2026成都ART021 龙门阵
2026 Chengdu ART021 SPIN
展位号Booth | 1F-10
千高原艺术空间欣然宣布参加首届2026成都ART021 龙门阵，我们将于2026年4月9日至4月12日呈现毕蓉蓉、陈秋林、陈萧伊、冯冰伊、何多苓、黎朗、漆澜、萨扎布、王俊、新塔娜、杨述、余果、翟倞、郑云瀚等艺术家的绘画、装置、录像及摄影作品，展位号1F-10。
A Thousand Plateaus Art Space is pleased to announce its participation in the 2026 Chengdu ART021 SPIN. From April 9th to April 12th, we will present paintings by artists Bi Rongrong, Chen Qiulin, Chen Xiaoyi, Feng Bingyi, He Duoling, Li Lang, Qi Lan, Lkhajav, Wang Jun, Shinetana, Yang Shu, Yu Guo, Zhai Liang, Zheng Yunhan at Booth 1F-10.
亮点推荐
Highlights
毕蓉蓉
▲毕蓉蓉，生长中的风景（III）手稿 14，铅笔、水彩、无酸水彩纸，35 × 25 cm × 2，2020 ©艺术家及千高原艺术空间
Bi Rongrong, A Growing Landscape (III) manuscript 14, Pencil, watercolor, acid-free watercolor paper , 35 × 25 cm × 2, 2020 © Courtesy of the Artist and A Thousand Plateaus Art Space
毕蓉蓉, 于四川大学中国画山水画专业获得硕士学位，继而在荷兰获得Frank Mohr学院绘画专业艺术硕士学位。现生活工作于上海。
毕蓉蓉拥有扎实的传统中国山水画基础。她目前的创作包含了“绘画”，“编织”与“纹样”。近年来，毕蓉蓉通过驻留等方式造访了不同的城市，以个人化的视角对它们展开观察与记录，并尝试运用各种媒材，从不同的社会文化中提炼并重组影像及图案。她的综合媒介作品充满视觉冲击力，解构绘画和纺织品的传统形式，再为物质性、建筑和自然形态赋予新的诠释。
她的作品曾在一些重要艺术机构及公共艺术项目中展出，其中包含：香港M+博物馆、澳门艺术博物馆、香港六厂纺织文化艺术馆、浙江美术馆、上海玻璃博物馆、上海龙美术馆、山西博物馆、成都市美术馆、英国卡斯雕塑基金会、成都千高原艺术空间、贝浩登画廊上海、上海Vanguard画廊、杭州纤维艺术三年展、深港建筑双城双年展、上海城市空间艺术季、成都双年展、江诗丹顿270年周年艺术橱窗等。2022年，毕蓉蓉作为全球三位获奖者之一，在劳斯莱斯“缪斯”艺术项目首届“欢庆女神挑战"中获奖；2024年，毕蓉蓉入围香港M+博物馆“SIGG PRIZE希克奖2025”。2026年，毕蓉蓉作品“缝合的城市皮肤”被香港巴塞尔艺术展作为官方主视觉形象使用，成为本届香港巴塞尔艺术展的封面作品。
陈秋林
▲陈秋林，空的城No.6，数码艺术微喷印刷，直径65 cm，2012 ©艺术家及千高原艺术空间
Chen Qiulin, The Empty City No.6, Photograph, Giclee Print, Diameter: 65 cm, 2012 © Courtesy of the Artist and A Thousand Plateaus Art Space
陈秋林（1975年生于湖北省宜昌市，现工作生活于中国成都和日本伊豆）2000年毕业于四川美术学院版画系。她的作品涵盖录像、摄影、装置和雕塑在内的各种媒介，创作始终处于一种不断发展和推进的状态中，在频繁论述的问题中引入全新的观点和视角，对于社会问题拥有独特的敏感度。
