「 林寿宇与王一：图像记谱」
Richard Lin & Wang Yi : Graphic Notation
「 艺术家 Artist 」
林寿宇 Richard Lin
王一 Wang Yi
「 策展人 Curator 」
邱上源 Alfonse Chiu
「 展览日期 Duration 」
2026.03.21－2026.05.16
「 展览地点 Location 」
PTT SPACE
台北市松山区敦化南路一段
100巷5弄31号旁
Besides Alley 5, Lane 100, Section 1, Dunhua S Rd, 31, 1f, Songshan District, Taipei City, Taiwan (R.O.C.)
展览介绍
向左滑动查看更多展览现场照片
符号系统：「图像记谱」简纪
文｜邱上源
「林寿宇与王一：图像记谱」（Richard Lin and Wang Yi: Graphic Notation）是透过对两位华人艺术家——王一（Wang Yi，1991年生于上海）与林寿宇（Richard Lin Show Yu，1933年生于台中，2011 年卒于台中）——作品比较研究的双人展。展览重新检视并松动人们对抽象、特别是对当代中国绘画中抽象概念的既定理解。此展试图对当前华语学术、媒体与美术馆体系惯用的艺术史叙述的语境中提出逆向阅读的可能性，并重新思考今日艺术家如何面对抽象这一概念，以及当抽象同时作为艺术形式与技术语汇存在时，既有的描述框架与语汇是否需要被重新检视。尤其在评论、学术与市场转译的脉络中，作品是否成立，往往被系于它能否被纳入既有的系谱，或被辨认出与某种传统之间的亲近性，而较少真正回到其所处的社会文化与政治经济条件。「图像记谱」并不试图重述或巩固那些常见却空洞的描述，而是选择以一种策略性的异质立场来切入，将「图像记谱」视为一套不以再现具体对象为目的的符号系统，既是一种方法、也是一种理解抽象的隐喻。
展览现场图
对于新兴中国画家王一而言，抽象既不是一种明确的手段、也不是一种既定的表现模式，反而是他探究绘画作为再现媒介的传统与其本体条件时，偶然浮现的结果。特别是在他持续研究「光」如何作为一种感知要素的过程中，王一在其对西欧与东亚绘画史中光与影关系的观察里指出，两者在他所谓的「视觉伦理」上各有倾向：前者推崇理性、恒常与光的显现；后者则偏向幽暗、广阔、深远，以及阴影那种难以捉摸的非物质性。
在王一的作品中，他运用来自油画与水墨传统的罩染技法，透过反复层叠的透明薄涂，营造出一种近乎不可思议的效果：不同色域彼此融合，几乎难以分辨，唤起他所说「在阴影中观看时那种暧昧而透明的状态」。藉由这样的方式，每一次将稀薄颜料施加于画面的行为，不仅让每一次的笔触、每一个绘画作为行动与意图的最小手势，都留下了如同阴影般具体而可度量的痕迹，也让亮度、可见性与笔触劳动彼此交缠，形成一种相互指涉的关系。这样的处理，巧妙避开了把最终意义完全归于作者主观意志的陷阱，转而让「图像记谱」的语意结构显现为一种关系性的指涉网络；但其中又隐含一种近乎狡黠的召唤，引人进一步追问事物本身的物性与存在感。
展览现场图 - 王一作品
在〈白影 White Shadow〉（2026，压克力颜料、矿物颜料、金属粉末、药粉、画布）与〈白河夜川 Shirakawa Yōfune〉（2026，压克力颜料、矿物颜料、金属粉末、药粉、画布）等作品中，几何色块以近似频谱图的图像形式，在白色背景上交错、穿插。频谱图原是一种用于讯号处理的视觉化技术，藉由数位程序将类比输入的模式与频率转化为可读的图像。在这里，「数位性」带着一层微妙的双关：尽管王一的构图看似模仿由数位技术所生成的图像语言，但它们其实是艺术家以手指、以身体劳动亲手完成的结果。这不仅让人联想到那些支撑演算法基础设施、却经常被遮蔽的人力与物质网络，也使王一的画面追溯出一条社会—技术的系谱：从早期负责人工计算的女性工作者，到当代数位媒体经济中位于全球南方的内容审核劳动者。与此同时，作品也指出了数位影像得以生成，其背后是一套透过层层累加而生成的程序，而一层层具体的物质载体，正是这些感知内容得以成立的基础。
