。”
This aligns precisely with the spirit of humanism: that once one confronts and depicts humanity with unguarded honesty, it becomes clear that the tension between rules and freedom is not merely a sociological conflict, but a paradox inherent to human nature itself. In submitting to structure, it is precisely within the cracks and shadowed intervals that a more absolute freedom—and even a kind of fervor—begins to grow. As the Marquis de Sade ultimately wrote, “We establish rules for everything, yet we can never command where things will go.”
Text by Roxane Fu
Artist 艺术家 ｜
Gaojie Chen 陈高杰
陈⾼杰，⽣于1993年，出⽣于福建顺昌。2015年，毕业于中国美术学院油画系第⼆⼯作室。2015年⾄今，⽣活⼯作于杭州。
陈⾼杰致⼒将绘画创作体系打造为燃烧的晶体，关于⽣活、神话与命运。⾯对现代世界庞⼤混沌的信息洪流与个体⽆边⽆际的孤独，他利⽤荒诞神秘的图像锚定⾃身，折射万物。他在经验⾥采集斑驳陆离的残⽚，置⼊⾃⼰暧昧跌宕的炼⾦炉中，融铸出暴⻛眼中的兴奋剂。可以确定的是，艺术家的叙事⽆法明确传递⾄观者，它们蕴藏着某些尚不明晰的概念，象征与偏执；段落彼此纠缠熔毁，结成⼀张⽣成中的百科辞典之⽹，甚⾄超出了作者本⼈的理解之外。
展览节选
个展
2025我咬着⽕星，万⼀空间，深圳，中国
2024深圳艺术周，坚⽩，万⼀空间，深圳，中国
2024 舒肤佳，SIMULACRA GALLERY,北京，中国
2023⾦⾊狮⼦，万⼀空间，深圳，中国
2019 受⾁，⻢丁·⼽雅⽣意，杭州，中国
2019 路⻢头 X 蛇⼝,中国美术学院 Tproject,中国,杭州
群展
2025 魔灯当代艺术博览会，拟像，⼴州，中国
2023花⻦集8.0,想象⼒学实验室,⼜俊⼜勇,R3PM3
2023 ⻢丁·⼽雅⽣意,杭州,中国
2022ART021上海廿⼀当代艺术博览会，万⼀空间，上海，中国
2021函三，万⼀空间，深圳，中国;
2020宠物店伙计2：游荡轩尼诗
2020 ⻢丁·⼽雅⽣意&MINEPROJECT画廊,⾹港,中国
2020 花⻦集,⻢丁⼽雅⽣意&想象⼒学实验室,杭州中国
2019好奇柜 3，朵云轩艺术中⼼，上海，中国
2019 苍蝇馆⼦，⻢丁·⼽雅⽣意＆⼤⽥秀则画廊，上海，中国
2019 ⽑坯赛博，⻢丁·⼽雅⽣意，杭州，中国
2018真实的⼈⽣,⻢丁·⼽雅⽣意,杭州,中国
2018 后南宋王朝,⻢丁·⼽雅⽣意&⾦杜艺术中⼼,北京,中国
2016反炳伐纣:上海⾸届cult⽂化艺术展,北外滩艺术园区,上海中国
2015上海⻘年艺博会,上海国际展览中⼼,上海中国
2015 清明：BUKAAOD⾸展，LBX画廊，杭州，中国
Born in 1993 in Shunchang, Fujian. He graduated from the Second Studio of the Oil Painting Department of China Academy of Art in 2015. Currentlylives and works in Hangzhou.
Chen Gaojie is committed to creating a painting system as a burning crystal about life, myth, and destiny. Faced with the vast and chaotic flood ofinformation in the contemporary world and the infinite solitude of the individual, he uses dystopian and mysterious images to anchor himself andreflects on all things. He collects fragments from experience and places them in his ambiguous alchemy, forging a stimulant in the eye of the storm.Indeed, the artist's narratives cannot be clearly conveyed to the viewer; they contain certain concepts, symbols, and paranoia that are not yet clear;passages that are entangled and fused, forming a growing encyclopedic web even beyond the author's comprehension.
Solo Exhibition
2025I Bite a Spark, One Space, Shenzhen, China
2024Shen Zhen Art Week, Solid White, One Space, Shenzhen, China
2024 Safeguard, SIMULACRA GALLERY, Beijing, China
2023Golden Lion, One Space, Shenzhen, China
2019By Meat, Martin Goya Business, Hangzhou, China
2019 Lu Ma Tou X Shekou, Tproject, China Academy of Art, Hangzhou, China.
Group Exhibitions
2025MOORDN ART FAIR, SIMULACRA, Guangzhou, China
2023Flower and Bird 8.0, Imaginology Lab, Yajun Yanyong, R3PM3,
2023Martin Goya Business, Hangzhou, China
2022ART021 Shanghai Art Fair in W.ONESPACE, Shanghai, China
2021Han San, W.onespace, Shenzhen, China
2020Pet shop guys II:Wondering on Hennessy road
2020 Martin Goya Business, Mine Project, Hongkong, China
2020 Collection of Flowers and Birds, Martin Goya Business & Imaginology Lab, Hangzhou, China
2019Cabinet of curiosities III, Duan Yunxuan Art Center, Shanghai, China
2019 Greasy Spoon, Ota Fine Art, Martin Goya Business, China
2019 Unfinished cyber, Martin Goya Business, Hangzhou China
2018Life of The True, Martin Goya Business, Hangzhou, China
2018 The post southern Song dynasty, KWM artcenter, Martin Goya Business, Beijing, China
2016Anti Entropy & Attacking Zhou—First cult culture art exhibition, North Bund Art Zone, Shanghai, China
2015Shanghai youth art fair, INTEX Shanghai, Shanghai
2015 “ BUKAAOD”, LBX gallery, Hangzhou, China
Artist 艺术家 ｜
Lindong Duan 段林冬
段林冬当前的创作主要围绕“手”展开。在他看来，手和脸是人类情感表达中两个最为重要的组成部分，但又有所不同：脸部情绪直接、外露，而手的表达则更为隐秘、含蓄，蕴藏着不易被察觉的内在情绪。这种隐蔽性大概与他内敛的性格相关联，也因此成为他持续关注的视觉主题。
他倾向于从日常生活中提取普通、甚至容易被忽略的瞬间，将其凝固在画面中。选择坦培拉作为媒介也并非偶然：坦培拉柔和、哑光的质感与他试图表达的克制而细腻的感受相契合；此外，坦培拉以线条叠加构筑画面，创作过程缓慢，使其天然具有“时间性”。在绘画中，这些时间被转译为可见的痕迹，以一根根线条的形式呈现并保存下来。因此，虽然画面呈现出的是静止的场景，但其本质是由无数个“时间段”构成的连续过程，记录的是从开始到结束的一段时间，因此在他看来，画面还隐含着超越静态图像的维度。
教育
2023年硕士毕业于中国艺术研究院，油画方向
展览经历&奖项
2023年《夏日》入选中国美术馆《美在致广一全国小幅美术精品展》并收藏
2022 年《待春暖花开》入选第六届福建省迎春画展
2022 年《风景写生》入选河南省第二十七届美术新人新作展
2022年《花与sagara》入选“恰同学少年”中国艺术研究院校园生活主题创作展
2021年《思考》入选中国艺术研究院研究生院寒假优秀作品展
2021年《独白》第二届大学生美术作品展优秀奖
2020年《时间之间》获得2020年度江西师范大学美术学院学院奖毕业创作一等奖(留校收藏)。
2020年《时间之间》2020全国大学生毕业作品展优秀作品奖
2019年《女青年写生》获江西师范大学美术学院习作展二等奖
Lindong Duan‘s current works primarily focus on the theme of “hands.” In his view, hands and faces are the two most important components of human emotional expression, yet they differ: facial expressions are direct and overt, whereas the expression of hands is more subtle and reserved, carrying inner emotions that are not easily perceived. This subtlety is likely linked to his introverted nature, which has become a continuous visual theme in his work.