陈秋林获得的奖项包括：第一届蒙彼利埃中国当代艺术双年展最佳新人奖（2005）、ACC（纽约亚洲文化协会）奖助金中国受奖人（2006）、JP摩根世界女性论坛首届亚洲大会新星提名 （First Asian World Women Forum Rising Talents Programme Nominee）（2008）、第四届AAC艺术中国年度影响力2009年度青年艺术家提名奖（2010）、“改造历史”学术大奖提名奖（2010）、Loop Award of Loop Art Fair（巴塞罗那）（2017）。
陈秋林参加的重要展览包括：“墙：中国当代艺术二十年展”、THIS IS NOT FOR YOU: Sculptural Discourses，T-BA21 Collection收藏展、第七届光州双年展（The 7th Gwangju Biennale）、第6届亚太当代艺术三年展（APT6，Australia）、中国电站Ⅱ、Ⅲ、Ⅳ（China Power Station Part II,Ⅲ,Ⅳ）、The Land Between Us（The Whitworth Art Gallery, Manchester, England）、中国当代艺术三十年之中国影像艺术（民生美术馆，上海，中国）、第三届乌拉尔当代艺术工业双年展（3rd Ural Industrial Biennial of Contemporary Art, Yekaterinburg, Russia）等一系列国际国内重要展览，并在美国翰墨博物馆（Hammer Museum, Los Angeles）、Max Protetch Gallery、长征空间、千高原艺术空间、伊莱和伊迪特·布罗德美术馆（Eli and Edythe Broad Art Museum）、檀香山艺术博物馆（Honolulu Museum of Art, Hawaii）、成都麓湖A4美术馆举办了多场卓有影响的个展。
她的作品被桑德拉·吉尔曼与塞尔索·冈萨雷斯-法拉基金会（纽约）、釜山市立美术馆(釜山)、阿斯特鲁普·费恩利现代艺术博物馆（奥斯陆）、提森-博内米萨当代艺术基金会（维也纳）、哈默博物馆（洛杉矶）、博恩基金会（纽约）、昆士兰美术馆/昆士兰现代艺术馆（布里斯班）、中央美术学院美术馆（北京）、麓湖A4美术馆（成都）、清华大学艺术博物馆（北京）等众多美术馆和私人收藏家所收藏。
陈萧伊
▲陈萧伊，To Blossom Blue - 52，蚀刻锌板和油墨，36 × 30 cm，2025 ©艺术家及千高原艺术空间
Chen Xiaoyi, To Blossom Blue - 52, Etched zinc plate with oil ink, 36 × 30 cm, 2025 © Courtesy of the Artist and A Thousand Plateaus Art Space
陈萧伊（b.1992）生于中国四川，于 2014 年获得伦敦艺术大学纯艺术摄影硕士学位，目前工作生活于成都。她的作品融合了多种媒介与形式，常生发于对自然与生命形式的感知与反思，致力于探索宇宙图景与深层时间（Deep Time）在当下的物质性显现。近年，她聚焦于中国西南横断山脉的历史痕迹，关注如何由人类的在场为起点，以超越人类时空尺度的视角，寻找与重建不同存在方式的交汇，从而感应那些被折叠的、不可见的生态记忆与知识体系。
她的作品曾获得中国第七届三影堂摄影奖大奖，入选福布斯 2017“30 UNDER 30（Art）”亚洲榜单，并参与诸多国内外展览，她的个展项目有“Spoken Leaves/言叶”（ 罗马 Matèria Gallery，2024），“横断涟漪纪”（千高原艺术空间，2022），“争执”（成都当代影像馆，2020），“他乡异客：当我独自盛开时，世界还在沉睡”（瑞士 The Crochetan 剧院，2018 / 三影堂摄影艺术中心，2018），“One Giant Leap” （罗马 Matèria Gallery，2017），“Never!”（成都千高原艺术空间，2017），“Art projects”（伦敦艺术博览会，2017），“The Inadequacy of Language”（罗马 Matèria Gallery，2016）;近期作品曾展出于于瑞士沃韦影像双年展，西班牙 LA NUU 摄影节，法国 Mulhouse 摄影双年展，大邱双年展，广州三年展，东亚文化之都当代艺术节，香港巴塞尔博览会，Paris Photo 艺博会，瑞士 Liste 艺博会，伦敦艺博会，德国 Folkwang 博物馆，墨西哥国立自治大学科学艺术博物馆,雅典 Benaki 博物馆，广东时代美术馆，深圳 OCAT 艺术中心，上海当代艺术博物馆，北京三影堂摄影艺术中心，成都 A4 美术馆等。