另一方面，在〈一闪 Ksana 2026–1〉（2026，压克力颜料、树脂、不锈钢镜面）与〈一闪 Ksana 2026–2〉（2026，压克力颜料、树脂、不锈钢镜面）等作品中，王一藉由契伦可夫辐射（Cherenkov radiation）现象，研究人工与自然光辉之间那令人不安的交界。这种辐射表现为水下核反应炉特有的蓝色光晕，可被视为一种由非自然手段所产生的「自然光」类型。在精准铺陈的网格之中，一种低饱和度的色彩马赛克既构成近乎图解式的核光亮度渐层，同时形成一幅不祥的景象，彷彿不远处地平线上的核爆景观。在这些画作里，王一的图解性开展出一种带有建筑思维的感知方式；他对色彩与几何投影的探索，既受物理法则所制约，也深深牵系于人类欲望的计算。
王一 Wang Yi
白影 White Shadow
2026
丙烯颜料、矿物颜料、金属粉末、药粉、画布
Acrylic on canvas, mineral pigment, metal powder, medical powder
H 200 x W 150 x D 5 cm
王一 Wang Yi
一闪 Ksana 2026–1
2026
丙烯颜料、树脂、不锈钢镜面
Acrylic and resin on mirror stainless steel
H 60 × W 60 × D 5 cm
与王一作品并置的是已故台湾艺术家林寿宇的若干作品。它们延伸出另一条关于抽象作为视觉策略的思考路径，而这一路径深深根植于不同世代的历史脉络之中。林寿宇于 1950 年代在伦敦Regent Street Polytechnic（今为西敏大学的一部分）接受艺术与建筑训练，是极少数活跃于欧美艺术流通网络、并参与二十世纪中期极简主义发展的东亚艺术家之一。他的实践始终致力于极简而疏朗的几何构图，但在不同材质语言之间，仍可看见某种地缘文化上的亲近性：其纸上与绘画作品呼应东亚水墨传统，而部分以塑胶与金属为材料的墙面作品，则与欧美现代主义形成对话。
在较早期的作品中，例如〈Abstract in Green and Gold〉（1959，油彩、画布）与〈纸上作品 Work on Paper〉（1957，油彩、纸本），林寿宇似乎仍倾向于一种较为粗砺、带有触觉性的笔触；即使构图相对简洁，仍可感受到某种更鲜明的情感张力。相较之下，他后期作品则展现出更精确而克制的方法。例如〈五月一日，五月二日，五月三日，五月四日 May 1, May 2, May 3, May 4〉（1971，网版印刷于纸本与透明片）中，四个方形平面构成了作品的表面，其上附着矩形；若再结合作品标题来看，便会令人联想到日历作为一种图解工具的格式与视觉形式，用以标示时间的推移，以及时间与劳动秩序的安排。
林寿宇 Richard Lin
Abstract in Green and Gold
1959
油彩 Oil on canvas
H 50 × W 40 cm；
H 81 × W 71.5 cm（含框 Framed）
林寿宇 Richard Lin
五月一日，五月二日，五月三日，五月四日
May 1, May 2, May 3, May 4
1971