He tends to extract ordinary, often overlooked moments from daily life and freeze them within his compositions. The choice of tempera as a medium is deliberate: its soft, matte texture aligns with the restrained and delicate emotions he aims to convey. Moreover, tempera builds the image through layered lines, and its slow creation process inherently embodies a sense of “time.” In his paintings, this time is translated into visible traces, preserved through countless lines. Thus, although the scenes appear static, they essentially consist of a continuous process made up of innumerable “time segments,” recording the passage from beginning to end. In this sense, his work also contains a dimension that transcends the static image.
China Academy of Art Research
Graduated in 2023
Selected Exhibitions & Awards
2023
Summer
Selected for Beauty for the Public – National Small-Scale Fine Art Exhibition
National Art Museum of China
Collection of the National Art Museum of China
2022
Awaiting the Warmth of Spring
Selected for The 6th Fujian Province Spring Festival Fine Art Exhibition
2022
Landscape Sketch
Selected for The 27th Henan Province Exhibition of New Works by Emerging Artists
2022
Flowers and Sagara
Selected for “Youthful Years” – Campus Life Themed Creative Exhibition
China Academy of Art Research
2021
Thinking
Selected for Outstanding Winter Works Exhibition of Graduate School
China Academy of Art Research
2021
Monologue
Excellence Award
The 2nd National University Student Fine Art Exhibition
2020
Between Time
First Prize, Graduation Creation Award
School of Fine Arts, Jiangxi Normal University
Collection of the School of Fine Arts, Jiangxi Normal University
2020
Between Time
Outstanding Work Award
National Exhibition of Graduation Works by University Students
2019
Young Woman, Sketch from Life
Second Prize
Student Works Exhibition
School of Fine Arts, Jiangxi Normal University
Artist 艺术家 ｜
Yujian Guo 郭宇剑
郭宇剑，1992年生于湖南长沙，2015年毕业于意大利佛罗伦萨美术学院绘画系。
他的创作通常关注于神话和个人记忆，融合文学叙事、哲学思辨与神秘主义符号学，通过碎片化图像的组实验，构建观众参与的精神漫游场域。其创作偏好使用轻薄细腻的技法来营造浪漫延绵的画面氛围，既是对塔罗牌式启示逻辑的视觉转译，也是对现代人认知不确定性的隐喻回应。
他曾在广州 K11、上海百空间、南京逸空间、长沙拱形画廊、南京宝龙艺术中心、北京悦美术馆等地举行过个展，并从2013年伊始在中国深圳坪山美术馆、上海西岸艺术中心、佛罗伦萨美第奇宫、天津滨海美术馆、和圣彼得堡蓝色宫殿等地参与群展。
个展
2025 “绝美之城”，谢画廊，⻓沙
2025 “⼩万神殿”，逸空间，南京
2024 “梦⾥有蕉⿅”，K11，⼴州
2024 “波摩纳的⼀个午后”，百空间，上海
2023 “午夜潜泳”，逸空间，南京
2022 “危险同谋”，拱形画廊，⻓沙
2022 “⼀个没有⻛的地⽅”，宝⻰艺术中⼼，南京
2019 “⼀朝春尽”，悦美术馆，北京
2018 “⽩河夜船”，前⾏美术馆，⻓沙
2017 “路边野餐”，物物艺术空间，⻓沙
部分群展
2025 “微醺”，阆⻛艺术，上海
2025 “林间空地”，谢画廊，⻓沙
2024 “只不过时间尚未到来”，⼤⽓层空间，南京
2024 “抽离&内感”，嘉德艺术中⼼，北京
2024 “嗡嗡作响”，引⼒空间，上海
2024 “爱丽丝梦蝶”，谢画廊，⻓沙
2023 “游牧在南⽅：河流、隧道、湿热、星群”，坪⼭美术馆，深圳
2023 “｜⼈之初...”，⼤⽓层空间，南京
2022 “⽣于1992中韩⻘年艺术家交流展”，久事艺术空间，上海
2021 “万物可期”，⾦⾕⾥艺术馆，苏州
2021 “纳⻄索斯之河”，⽆空间，北京
2020 “⼩⼼间隙”，seeyoo空间，杭州
2020 “向⽣⽽造”意⼤利巡回展，罗⻙托公⺠图书馆，意⼤利
2020 “⻛华正茂”，⼴东省画院，⼴州
2019 “⿎励惊奇”，物物空间，⻓沙
2019 “地天通”，空间站，北京
2018 “意视界”，滨海美术馆，天津
2017 “春”，蓝⾊宫殿画廊，圣彼得堡
2016 “第⼆届中意⻘年艺术家联展”，奥加美术馆，北京
2016 “我从意⼤利（归）来”，第零空间，北京
2015 “Erasmus环保主题展”，新圣⺟玛丽亚⼴场，佛罗伦萨
2013 “⾸届中意⻘年艺术家联展”，美第奇宫，佛罗伦萨
2013 “Wet painting”艺术展，弗雷迪亚诺画廊，佛罗伦萨
Solo Exhibitions
2025 “La grande Bellezza”, X Contemporary Art, Changsha
2025 “Petit Panthėon Portatif”, East Gallery, Nanjing
2024 “Voice of The Moon”, K11, Guangzhou
2024 “Pomona’s Afternoon”, Baiwork Space, Shanghai
2023 “Dive into Midnight”, East Gallery, Nanjing
2022 “Dangerous Complicity”, Arch Gallery, Changsha
2022 “Where the Puzzles Spread Out”, Powerlong Art Center, Nanjing
2019 “The days of The Remains”, Enjoy Art Museum, Beijing
2018 “Awake or Asleep”, Advance Art Museum, Changsha
2017 “Via della Colonna 25”, ArtOBJ, Changsha
Selected Group Exhibitions
2025 “Feel It”, Levant Art, Shanghai
2025 “Forest Clearing”, X Contemporary Art, Changsha
2024 “The season has not arrived”, Atmosphere, Nanjing
2024 “The Extraction & The Perception”, Guardian Art, Beijing
2024 “Buzz Of The Universe”, Gravity Art Space, Shanghai