何多苓
▲何多苓，观花图No.5，布面油画，40 × 30 cm，2025 ©艺术家及千高原艺术空间
He Duoling, Flowers Viewing No.5, Oil on canvas, 40 × 30 cm, 2025 © Courtesy of the Artist and A Thousand Plateaus Art Space
何多苓，1948年生于成都，中国当代抒情现实主义油画画家的代表。
1977年入四川美术学院油画专业学习，1979年入四川美术学院油画系研究生班，毕业后在成都画院从事油画创作。曾获第六届全国美展银奖、铜奖，第七届全国美展铜奖，摩纳哥政府奖等。
何多苓在中国当代艺术史上拥有不可以替代的位置，他是“伤痕美术”的重要艺术家之一。上世纪80年代初，他即以油画《春风已经苏醒》、《青春》、连环画《雪雁》等作品引起轰动，成为塑造一个民族和集体形象的代言画家。1992年，其作品《今夕何夕》颠覆其一贯恪守的焦点透视法则，首次使用双重空间的处理手法，作品风格更为趋近中国古典绘画风格。多年以来，何多苓的艺术语言一直在推进和衍变之中，每个时期的变化有着不同的主题与绘画性的探讨，惟一不变的是属于神秘忧郁的当代气质。他被认为是具有杰出才能的现实主义画家，也潜移默化地影响着一代代青年人。
作品被中国美术馆、福冈美术馆，龙美术馆、松美术馆、余德耀美术馆、和美术馆、澳门艺术博物馆、昆明当代美术馆、广东美术馆、成都市美术馆、湖北美术馆、泰康美术馆等海内外艺术机构和收藏家收藏。
▲新塔娜，看不见的城市01，彩色有声视频，6'12''，内蒙古正镶蓝旗元上都遗址，2023 ©艺术家及千高原艺术空间
Shinetana, Invisible Cities 01, Single-channel color video with sound, 6'12'', The Site of Xanadu (Shangdu), Zhenglan Banner, Inner Mongolia, China, 2023 © Courtesy of the Artist and A Thousand Plateaus Art Space
新塔娜，蒙古族，1983年出生于内蒙古锡林郭勒盟西乌珠穆沁旗，现工作、生活于呼和浩特市。她分别于2006年和2016年毕业于内蒙古大学艺术学院，获得学士和硕士学位。其创作主要以绘画、影像、行为、装置、雕塑等媒介为主。
新塔娜从小在内蒙古牧区长大，往返草原和城市间的游走成为了她的工作方式。身份的不断转变使她重新审视草原，并将其身体视为当下游牧生活的延续，最终回归到对自然（草原）本位生出的多维关系的探索。
▲杨述，无题2021 No.13，布面丙烯，80 × 60 cm，2021 ©艺术家及千高原艺术空间
Yang Shu, Untitled 2021 No.13, Acrylic on canvas, 80 × 60 cm, 2021 © Courtesy of the Artist and A Thousand Plateaus Art Space
杨述，1965年出生于重庆，1985年毕业于四川美术学院油画系并继续深造研究生，后于1988年毕业后留校任教至今。1989年，杨述参加在中国美术馆举办的著名的《中国前卫艺术大展》；1995年，在荷兰阿姆斯特丹的荷兰皇家视觉艺术学院(Rijksakademie van beeldende kunsten) 驻留一年；2006年，作为艺术赞助人和策划人，杨述与倪昆于重庆联合创立了著名的非营利机构器空间，器空间迄今已经成为中国西南最具活力和国际视野的当代艺术实验场域。