网版印刷于纸本与透明片
Screen prints on paper and acetate
H 50.8 × W 50.8 cm；
H 51.5 × W 51.5 cm（含框 Framed）
四件一组 Set of four
透过与王一及林寿宇作品来进行共同思考，「图像记谱」因此提出了一种不同的观看与理解策略：将中国现当代抽象重新放入一个更开放的技术视觉文化场域中，包括图表、乐谱、平面图、示意图及其他相关类型。在此，图像记谱本身的构成，既是看似客观的资讯与数据之承载场域，同时也保有其鲜明而独特的美学语法。当这些形式随着全球工业标准的扩散而被混用、转译与挪用时，也使中国艺术书写中惯常出现的分期与归属说法变得不再稳固。因为这些说法往往只强调某种历史化的美学源流，却没有真正处理它们与更大尺度的社会与政治变动之间的关系。藉由回到「留下痕迹」这一图像记谱最基本的动作，展览试图重新理解抽象的本质：它不只是形式问题，也是一种象征性的书写方式，深层牵动着当代社会文化中我们如何感知、如何理解世界的机制。
展览现场图 - 林寿宇作品
关于艺术家
林寿宇
Richard Lin
林寿宇（Richard Lin，1933-2011），林正霖长子，名寿宇，字木生，号丁山，又号汝杰。1933年生于台中雾峰宫保第，2011年病逝台中荣总，享寿七十九。幼时在台北受日本小学教育，1949年赴香港于拔萃书院完成高中教育。1952年赴英国伦敦，就读于米尔菲尔德学校。1954-1958年就读于伦敦综合工艺学院，研究建筑与美术。1958年后便专心以绘画为业，先期以“Lin Show Yu”为名作画，1963年后改用“Richard Lin”。1959年在金贝尔．斐斯画廊举行首次个展，1961年获得英国现代艺术学会（ICA）勉励奖，其作品在接下来十年内频频获奖，并开始在世界各国展出。
林寿宇被视为冷抽象与极简艺术的重要代表人物之一，其创作以极致的白色美学与近乎建筑性的理性结构著称。受建筑背景影响，他在画布上运用铝片、压克力与金属条等材料，将平面绘画转化为介于绘画与浮雕之间的空间形式。透过精密安排的几何线条与层层推进的白色调性，他建构出一种冷静而纯粹的视觉秩序，使画面在极度节制中呈现出微妙的空间张力与节奏。其创作亦常被认为与东方哲思中的“减法”精神相互呼应，在理性结构之中蕴含内敛而深远的感知经验。
上下滑动阅览艺术家简历
个展：
1958 “林寿宇个展”，伦敦当代艺术学院 (ICA)，英国
1959 “林寿宇个展”，Gimpel Fils 画廊，伦敦，英国
1960 “林寿宇个展”，Stone 画廊，泰恩河畔纽卡索，英国
1961 “林寿宇个展”，Gimpel Fils 画廊，伦敦，英国
1963 “林寿宇个展”，Royal Marks 画廊，纽约，美国
1963 “林寿宇个展”，建筑联盟 (AA)，伦敦，英国
1964 “林寿宇个展”，Gimpel Fils 画廊，伦敦，英国
1966 “林寿宇个展”，Marlborough New London 画廊，伦敦，英国
1968 “林寿宇个展”，Marlborough Galleria d'Arte，罗马，义大利
1969 “林寿宇个展”，Galerie Semiha Huber，苏黎世，瑞士
1970 “林寿宇个展”，Marlborough New London 画廊，伦敦，英国
1971 “林寿宇个展”，Galerie Withofs，布鲁塞尔，比利时
1971 “林寿宇个展”，Galerie Teufel，科隆，德国
1972 “林寿宇个展”，Galerie Löhrl，法兰克福，德国
1974 “林寿宇个展”，Marlborough Fine Art，伦敦，英国