2024 “Alice Dreams of Butterflies”, X Contemporary Art, Changsha
2023 “Nomadism in the South: Rivers, Tunnels, Humidity, Constellations”, Pingshan Art Museum, Shenzhen
2023 “Daily Narrative”, Atmosphere, Nanjing
2022 “Born in 1992: China-Korea Young Artists Exchange Exhibition”, Bund 18 Art Space, Shanghai
2021 “Everything is Promising”, Jingu Li Art Gallery, Suzhou
2021 “River of Narcissus”, Wú Space, Beijing
2020 “Mind the Gap”, Seeyoo Space, Hangzhou
2020 “Creating Towards Life” Italy Touring Exhibition, Rovereto Civic Library, Italy
2020 “Bloom of Youth”, Guangdong Provincial Academy of Painting, Guangzhou
2019 “Encouraging Surprise”, ArtOBJ, Changsha
2019 “Link Heaven and Earth”, Space Station, Beijing
2018 “Vision Field”, Binhai Art Museum, Tianjin
2017 “Spring”, Blue Palace Gallery, St. Petersburg
2016 “The 2nd China-Italy Young Artists Joint Exhibition”, OCAT Institute, Beijing
2016 “I come from Italy”, The 10th Space, Beijing
2015 “Erasmus Environmental Theme Exhibition”, Piazza Santa Maria Novella, Florence
2013 “The 1st China-Italy Young Artists Joint Exhibition”, Palazzo Medici Riccardi, Florence
2013 “Wet Painting” Art Exhibition, Fratelli Frediani Gallery, Florence
Artist 艺术家 ｜
Michael Gao 高崇艺
高崇艺以绘画实践探讨社会动态、身份、暴力与欲望，并将这些主题置于不断变动的当代视觉文化语境中。他以被驯化的动物作为与人类紧绷关系的反衬——在社会编码的行为中成为一种原始而超然的存在。艺术家以细腻的喷笔技法结合松动的油画笔触，构建既真实又超现实的画面，并通过压扁空间结构营造幽闭感。借由场景中隐约的支配、威胁或排除，高崇艺颠覆了观众对暴力的既定预期，使动物成为一种奇异的镜像：本能地在场，却又与人类自行编排的戏剧若即若离。
在以动物与人体意象构建的图像体系中，高崇艺将“狂欢节”重新想象为一个后互联网空间。这一设定进一步放大了现实与幻想、熟悉与陌生之间的反差。在此系列作品中，狂欢世界成为观察欲望如何在网络时代变得表演化、仪式化的透镜——欲望既能连接人与人，又能孤立个体；既能提升主体，也能限制主体。
高崇艺于 2025 年获得英国皇家艺术学院（Royal College of Art）绘画硕士学位，此前于 2020–2024 年就读于爱丁堡艺术学院（Edinburgh College of Art）。近期展览包括伦敦 Tiderip、Mandy Zhang Gallery、OHSH Projects，北京 Simulacra Gallery，以及在西班牙瓦伦西亚 Tuesday to Friday 举办的个展。
教育背景2024–2025 绘画硕士（MA Painting），英国皇家艺术学院2020–2024 绘画学士（荣誉学位），爱丁堡大学（Edinburgh College of Art）
个展2025 《Full Moons》，Tuesday to Friday，瓦伦西亚，西班牙
精选群展2025 《Real Artist Sweat》，Tiderip，伦敦，英国2025 《Where the Wild Things Are》，Mandy Zhang Gallery，伦敦，英国2025 《Nice to See You / Hope to See You Again》，Tuesday to Friday，瓦伦西亚，西班牙2025 《Pedigree》，OHSH Projects，伦敦，英国2025 《Michael Gao, Liang Zou, Yuang Zhang, Pan Kecheng》，Simulacra Gallery，北京，中国2025 《Royal College of Art Degree Show》，英国皇家艺术学院，伦敦2025 《Earthly Bodies, Then and Now》，BWG Gallery，伦敦，英国2024 《Kingdom》，Tuesday to Friday，瓦伦西亚，西班牙2024 《On Loose Terms》，Patriothall Gallery，爱丁堡，苏格兰2023 《Blue Light》，The Cyrus Collective，纽约，美国
媒体报道2025 “Michael Gao transforms furry culture with sincerity and horror”，It’s Nice That2023 “Michael Gao on His Art Journey, Life in Edinburgh, Influences, Gaming and Favorite Things”，Overstandard2023 “Michael Gao”，London Paint Club2023 “In the Studio with Michael Gao”，Auc Art
Michael Gao (b. 2002, Beijing, China) is a painter living and working in London. He explores social dynamics, identity, violence and desire, placing these themes in the ever-changing context of contemporary visual culture. Gao casts domesticated animals as a counterpoint to human tension — a figure of primal detachment amid socially coded behaviour. He uses fine airbrush techniques combined with loose oil brushstrokes to create realistic yet surreal compositions, flattening the space to evoke a sense of claustrophobia. With the subtle staging of dominance, threat, or exclusion, Gao subverts the expectation of violence and instead uses the animal as a strange mirror: instinctively present, yet curiously disconnected from the drama we choreograph around it.
Using animal and human imagery, Gao reimagines carnival as a post-internet space. This setting further deepens the contrast between reality and fantasy, the familiar and the alien. In this series of works, the carnival world becomes a lens to explore how desire has become performative and ritualistic in the Internet age - it can both connect people and isolate them, both elevate and constrain them.