杨述是中国实验绘画早期的探索者，他天生的造型才华，以及扎实的学院写实功底帮助他建立了对抽象的结构与色彩的深入认知。从1990年代开始，杨述的创作就逐渐从受表现主义影响的非具象作品，发展为今天具有独特魅力的“杨述式”的视觉创造。近年来，杨述的画面显得更加柔和而容易亲近，色彩从以前的强烈对比蜕变为一种光晕感，笔触也更加细腻而复杂，长短不一的涂抹痕迹构成了整体的节奏和情绪。这些作品依然保持了神秘的沉默和坚定，而过去作品中一直保持的批判精神似乎升华为一种关爱和温暖。这些变化来自杨述对色彩和笔触结构的深入探索，以及出自最原初灵感的创造。
杨述的作品曾在上海美术馆、广东美术馆、张江当代美术馆等公共机构和中国、欧洲、澳洲、北美的许多画廊广泛展出，并被众多艺术机构和私人收藏家收藏。
▲翟倞，老彼得·勃鲁盖尔的神秘世界，布面油画，80 × 105 cm，2025 ©艺术家及千高原艺术空间
Zhai Liang, The mysterious world of Pieter Bruegel the Elder, Oil on canvas, 80 × 105 cm, 2025 © Courtesy of the Artist and A Thousand Plateaus Art Space
翟倞，1983年出生于中国山西，2006年本科毕业于四川美术学院油画系，2009年硕士毕业于中央美术学院油画系。知识于翟倞来说是绘画的养分，一个故事、一 个词语都会成为激发其创作的诱因。翟倞在他庞杂的知识系统里面，跳跃式地选择主题，根据所画出的作品， 推衍出下一个作品该怎么做，形成了一个视觉逻辑。因此，他的每个作品都很鲜活，反映了他在处理新作品时的笨拙和朴素。
从“小径分叉的花园”到“夜航船”系列中的“目录—通天塔图书馆”和“笔记”，“寻隐者”，以及“日常生活的颂歌”，翟倞善于凭借其画作中若隐若现的象征，将观者引向某些文学时刻——小说和电影中的诙谐片段、生活里亦真亦幻的顿悟和想象、耐人寻味的社会关系……把阅读的文本和个人当下或过去的记忆，如同回声共振一般，融合在一幅幅画作之中。
翟倞的作品曾在中央美术学院美术馆、香港K11艺术基金会、今日美术馆、上海龙美术馆、何香凝美术馆等重要机构展出。
Bi Rongrong
Bi Rongrong, born in 1982 in Ningbo, currently lives and works in Shanghai. She received her BA in Chinese Traditional Painting at Southwest University in 2005, and received her MA in Chinese Traditional Landscape Painting at Sichuan University in 2008, followed by an MFA in Painting from the Frank Mohr Institute in the Netherlands.
Bi Rongrong has a solid foundation in traditional Chinese landscape painting. Her current works include “drawing”, "weaving" and “pattern”. In recent years, Rongrong has been visiting different cities through residencies and trips, observing and recording them from a personal perspective, and experimenting with a diverse range of media, extracting and reconfiguring images and patterns from different social and cultural contexts. Her mixed-media works are visually compelling, deconstructing traditional forms of painting and textiles while offering new interpretations of materiality, architecture and natural forms.