1975 “林寿宇个展”，Marlborough Fine Art，伦敦，英国
1979 “林寿宇个展”，Galerie der Spiegel，科隆，德国
1982 “林寿宇个展”，龙门画廊，台北，台湾
1984 “无始无终—存在与变化系列”，春之艺廊，台北，台湾
1995 “林寿宇个展”，家画廊，台北，台湾
2007 “心境—林寿宇精选展”，嘉亚艺术中心，台北，台湾
2009 “林寿宇个展”，学学白色空间，台北，台湾
2009 “林寿宇个展”，嘉亚艺术中心，台北，台湾
2010 “极致 2010林寿宇艺术展”，学学白色空间，台北，台湾
2010 “林寿宇个展”，嘉亚艺术中心，台北，台湾
2010 “向大师致敬—一即一切 林寿宇50年创作回顾展”，高雄市立美术馆，台湾
2011 “林寿宇个展”，嘉亚艺术中心，台北，台湾
2013 “台湾极简大师—林寿宇”，嘉亚艺术中心，台北，台湾
2014 “一日美术馆—林寿宇”，台北，台湾
2015 “刹那即永恒—2015林寿宇捐赠展”，高雄市立美术馆，台湾
2019 “林寿宇 50至70年代重要作品回顾展”，邦瀚斯，香港
2023 “林寿宇”，蜂巢当代艺术中心，上海，中国
2024 “趋近真实 林寿宇个展”，Frieze Seoul，首尔，南韩
群展：
1958 “国际艺术家协会25周年展”，RBA 画廊，伦敦
1958 “三位中国画家”，AIA 画廊，伦敦
1958 “著名大师展”，Leicester 画廊，伦敦
1958 “英国当代抽象艺术”，伦敦当代艺术学院 (ICA)
1961 “国际水彩双年展”，布鲁克林博物馆，纽约
1962 “Compass 2”，Van Abbemuseum，荷兰
1963 “七位英国青年画家”，巴塞尔美术馆，瑞士
1963 “中国现代艺术”，勒沃库森市立博物馆，德国
1963 “英国艺术家”，Gimpel Hanover 画廊，苏黎世
1963 “利物浦双年展”，沃克美术馆，英国
1964 “第三届卡塞尔文件展 (documenta III)”，德国
1964 “匹兹堡国际艺术展”，卡内基学会，美国
1964 “当代英国画家”，杜塞道夫艺术协会，德国
1964 “大都会”，惠特沃斯美术馆，曼彻斯特
1964 “剖析”，莱斯特博物馆，英国
1964 “当代英国艺术家”，奥尔布赖特-诺克斯美术馆，纽约
1964 “新绘画”，英国艺术委员会巡回展
1965 “英国眼”，Marlborough-Gerson 画廊，纽约
1965 “版画展”，Marlborough New London 画廊，伦敦
1966 “公开绘画展”，阿尔斯特博物馆，贝尔法斯特
1966 “开幕展”，Richard Demarco 画廊，爱丁堡
1966 “浮雕雕塑展”，Marlborough New London 画廊，伦敦
1966 “版画展”，Marlborough New London 画廊，伦敦
1966 “美铝公司当代艺术收藏展”，卡内基学会，美国
1966 “现代版画展”，博伊曼斯·范伯宁恩美术馆，荷兰
1966 “白色与白色”，伯恩美术馆，瑞士
1967 “英国青年艺术家”，Galerie Alice Pauli，瑞士
1967 “英国青年版画展”，Galerie d'art Moderne，巴塞尔
1967 “春季展”，布拉德福德市立艺廊，英国
1967 “爱丁堡 100”，苏格兰国家现代艺术美术馆
1967 “跨大西洋版画 1960-67”，Laing 艺廊与博物馆，爱丁堡
1967 “利物浦双年展”，沃克美术馆，英国