Michael Gao has recently completed a MA in painting from Royal College of Art in 2025, after studying at Edinburgh College of Art (2020-2024). Gao has recently exhibited with Tiderip Gallery (London, UK), TUESDAY to FRIDAY (Valencia, Spain), Mandy Zhang Gallery (London, UK), OHSH Projects (London, UK), Simulacra Gallery (Beijing, China), and a solo exhibition with TUESDAY to FRIDAY (Valencia, Spain)
Education
MA Painting, Royal College of Art, 2024-2025
BA (Hons) Painting, University of Edinburgh, 2020-2024
Solo Exhibition
2025“Full Moons”, Tuesday to Friday, Valencia, Spain
Selected Group Exhibitions
2025“Real Artist Sweat”, Tiderip, London, UK
2025“Where the Wild Things Are”, Mandy Zhang Gallery, London, UK
2025“Nice to See You / Hope to See You Again”, Tuesday to Friday, Valencia, Spain
2025“Pedigree”, OHSH Projects, London, UK
2025“Michael Gao, Liang Zou, Yuang Zhang, Pan Kecheng”, Simulacra Gallery, China
2025“Royal College of Art Degree Show”, Royal College of Art, London, UK
2025“Earthly Bodies, Then and Now”, BWG Gallery, London, UK
2024“Kingdom”, Tuesday to Friday Gallery, Valencia, Spain
2024“On Loose Terms”, Patriothall Gallery, Edinburgh, Scotland
2023“Blue Light”, The Cyrus Collective, New York City, US
Press
2025 Michael Gao transforms furry culture with sincerity and horror, It’s Nice That
2023 Michael Gao on His Art Journey, Life in Edinburgh, Influences, Gaming and Favorite Things, Overstandard
2023 Michael Gao, London Paint Club
2023 In the Studio with Michael Gao, Auc Art
Artist 艺术家 ｜
Dehua hou 侯惪华
侯惪华的近期创作源于个人的生命体验，探讨感知的真实性与存在的本质。作为一名视雪症(Visual Snow Syndrome)患者，他的作品深受这一病症的影响，反映了他对视觉与精神世界的独特感知。
视雪症患者眼中的世界被密密麻麻的噪点覆盖，类似于电视无信号时的画面。这种症状虽然较为普遍，却缺乏有效的治疗手段。目前视雪症的病灶被认为源自大脑，而非眼睛，且通常与不明原因的精神创伤有关。视雪症成为一种通过视觉表象进入精神世界的途径“噪点”深刻地参与到形态的塑造与技术语言的表达中。
在作品中，交错重看的灰白色躯体呈现了身体物质性的消逝（《容器》2023)。这些没有厚度的模型，随着观察角度的变化，内部结构逐渐显现，虚拟空间的边界也随之消失(《巡游》2024)。诸如“穿模”和“内部观察点”等3D世界的基础语言，逐步消解了固有物质的坚硬性。作品中的“身体”在无明确目的、难以辨认的状态下，重新构建起秩序。
教育经历
2018 艺术硕士，中央美术学院实验艺术学院，北京
2013 艺术学士，鲁迅美术学院雕塑系，沈阳
个展经历
2017 有毒，中国国际展览中心，北京
精选群展
2025 步行者的叙述，宝安1990美术馆，深圳
2025 脱身赋，ART LABOR画廊，上海
2023 团体作为方法：中央美术学院艺术团体研究与抽样展，中央美术学院美术馆，北京
2017 侵入脑干计划，杨画廊，北京
2016 朋友圈＋文化馆线上艺术项目，OCAT上海馆，上海
2016 转向：2000年后的中国当代艺术趋势，上海民生现代美术馆，上海
2016 可滋可社：666666666，希帕画廊，北京
Dehua Hou’s recent works are rooted in his personal life experiences, exploring the perception of reality and the nature of existence. As a person with Visual Snow Syndrome, his art is deeply influenced by this condition, reflecting his unique perception of both the visual and mental worlds.
For patients with Visual Snow, the world appears covered in a dense array of “noise,” resembling the static of a television screen with no signal. This condition is relatively common but lacks effective treatment methods. It is believed to originate in the brain rather than the eyes, and is often linked to unexplained psychological trauma. Visual Snow has become a path into the mental world through visual representation, where the “noise” plays a significant role in shaping both form and technical expression.
In his works, overlapping gray and white bodies present the decay of the physical form (Soma Vessel, 2023). These models, lacking thickness, reveal their internal structure as the point of observation shifts, causing the boundaries of virtual space to disappear (Roaming, 2024). Terms like “wearing through the model” and “internal observation points,” foundational in the 3D world, gradually dissolve the solidity of materiality. The “body” reconstructs order in a purposeless, indistinct state.
Education
2018 MFA, School of Experimental and Sci-Tech Arts, Central Academy of Fine Arts, Beijing
2013 BFA, Sculpture Department, Luxun Academy of Fine Arts, Shenyang
Solo Exhibitions
2017 Toxic, China International Exhibition Center, Beijing
Selected Group Exhibitions
2025 The Walkers Narrative，Bao’an 1990 Art Museum，Shenzhen
2025 Escapology of Flesh, ART LABOR Gallery, Shanghai
2023 Group as a Method: Research and Samples of Art Groups 2023 from Central Academy of Fine Arts, CAFA Art Museum, Beijing
2017 Invasion of Brain Stem Plan, Yang Gallery, Beijing
2016 Moments and More: Documents of Culture Pavilion [wén huá guǎn] Online Art Project, OCAT, Shanghai
2016 Turning Point: Contemporary Art in China Since 2000, Shanghai Minsheng Art Museum, Shanghai
2016 Kezikeshe: 666666666, Cipa Gallery, Beijing
Artist 艺术家 ｜
Tianyu Huang 黄天宇
黄天宇的创作建立在一种游移于“内”与“外”之间的感知结构之上，既借由窗、身体等意象指向观看的界面，又通过对称、放射、环绕等形式探索秩序与生成的关系。在这些图像中，植物的周期、昆虫的蛹变与飞行、贝壳的螺旋与封闭，作为非人世界的时间与形态密码，被转译为绘画中的结构节奏。作品并非叙事的再现，而是对感知经验的提炼与重构——一种发生在界隙中的、介于凝固与流动之间的持续状态。
展览经历：
2025 《未在之境》个展，Radius Gallery 半径画廊，杭州
2025 《万象》群展，WD ART SPACE 惟典空间，上海
2022 《扔石头的人》，BOXROOM，杭州
2021 《颗粒》群展，重庆星汇当代美术馆，重庆
2018 《非由术作》群展，宝龙美术馆，上海
2018 《原点 - 原乡》，高黎贡大地艺术节艺术驻地项目，云南保山
2017 《常青藤计划 - 历史反应链》，中国青年艺术家年展，天津美术馆，天津
Tianyu Huang’s practice is grounded in a perceptual structure that oscillates between the “inner” and the “outer.” Motifs such as windows and the body point to interfaces of seeing, while formal strategies of symmetry, radiation, and encirclement probe the relationship between order and generation. Within these images, the cycles of plants, the metamorphosis and flight of insects, and the spiral and enclosure of shells function as temporal and morphological codes of the non-human world, translated into structural rhythms on the pictorial plane. Rather than narrative representation, the works distill and reconfigure perceptual experience—an ongoing condition that unfolds in the interstice, suspended between stasis and flow.