Her works have been exhibited in various art institutions and public art projects，including M+ Museum (Hong Kong), Museu de Arte de Macau (Macau) , Centre for Heritage Arts & Textile (Hong Kong), Zhejiang Art Museum, Shanghai Museum of Glass, Long Museum (West Bund, Shanghai), Shan Xi Museum, Chengdu Art Museum, Cass Sculpture Foundation (UK), A Thousand Plateaus Art Space (Chengdu), Perrotin (Shanghai), Vanguard Gallery (Shanghai), Hangzhou Triennial of Fiber Art, Shenzhen-Hong Kong Bi-City Biennale of Urbanism\Architecture, Shanghai Urban Space Art Season, Chengdu Biennale, Vacheron Constantin 270th Anniversary Window Animation etc. Bi Rongrong was the winner of the Spirit of Ecstasy Challenge in Muse, the Rolls-Royce Arts Programme in 2022. And Bi Rongrong has been shortlisted for the “Sigg Prize 2025” at the M+ Museum in Hong Kong. 2026, Bi’s work “Stitched Urban Skin” was selected as the official advertising campaign for Art Basel Hong Kong, serving as the cover artwork for that year’s edition of the fair.
Chen Qiulin
Chen Qiulin (born in Yichang, Hubei Province in 1975, currently working and living in Chengdu, China and Izu, Japan) graduated from the Printmaking Department of Sichuan Fine Arts Institute in 2000. Her works manifest in various mediums including video, photography, installation and sculpture. Her creation process is constantly in the state of continuous development and progress. With a unique sensitivity, Chen keeps introducing new viewpoints and perspectives into frequently discussed social issues.
Chen Qiulin's awards include: The Best New Artist Award of the 1st Montpellier / Chine: MC1 Biennale International (2005), the recipient of ACC (Asian Cultural Council in New York) grant at China (2006), the First Asian World Women Forum Rising Talents Programme Nominee (2008), The Fourth Annual AAC Award for the Most Influential Participants of Chinese Art 2009-The Annual Young Artist Nominee (2010), Academic Award Nominee of “Reshaping History” (2010), Loop Award of Loop Art Fair (Barcelona) (2017).
Important exhibitions Chen Qiulin participated in include: “The Wall: Reshaping Contemporary Chinese Art" (Beijing, New York), THIS IS NOT FOR YOU: Sculptural Discourses, T-BA21 Collection exhibition (Vienna), the 7th Gwangju Biennale (Gwangju), the 6th Asia Pacific Contemporary Art Triennial (APT6, Australia), China Power Station Part II, III, IV(Oslo, Luxembourg, Turin), The Land Between Us by The Whitworth Art Gallery (Manchester), Moving Image in China: 1988 - 2011 (Shanghai), the 3rd Ural Industrial Biennial of Contemporary Art (Yekaterinburg) and a series of important international and domestic exhibitions held in such as: Hammer Museum (Los Angeles), Eli and Edythe Broad Art Museum (Michigan State), Honolulu Museum of Art (Hawaii), Max Protetch Gallery (New York City), Long March Space (Beijing), A Thousand Plateaus Art Space (Chengdu) and A4 Art Museum (Chengdu) etc..
Chen’s works are collected by The Sondra Gilman and Celso Gonzalez-Falla Collections (New York), Busan Museum of Art (Busan), Astrup Fearnley Museum of Modern Art (Oslo), T-BA21 Thyssen-Bornemisza Art Contemporary (Vienna), Hammer Museum (Los Angeles), The Bohen Foundation (New York), Queensland Art Gallery / Gallery of Modern Art (Brisbane), Art Museum of Central Academy of Fine Arts (Beijing), Tsinghua University Art Museum (Beijing), A4 Art Museum (Chengdu) and many other art galleries and private collectors.
Chen Xiaoyi
Chen Xiaoyi was born in Sichuan, China, and received her MA in Photography from University of the Arts London in 2014, currently living and working in Chengdu. Her practice integrates multiple mediums and forms, often originating from perceptions and reflections on nature and life forms. She is dedicated to exploring how cosmic landscapes and "Deep Time" manifest within contemporary materiality. In recent years, focusing on the historical traces ofthe Hengduan Mountains in southwestern China, she focuses on how to take human presence as a starting point to adopt a perspective beyond human space-time scales. She seeks to find and reconstruct the intersection of different modes of existence, thereby sensing the folded, invisible ecological memories and knowledge systems.