1967 “卡内基国际展”，卡内基学会，美国
1968 “四位伦敦艺术家”，Marlborough-Gerson 画廊，纽约
1968 “英国精品”，汉堡艺术协会，德国
1969 “伊莉莎白女王二世邮轮展”，伦敦
1969 “工业艺术”，皇家艺术学院，伦敦
1970 “白色游戏”，Galerie Withofs，布鲁塞尔
1970 “国际艺术展”，巴塞尔美术馆，瑞士
1971 “国际艺术展”，巴塞尔美术馆，瑞士
1972 “单色结构”，Galerie Teufel，科隆
1972 “国际版画双年展”，克拉科夫，波兰
1973 “当代英国画家与雕塑家”，Marlborough-Godard 画廊，多伦多
1981 “国际艺术展”，科隆、杜塞道夫，德国
1982 “海外华人画家展”，香港艺术馆，英属香港
1985 “中国现代雕塑展”，台北市立美术馆，台湾
1986 “抽象艺术展”，路易斯安那现代美术馆，丹麦
1987 “纯粹抽象—艺术展”，以色列博物馆，以色列
1989 “当代抽象艺术”，威尔斯现代艺术博物馆，英国
2015 “超越与符号 台湾新造型艺术展”，尊彩艺术中心，台北
2019 “移动的线”，香港巴塞尔艺术展，香港
2021 “存在之所—台湾前卫艺术空间与材料性(1980-2021)”，国立台湾美术馆，台中
2021 “关于几个人在短暂时间片段中的经过”，北师美术馆，台北
2023 “山水侧影 再探绘画”，台南市美术馆，台湾
2023 “抽象之眼”，国家摄影文化中心，台北
2024 “空间课 点线到面”，台北市立美术馆，台湾
2025 “现代中国山水艺术与现代抽象极简艺术”，香港巴塞尔艺术展，香港
收藏：
英国
曼彻斯特，英国
诺里奇博物馆，诺里奇，英国
格拉斯哥博物馆与艺廊，格拉斯哥，英国
米德尔斯伯勒康乐暨公共设施部，英国
费兹威廉博物馆，剑桥，英国
剑桥大学克莱尔学院，剑桥，英国
牛津大学基督堂学院，英国
艾希特大学，艾希特，英国
查特豪斯公学，英国
威尔斯现代艺术博物馆，英国
欧洲
勒沃库森市立博物馆，勒沃库森，德国
门兴格拉德巴赫博物馆，门兴格拉德巴赫，德国
海牙市立博物馆，海牙，荷兰
博伊曼斯·范伯宁恩美术馆，鹿特丹，荷兰
国家现代艺术美术馆，罗马，义大利
哥德堡美术馆，哥德堡，瑞典
萨拉·希尔顿·古罗森基金会，芬兰
维诺·阿尔托宁美术馆，赫尔辛基，芬兰
路易斯安那现代美术馆，丹麦
美洲
圣保罗艺术博物馆，圣保罗，巴西
奥林达地区博物馆，巴西
安大略美术馆，多伦多，加拿大
麦克罗里连锁零售公司，纽约，美国
布鲁克林博物馆，纽约，美国
奥尔布赖特-诺克斯美术馆，水牛城，纽约，美国
美铝公司当代艺术收藏，匹兹堡，美国
沃克艺术中心，明尼阿波利斯，美国
卡内基学会，匹兹堡，美国
赫希洪博物馆和雕塑花园，华盛顿，美国
台湾
国立故宫博物院，台北，台湾
台北市立美术馆，台北，台湾
国立台湾美术馆，台中，台湾
高雄市立美术馆，高雄，台湾
其他
以色列博物馆，以色列
王一
Wang Yi
王一（Wang Yi，1991年生于上海）的艺术实践从绘画出发，以象征性的图形、颜色和材料作为载体，拓展到雕塑、装置、文本、拼贴等多种媒介，丰富抽象艺术在⻛格研究之外的可能性。王一认为抽象艺术的使命在于承载观念，而过去、现在及未来的一切人类社会现象都可以通过基本形状和独逸的形式显现，他把这种工作理念称为“大几何（Grand Geometry）”。作为中国新生代抽象艺术家的成员，王一将基于现实脉络的回应隐藏在抽象化的外壳下，使之与中国的特有语境对话并生⻓出新的含义。