2025 Realm of the Unseen, Radius Gallery, Hangzhou
2025 Everything Under the Sun, WD ART SPACE, Shanghai
2022 The One Who Throws Stones, BOXROOM, Hangzhou
2021 Granules, Starry Contemporary Art Museum, Chongqing
2018 Beyond Technique, Powerlong Museum, Shanghai
2018 Origin – Homeland, Gaoligong Land Art Festival Residency Project, Baoshan, Yunnan
2017 Ivy League Project – Historical Reaction Chain, Chinese Young Artists Annual Exhibition, Tianjin Art Museum, Tianjin
Artist 艺术家 ｜
Xiaozhou Liao 廖小舟
廖小舟，1995 年出生于四川成都。本科毕业于中央戏剧学院舞台设计专业，现就读于读德国杜塞尔多夫艺术学院，师从德国著名当代雕塑艺术家 Alexandra Bircken。2025年获得五粮液明天雕塑奖入围，2024年获得科隆 Biesenbach 画廊Art Matters 11 荣誉提名。 2022年分别获得德国波鸿剧院 Oval Office 空间设计竞赛头奖、UCCA Lab & 巴黎水-年度新锐艺术家与UCCA Lab 新锐艺术家计划-最佳创意奖。
拥有文工团成长背景的他从来都不将自己的作品定义为典型的当代艺术创作，他总是在自己的充满剧场性的作品中结合日常性与政治性进行文本的重构，热衷于通过多种媒介的结合来表达自己对于当代都市空间的理解以及对于新自由主义的思考。
教育经历
2023-2025 杜塞尔多夫艺术学院，雕塑
2020-2023 杜塞尔多夫艺术学院，舞台设计
2019-2020 德累斯顿造型艺术学院，舞台与服装设计
2013-2018 中央戏剧学院，舞台设计
奖项
2025 五粮液明天雕塑奖入围，四川美术学院
2024 Art Matters 11 荣誉提名，科隆Biesenbach 画廊
2022 德国波鸿剧院Oval Office 空间设计竞赛头奖
2022 UCCA Lab & 巴黎水， 年度新锐艺术家
2018 UCCA Lab 新锐艺术家计划，最佳创意奖
精选展览
2025 铁息，Gene 弥金画廊，上海（个展）
2025 第三文化原住民，颂艺术中心，北京
2025 北京当代艺术博览会 " 凹凸" ，全国农展馆，北京
2025 五粮液明天雕塑奖：参与不确定，四川美术学院美术馆，重庆
2024 前哨站，Gene 弥金画廊，上海
2024 Art Matters 11，Biesenbach 画廊，科隆
2024 SPONTRONIC，Klub 300 Neun，科隆
2024 fresh position，BBK Kunstforum，杜塞尔多夫
2024 擦边，Magma Marie 画廊，奥芬巴赫
2023 成都双年展平行展：未来共同体: 同频共振，AC 艺文立方，成都
2024 原创在天上，SPURS 马刺画廊，北京
2022 向光：自然·生命·周期, 新锐艺术家计划，UCCA Lab， 北京
2020 群展Shifting Perspective，日本宫，德累斯顿
Liao Xiaozhou was born in 1995 in Chengdu, Sichuan Province, he graduated from the Central Academy of Drama, majoring in Stage Design, and is currently studying at the Academy of Fine Arts in Düsseldorf, Germany, under the tutelage of the renowned German contemporary sculptor Alexandra Bircken. Was shortlisted for the Wuliangye Tomorrow Sculpture Award in 2025.In 2024, Liao received Art Matters 11 Honourable Mention by Köln Biesenbach Gallerie. In 2022, he respectively received The Winner of the tender for the new artistic interior design by Oval Office im Schauspielhaus Bochum and Emerging Artist of the Year & Best Creative Award by Beijing UCCA Lab x Perrier.
With a background of growing up in a theatre troupe, Liao has never defined himself as a typical artist, but always combines the everyday and the political with a textual deconstruction of the theatrical. In his theatre-inspired works, he combines the everyday and the political in a textual deconstruction, and is keen to express his understanding of contemporary space and neo-liberalism through a variety of media.