Chen Xiaoyi has exhibited internationally; she was awarded the Three Shadows Photography Award in 2015, China’s most prestigious photography prize, and named one of Asia’s 30 Artist under 30 by Forbes magazine 2017. Her recent solo exhibitions include “Spoken Leaves” (Matèria Gallery, Roma, 2024), “The Epoch of Rippling Hengduan Mountains” (A Thousand Plateaus Art Space, 2022), “Streit” (Chengdu Contemporary Image Museum, China, 2020), “The stranger:…and while I blossomed all alone, the world slumbered” (Theatre Crochetan, Switzerland, 2018 / Three Shadows Photography Art Centre， 2018), “One Giant Leap” (Matèria Gallery, Roma, 2017”, “Never！ ”( A Thousand Plateaus Art Space, Chengdu, 2017), “Art Project- London Art Fair” ( Matèria Gallery, London, 2017), “The Inadequacy of Lauguage” (Matèria Gallery, Roma, 2016); and recent works have been exhibited at the Vevey Image (Switzerland), LA NUU photo festival (Spain), La Biennale de la Photographie de Mulhouse (France), Daegu Photo Biennale(Korea), Guangzhou Image Triennial (China), Calling/re- Calling-Culture city of east Asia (Japan), ArtBasel (Hong Kong), Paris Photo (France), Liste Art Fair (Switzerland), London Art Fair (UK), Museum Folkwang (Germany), Museo Universitario de Ciencias y Arte at UNAM (Mexico), Benaki Museum (Greece), Guangdong Times Museum (China), OCAT Shenzhen (China), Power Station of Art (China), Three Shadows Photography Art Centre (Beijing), A4 Art Museum (China) etc.
He Duoling
He Duoling, born in Chengdu, is a representative of contemporary Chinese lyrical realism oil painting artists.
He enrolled in Sichuan Fine Arts Institute in 1977 as a major in oil painting and pursued his master's degree there in 1979. He has won the silver and bronze awards of the 6th National Fine Arts Exhibition, the bronze award of the 7th National Fine Arts Exhibition, and the Monaco Government Award etc.
He has an irreplaceable position in the history of contemporary Chinese art, and he is one of the important artists of Scar Art. In the early 1980s, he caused a sensation with his oil paintings Spring Breeze Has Awakened, Youth and strip pictures Snow Goose, and became a representative painter for shaping a national and collective image. In 1992, his work This Is the Night overturned the focus perspective principle he had always adhered to, and used the treatment of double space for the first time, and the style of his work became closer to the style of Chinese classical painting. Over the years, He's artistic language has been advancing and evolving, and the changes in each period have different themes and discussions of painting, the only constant is the mysterious and melancholy contemporary temperament. He is regarded as a realist painter with outstanding talent, and has also subtly influenced generations of young people.
He Duoling’s works have been collected by domestic and international art institutions and collectors such as China Art Museum, Fukuoka Art Museum, Long Museum, Song Art Gallery, Yuz Museum, He Art Museum, Macau Museum of Art, Contemporary Gallery Kunming, Guangdong Museum of Art, Chengdu Art Museum, Hubei Museum of Art, Taikang Art Museum etc.
Shinetana
Shinetana, Mongolian, was born in 1983 in West Ujimqin Banner, Xilingol League, Inner Mongolia. She currently lives and works in Hohhot. She graduated from the School of Art at Inner Mongolia University in 2006 with a bachelor’s degree and in 2016 with a master’s degree. Her artistic practice primarily encompasses painting, video, performance, installation, and sculpture.