Education
2023 - 2025 Düsseldorf Art Academy Fine Art, Skulpture
2020 - 2024 Düsseldorf Art Academy Fine Art, Stage Design
2019 - 2020 Academy of Fine Arts Dresden, Stage - and costume Design
2013 - 2018 The Central Academy of Drama Beijing, Stage Design
Awards
2025 Tomorrow Skulpture Awards, Sichuan Fine Arts Institut, Chongqing
2024 Art Matters 11 Honourable Mention, Biesenbach Gallerie Köln
2022 Oval Office im Schauspielhaus Bochum, The Winner of the tender for the new artistic interior design
2022 Emerging Artist Program, UCCA Lab Beijing
Selected Exhibitions
2025 The Gale in the Armor,Gene Galerie, Shanghai (Solo）
2025 Z Genatation of Third Culture: Interculture Child, Soul Art Center, Bejing
2025 Concave-Convex, Beijing Dangdai Art Fair, National Agricultural Exhibition Center
2025 Tomorrow Skulpture Awards, Participating in Uncertainty, Sichuan Fine Arts Institut, Chongqing
2024 Outpost Dec-Jan, Gene Galerie, Shanghai
2024 Art Matters 11, Biesenbach Galerie, Köln
2024 SPONTRONIC, Klub 300 Neun, Köln
2024 fresh position, BBK Kunstforum, Düsseldorf
2024 Cabian, Magma Maria, Offenbach am Main
2023 Parallel Exhibition of Chengdu Biennale
2023 Community of the future:The Same Frequency and Resonance, AC Lab, Chengdu
2023 in the Air, SPURS Galerie, Beijing
2022 To the Light: Nature Life Cycle, Emerging Artist Program, UCCA Lab, Beijing
2020 Shifting Perspective, Japanese Palace, Dresden
Artist 艺术家 ｜
Xipeng Qiu 邱锡朋
邱锡鹏，男，1986年生于山东，2005至2009年间就读于中央民族大学，2011至2014年就读于中国艺术研究院。
个展经历：“重瞳”，BLANKgallery，上海，2025；“静默如谜”，BLANKgallery，东京，2024；“与谁同坐-造化古人心”，中国艺术研究院油画院，北京，2023；“土”，詹的设计店，上饶，2018；“借景筑梦”，伍拾伍号院子，北京，2017。
群展经历：站台中国 - 二十周年特展“时间的形状”站台中国当代艺术机构，北京，2025；“过程的叠加”， 中央美术学院国际学院坦培拉技法与创作学术交流展，北京，2025；“凹凸” ，北京当代艺术博览会，北京，2025；“出口” ，站台中国夏日群展 ，站台中国当代艺术机构，北京，2025；“神性的延续”，Heyan'er画廊，上海，2023；“Hi21新锐艺术市集”，798艺术工厂，北京，2023；“‘WA·RT’佛罗伦萨总体艺术展“，意大利，2016；“学院画语录，中央民族大学优秀毕业生作品邀请展”，中国国家画院国展美术中心，北京，2015；“首届靳尚谊专项基金优秀毕业生扶植计划”，2014。
邱锡鹏作品收藏于大都美术馆，中国艺术研究院油画院，中国国家画院以及私人收藏等。
XipengQiu
Born in Shandong in 1986. Attended Minzu University of China from 2005 to 2009. Attended Chinese National Academy of Arts from 2011 to 2014.
Solo Exhibitions: “Dicoria”，BLANKgallery，Shanghai，2025； “Silence Like a Mystery”, BLANKgallery, Tokyo, 2024; “Who Sits Together - The Heart of Creation in Ancient Times”, Oil Painting Institute of Chinese National Academy of Arts, Beijing, 2023; “Earth”, Jan's Design Shop, Shangrao, 2018; “Building Scenery with Dreams”, No. 55 Art Space, Beijing, 2017.
Group Exhibitions: Platform China Twenty Year Special Exhibition“Time's Shape”Platform China Contemporary Art Institution, Beijing, 2025;" Process's Superimposition" , Central Academy of Fine Arts International College Tempera Technique and Creation Academic Exchange Exhibition ,Beijing,2025; "Concavity and Convexity",Beijing Contemporary Art Expo,Beijing,2025;" Exit ",Platform China；Summer Group Show, Platform China Contemporary Art Institution ,Beijing,2025;“Continuation of the Divine”, Heyan'er Gallery, Shanghai, 2023; “Hi21 art Store”,798 Art Factory, Beijing, 2023; “MUSIWA ‘WA·RT’ Contemporary Art Total”, Italy, 2016; “College Painting Quotations, Invitation Exhibition of Outstanding Graduates of Minzu University of China”, National Exhibition Art Center of China National Academy of Painting, Beijing, 2015; “Jin Shangyi Special Fund, Outstanding Graduates Support Program”, 2014.
XipengQiu 's works have been collected by Dadu Museum of Art, Oil Painting Institute of Chinese National Academy of Arts, China National Academy of Painting and many private collections.
Artist 艺术家 ｜
Muhan Wu 吴牧寒
吴牧寒的艺术创作聚焦于创造与生产之间的辩证关系，通过对工业制品与生活用物的选择性重构，建构起物质生产的当代纪念碑。艺术家以哲学思辨的视角，将相互关系视为客观世界建构的逻辑前提，其装置作品常以废弃与陈旧的现成物为载体，融合具有冰冷质感、脆弱特性与潜在危险的材料，以此凸显意识在物质世界中留下的深刻痕迹。
在创作方法论上，吴牧寒采用类似积木建构的方式，通过物件的位移、堆叠与解构等行为过程，在既定与偶发之间探寻意义的生成可能。作品中的物质元素主要依据其固有结构特征建立临时性连接，这种易于解体的短暂组合形态，体现了艺术家对传统雕塑永恒性命题的深刻反思与质疑。作品的形式语言呈现出鲜明的几何特质，点、线、面等视觉元素的系统性运用，延伸出一条关于机械装置的学术研究脉络。其创作核心集中于对"力"与"物"的本体论思考，艺术家以“声音”为线索，通过物质在碰撞、摩擦等过程中的发声现象，揭示物体内在的物理属性与能量转换机制。并通过机械节奏所蕴含的物理学原理，探讨由此产生的精神动力学效应。这一创作线索深刻体现了艺术家对工业文明节律、动态平衡系统，以及瞬间与永恒辩证关系的持续思考与艺术转化。
教育经历
2019 - 2022 华东师范大学公共艺术专业 硕士
2015 - 2019 华东师范大学公共艺术专业 学士
精选展览经历
2025 机动的动机，离形空间，亚美术馆，郑州，中国
2025 辛巳年九月廿六，ZiWU Gallery，上海，中国
2025 负形工厂（个展），泥轩画廊，上海，中国
2024 注记、索居、或作废的，布朗肖透过此起彼伏的并进线隔空投送：，牯岭路画廊，南京，中国
2024 如果倒影从液态蒸发，缺席画廊，广州，中国
2024 重返地景：我们感知的和我们构建的，库比森画廊，上海，中国
2024 中国美术家协会实验艺术年会展，庭澜美术馆，沈阳，中国
2024 人文设计 20th，刘海粟美术馆，上海，中国
2024 橱窗计划，今潮8弄，上海，中国
2024 如是我见（双个展），南柯画廊，上海，中国
2023 设计上海，上海世博展览馆，中国
2023 进化·奇点，南柯画廊，上海，中国
2022 新青年·第四届学院实验艺术文献展，陶溪川美术馆，景德镇，中国
2020 艺术上海国际博览会，上海世博展览馆，中国
2019 所见非所知，ANNEX Space，复星艺术中心，上海，中国
2019 共同的节日，SNAP艺术中心，上海，中国
2019 ECNU 15th，喜玛拉雅美术馆，上海，中国
2018 中国•上海静安国际雕塑展，静安雕塑公园，上海，中国
2018 串行，创意盒子， ECNU，上海，中国
2018 STUD-ENT-IO, 米兰新美术学院，米兰，意大利
2017 教育即艺术，上海邮政大厦，上海，中国
2017 点, 设计中心, ECNU, 上海，中国
2016 图像雕塑, 设计中心, ECNU, 上海，中国
Wu Muhan's artistic practice focuses on the dialectical relationship between creation and production, constructing a contemporary monument to material production through the selective reconfiguration of industrial products and everyday objects. The artist adopts a philosophical perspective, viewing interrelationships as the logical prerequisite for the construction of the objective world. His installation works often use discarded and obsolete found objects as carriers, blending materials with cold textures, fragile characteristics, and potential dangers to highlight the profound traces left by consciousness in the material world.
In terms of creative methodology, Wu Muhan adopts a method similar to building with blocks, exploring the possibilities of meaning generation through the displacement, stacking, and deconstruction of objects, navigating between the predetermined and the accidental. The material elements in the works establish temporary connections based on their inherent structural characteristics. This ephemeral, easily disassembled form reflects the artist's profound reflection and questioning of the traditional sculptural theme of eternity.The formal language of the works exhibits distinct geometric characteristics, with the systematic use of visual elements such as points, lines, and planes extending into an academic research trajectory on mechanical devices. The core of his creation focuses on ontological reflections on “force” and “matter.” The artist uses “sound” as a thread, revealing the intrinsic physical properties and energy conversion mechanisms of objects through the sound phenomena produced during processes such as collision and friction. Through the physical principles embedded in mechanical rhythms, the work explores the resulting spiritual dynamics. This creative thread deeply reflects the artist's ongoing contemplation and artistic transformation of the rhythms of industrial civilization, dynamic balance systems, and the dialectical relationship between the fleeting moment and eternity.
Education
2019-2022 Master of Public Art, ECNU
2015-2019 Bachelor of Public Art, ECNU
Selected Exhibitions
2025 Motivatio'n'oitoM, Disembodiment, Crowcomplex, Zhengzhou, CN
2025 NOV. 10, 2001, ZiWU Gallery, Shanghai, CN
2025 Void Factory, Mud Gallery, Shanghai, CN
2024 Notes, solitude or the cancelled. Blanchot airdrops through the wavy lines that advance in parallel:, Cooling Gallery, Nanjing, CN
2024 What If ‘Faileas’ Evaporate From Liquid, Absent Gallery, Guangzhou, CN
2024 Returning to the Landscape: What We Perceive and What We Construct, Cub_ism_Artspace, Shanghai, CN
2024 China Artists Associassion Annual Conference of The Experimental Art Committee, Tinglan Art, Shenyang, CN
2024 Humanities Design 20th, Liu Haisu Art Museum, Shanghai, CN
2024 Hello World, THE INLET, Shanghai, CN
2024 Thus Have We Seen, Nan Ke Gallery, Shanghai, CN
2023 Design Shanghai, Shanghai World Expo Exhibition and Convention Center, Shanghai, CN
2023 Evolution: Singularity, Nan Ke Gallery, Shanghai, CN
2022 The 4th China Academic Experimental Art Education Documentary Exhibition, Tao Xichuan Art Museum, Jingdezhen, CN
2020 ART PLUS Shanghai, Shanghai World Expo Exhibition Center, Shanghai, CN
2019 Seeing is Not Believing, ANNEX Space, Fusun Foundation, Shanghai, CN
2019 COMRADERY, SNAP, Shanghai, CN
2019 ECNU 15th, Himalayas Museum, Shanghai, CN
2018 JISP, Jing An Sculpture Park, Shanghai, CN
2018 Sequential, Creative Cube, ECNU, Shanghai, CN
2018 STUD-ENT-IO, Campus NABA, Milan, IT
2017 Education Is Art, Shanghai Post Building, Shanghai, CN
2017 Point, Design Center, ECNU, Shanghai, CN
2016 Sculptures of The Image, Design Center, ECNU, Shanghai, CN
Artist 艺术家 ｜
Lingrou Xie 谢灵柔
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，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。
教育经历
2024 首都师范大学，表现绘画工作室，MA
2021 西安美术学院，绘画艺术系，BA
个展经历
2025 Reframe，仚東堂，北京
2024 双个展：鸟喙与煤，南柯画廊，上海
2023 花苞的意趣和杯中的刺点，十点睡觉艺术空间，北京
群展经历
2025 见微，知著。虹·美术馆，江苏
2025 Birth of the Between,LATITUDE Gallery,纽约
2025 匆匆之后，仚东堂，北京
2025 生力 ，上海纽约大学当代艺术中心，上海
2025 她挚爱:自我的呈现，頌艺术中心，北京
2025 LingeringHaze，LATITUDE Gallery,纽约
2025 在她们安静之处， Speiro Projects，香港
2025 Felix Art Fair，Luce gallary，洛杉矶
2024 息壤生境，当代唐人艺术中心，北京
2024 西岸艺术与设计博览会，南柯画廊，上海
2024 拂晓之音，石美术馆，郑州
2024 ⼀霎的轮廓，库⽐森画廊，上海
2024 G级玄鸟广告牌，仚东堂，郑州
2024 舍勒绿，仚东堂，北京
2024 偏心的卫星，协力空间，北京
2023 冬青的礼物，玉兰堂，上海
2023 庇护白日梦，仚东堂，北京
2023 JINGART艺览北京 ，十点睡觉艺术空间 ，北京
2023 “你好！小朋友”：秋山亮二与我们 & 捉迷藏：童年的显影，双联展 ， 碧云美术馆 ，上海
2023 北京当代艺博会，BROWNIE Project Gallery，北京
2022 我与我的赋格曲，艺术仓库，重庆
Lingrou Xie, born in 1999 in Zhanjiang, Guangdong, Majored in painting from Xi’an Academy of Fine Arts for her bachelor degree and later earned a master’s degree from the Expressionist Painting Studio at Capital Normal University.
Lingrou’s work originates from a personal perspective of reshaping life forms, through which she expresses introverted yet sincere emotions and a continuous, gentle vitality in a world of strange fantasies. She seeks formal resources within her unique life experiences, while also digging into her memories to depict subjects, attempting to establish a fitting connection between the two. Her works are characterized by the appropriation of real images on canvas and the presentation of various fragmented memories, blending both living and non-living entities. She constructs her memories through individual self-schema, constantly moving forward, returning, and lingering, simulating the process of memory rewriting and overlaying through multi-layered obscured imagery.