Shinetana grew up in the pastoral regions of Inner Mongolia, and her life has been defined by constant travel between the grasslands and the city. These shifting identities have led her to reexamine the grasslands, viewing her own body as an extension of her current nomadic existence, and ultimately returning to an exploration of the multidimensional relationships rooted in the natural world—specifically, the grasslands.
Yang Shu
Yang Shu, born in 1965 in Chongqing, graduated from Sichuan Fine Arts Institute, Oil Painting Department with a master’s degree in 1988. Then he worked as a professor in the institute. He spent one year doing research in Amsterdam Rijksakademie van beeldende kunsten, Netherlands, 1995. In 1989, Yang attended “Chinese/Avant-garde Art Exhibition”, which was hosted by The National Art Museum of China. In 2006, as an arts patron and curator, Yang founded the famous non-profit institution Organ·haus with Ni Kun, which has become the most dynamic and international contemporary art field in Southwest China.
Yang Shu was an early explorer of experimental painting in China, and his inherent sculpt talent and steady academic sketch helped him to form the deep cognition of abstract structure and color from the perspective of classical aesthetics. Since 1990s, Yang Shu’s work has been gradually transformed from the non-figurative art that influenced by the expressionism to the present visual creation with the unique “Yang Shu” glamour. The paintings from Yang’s latest work are milder and more approachable. The color of the work has now evolved from the strong contrast appeared in the past to the sense of halo, the brush stroke has also become more and more delicate and complex, and the painting traces with different lengths constitute the overall rhythm and emotions. These works still remain the mysterious silence, and the critique spirit that has always been remained in Yang Shu’s old work seems to sublimate into a type of love and warm, yet still steady. These changes are from Yang Shu’s in-depth exploration of color and the structure of brush strokes, as well as his original creation of inspiration.
Yang’s works have also been presented in many public institutions including Shanghai Art Museum, Guangdong Museum, Zhang Jiang Museum of Contemporary Art, etc., presented in many galleries in China, Europe,Australia and North America, and also been collected by many art institution sand private collectors.
Zhai Liang
Zhai Liang was born in shanxi, China in 1983. He graduated from the oil Painting Department of Sichuan Fine Arts Institute with a bachelor's degree in 2006 and from the oil painting Department of Central Academy of fine Arts with a master's degree in 2009. For Zhai Liang, knowledge is the nourishment of painting. A story or a word can become an incentive for his creation. Zhai Liang, in his complex knowledge system, leaps and leaps in choosing themes, and based on the works he has drawn, deduces how to do the next work, forming a visual logic. Therefore, each of his works is vivid and reflects his clumsiness and simplicity when dealing with new pieces.
From The Garden of Forking Paths to the Night Vessel series' Catalogue—The Library of Babel, Finding Hermits, and the Praise of the Everyday, Zhai Liang adeptly guides viewers towards literary moments through the subtle symbolism in his paintings—witty passages from novels and films, life's surreal epiphanies and imaginings, and thought-provoking social dynamics...He weaves textual references and personal memories, present or past, into each work like resonating echoes.
Zhai Liang’s works have been exhibited in the crucial institutions such as CAFA Art Museum, K11 Art Foundation Hong Kong, Today Art Museum, Long Museum, He Xiangning Art Museum etc..
展位号 Booth | 1F-10
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04/09 13:00 - 19:00
04/10 11:00 - 19:00
公众开放Public Days
04/11 11:00 - 18:00
04/12 11:00 - 18:00
麓镇山顶广场
地址：成都市双流区麓山大道二段 18 号
Address: 18 Lushan Avenue, Section 2, Shuangliu District, Chengdu
正在展出
展览日期：2025/12/27 -2026/04/26
出品：千高原艺术空间
艺术家：陈萧伊
海报设计：音和/ P for Pinecone
展览支持：东来艺术千高原艺术空间 | A Thousand Plateaus Art Space
A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.
A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 30 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.
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