Education
2024 Capital Normal University, the School of Fine Arts, MA
2021 Xi'an Academy of Fine Arts, the Department of Painting, BA
Solo Exhibition
2025 Reframe,Santo Hall, Beijing
2024 Beak and Coal (Duo solo), Nan Ke Gallery, Shanghai
2023 The Interest of Flower Buds and the Prick Point in the Cup, Click Ten Gallery, Beijing
Group Exhibitions
2025 Minutiae sed Magna, Iris Art Museum, Jiangsu
2025 Birth of the Between, LATITUDE Gallery, New York
2025 Posthastism, Santo Hall, Beijing
2025 Vitalisms, Institute of Contemporary Arts at NYU
Shanghai, Shanghai
2025 Art of love - THE GREAT PORTRAIT, Soulart, Beijing
2025 Lingering Haze, LATITUDE Gallery, New York
2025 In Their Quiet Place, Speiro Projects, Hong Kong
2025 Felix Art Fair, Luce gallary, Los Angeles
2024 Stemming from Umwelt, Tang Contemporary Art, Beijing
2024 West Bund Art & Design, Nan Ke Gallery, Shanghai
2024 Anahata, stone art gallery, Zhengzhou
2024 Ephemeral Silhouette, Cub_ism_ Artspace, shanghai
2024 Equinox Billboard G, Santo Hall, Zhengzhou
2024 Scheele’s Green, Santo Hall, Beijing
2024 UntilWeMeet, Double Double Gallery, Beijing
2023 Gifts of Wintergreen - Female Artists Joint Exhibition,
YulanHall,Shanghai
2023 Sheltering Daydreams, Santo Hall, Beijing
2023 JINGART Beijing, Click Ten Gallery, Beijing
2023 Dear Old Days Ryoji Akiyama and Us & Hide and Seek:
Hide and SeekThe Photographic Vision of Childhood, Biyun Art
Museum, Shanghai
2023 Beijing Dangdai Art Fair, BROWNIE Project Gallery, Beijing
2022 Echo of the Fugue, ArtDepot, Chongqing
Artist 艺术家 ｜
Pengfei Zai 宰鹏飞
生于1994，扬州，中国。现居上海。
2019年毕业于奥斯陆Rønningen folkehøgskoley艺术专业。
2017年毕业于云南大学艺术与设计学院绘画系第二工作室。
个展：
2024 平均律，百空间，上海
2024 时间织体，仚東堂，北京
2023 从“崩溃开始”到“晕车药”，HEYAN'ER GALLERY，上海
2020 无物，TCG诺地卡，昆明
部分展览：
2025 轻功，Vanguard Gallery，上海
2025 幻醒，宁波美术馆，宁波
2025 大断裂：末世未来考古学，杭州中心美术馆，杭州
2024 相似游戏，DOSE画廊，上海
2024 出发层，Third Street Gallery，上海
2024 即兴判断，木曦画廊，上海
2023 动态刷新，四川美术学院美术馆，重庆
2023 风景后，CGK昆明当代美术馆，昆明
2022 对白，驻留艺术家双个展，泰艺术中心，上海
2022 一隅三生，2022草场地青年艺术家群展，北京草场地，北京
Pengfei Zai
Born in 1994, Yangzhou, China. Live in Shanghai.
Graduated from Rønningen folkehøgskole in Oslo, in 2019.
Graduated from the college of art and design of Yunnan university,in 2017.
Solo Exhibitions：
2024 Equal Temperament, Baiwork, Shanghai
2024 The Texture of Time, SANTO HALL, Beijing
2023 When The Crash Happened & Motion Sickness Pills, HEYAN'ER GALLRY, Shanghai
2020 Empty World, TCG Nordic, Kunming
Select Exhibitions：
2025 Kongfu Lightness, Vanguard Gallery, Shanghai
2025 A False Awakening, Ningbo Museum of Art, Ningbo
2025 Archaeologist, Central Art Museum, Hangzhou
2024 Resemblance Game, DOSE Gallery, Shanghai
2024 Departure Level, Third Street Gallery, Shanghai
2024 INTUITION, MOODSEA Gallery, Shanghai
2023 DYNAMIC REFRESH, Art Museum of Sichuan Fine Arts Institute, Chongqing
2023 After Land-scape, CGK, Kunming
2022 Dialogue Art-in-Residence Double Solo Exhibition, Tai Art Center, Shanghai
2022 A Corner Garden With Light, Cao Chang Di International Art village, Beijing
Curator 策展人 ｜
Roxane Fu 付若瑄
付若瑄是一位写作者和策展人。她的创作实践植根于对艺术作品本身的深刻关注，希望在艺术表达中追求真诚与信念。她致力于通过连贯且经过深思熟虑的叙事构建展览，以促进艺术家与观众之间的真诚对话——在开放、安全且充满思想包容性的空间中。
教育
MSc Film, exhibition & curation | 爱丁堡大学
Culture Industry Management | 中央财经大学
展览经历
2025 “风起时想你”，Nan Ke Gallery
2025 “片场”，Nan Ke Gallery
2025 "蚀金"，震旦美术馆
2025 “一线天光”, Brownie Project Gallery
2025 “不定枝”, pet-tree-kor
2024 “周豪”, MUD Gallery
2024 “鸟喙与煤”, Nan Ke Gallery
2024 “眷眷之乡”, Nan Ke Gallery
2024 “举头3尺”， Assup Space
2024 “枕边书”, Aurora Museum
2024 “时间的刺”, Lyceum Theatre Shangha
2023 “造句”, Nan Ke Gallery
2023 “丰容”, Nan Ke Gallery
2023 “Tale of the Chain”, 31 Greatorex St Studio
2022 “The Making of a Cultural Icon”, Ezen Japan Gallery
2022 “Folding Memories”, Ezen Japan Gallery
Education
MSc Film, exhibition & curation | University of Edinburgh B.M.
Culture Industry Management | Central University of Finance and Economics
Curatorial Experience
2025 " The Wind Reminds Me of You", Nan Ke Gallery
2025 "On Set", Nan Ke Gallery
2025 "Circular", Aurora Museum
2025 “A Silver Lining”, Brownie Project Gallery
2025 “Adventitious Shoot”, pet-tree-kor
2024 “Zhou Hao”, MUD Gallery
2024 “Beak and Coal”, Nan Ke Gallery
2024 “Nostalgia”, Nan Ke Gallery
2024 “3 Feet Above”， Assup Space
2024 “Pillow Talk”, Aurora Museum
2024 “The Sting of Time”, Lyceum Theatre Shanghai
2023 “Make a Sentence”, Nan Ke Gallery
2023 “Enrichment”, Nan Ke Gallery
2023 “Tale of the Chain”, 31 Greatorex St Studio
2022 “The Making of a Cultural Icon”, Ezen Japan Gallery
2022 “Folding Memories”, Ezen Japan Gallery
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