他曾获得或入围多个奖项包括：“保时捷2020-2021中国青年艺术家双年评选”、“明天雕塑奖”、“宝⻰艺术奖（PAA）”、“The Signature Art Prize（中国）”、“约翰·莫尔画奖（中国）”、“罗中⽴奖学⾦”、“Creative M50 创意新锐评选”等。
上下滑动阅览艺术家简历
教育经历：
2006-2009年 中国美术学院附中
2009-2013年 中国美术学院油画系（新具象绘画工作室） 学士
2013-2016年 中国美术学院油画系（新具象绘画工作室） 硕⼠
个展/双人展：
2026年 “群星不惧形似萤火”，香港恒生大学，香港
2026年 “图像记谱：林寿宇 & 王一”，PTT SPACE，台北
2025年 “堂中形”，文华东方酒店，广州
2025年 “海上叙事：亭半｜蜃楼”，Anfu275，上海
2024年 “唤光内外”，ORVEDA建业里，上海
2020年 “当明有暗，当暗有明”，艾可画廊，上海
2019年 “空心之火”，昊美术馆，上海
2018年 “一切现象都是几何的”，蜂巢当代艺术中心，深圳 2018年 “表里：Claude Viallat & 王一”，HdMGallery，北京
2017年 “千层叠”，AsiaNow x 艾可画廊，巴黎
2016年 “一日光”，艾可画廊，上海
2015年 “空镜”，台北国际艺术博览会 x 艾可画廊，台北
2014年 “王一”，HdMGallery，杭州
2013年 “梦·⻅：章佩芸，王⼀双⼈展”，M50 ART SPACE，上海
2012年 “无物”，J：GALLERY，上海
2011年 “HUB”，中国美术学院油画系，杭州
群展：
2026年
“万象III”，惟典空间，上海
“上下曲直：中国当代的抽象叙事”，玉兰堂，上海
“谛视与触动”，射线空间，杭州
2025年
“惊奇的房间”，X美术馆，上海
“从未来到未来——数字文明艺术展”，联想未来中心，天津
“出神之境”，外滩·老市府，上海
“NOV. 10, 2001”，誌屋ZiWU，上海
“中国当代艺术年鉴展（上海）2024”，上海多伦现代美术馆，上海
“中国抽象100年”，知诸网艺术中心，佛山
“呼吸回廊”，ThisThat Gallery & LIED，杜塞尔多夫
“物性凝视”，Crossing Art，上海
“瑞金医院公共艺术季”，瑞金医院，上海
“量子城市·复兴未来：上海城市空间艺术季（SUSAS）”，复兴岛展区，上海
2024年
“化身”，松美术馆，北京
“山水化境”，新艺术美术馆，新加坡
“人智时代——第三届济南国际艺术双年展”，山东美术馆，济南
“重启：形而上抽象艺术展”，碧云美术馆，上海
“美在荟萃——全国美术馆珍藏作品汇展”，中国美术馆，北京
“看不⻅的交响乐团”，MakeRoom创造社，洛杉矶
“本来无一”，艾可画廊，上海
“素人策展计划·第二季”，中华艺术宫，上海
“把新叙事作为方法“，杨浦文化艺术中心，上海
“磁场蔓延”，丽水市美术馆，丽水
“时间的绵延”，艺博画廊，上海 “幽影”，無尽藏，深圳
“波罗仙揭谛”，上美影空间，上海
“等额价值”，RIVERSIDE，杭州
“唤光内外”，Orveda，上海
“琉璃万象”，玛斯菲尔美术馆，深圳
“合金时代：保时捷‘中国青年艺术家双年评选’特别邀请展”，富艺斯亚洲总部，香港
“现场：DREAM xiàn chăng”，西岸艺术与设计博览会，上海
“复述——版画的多重定义研究”，AJI ART，上海
2023年
“流光”，四方当代美术馆，南京
“楼上的城市”，ASE艺术基⾦会，上海
“比抽象重要”，外滩艺术中心185空间，上海
“意象解构：前川强，王一，权纯益”，白石画廊，香港
“共栖：上海城市空间艺术季（SUSAS）”，西岸展区，上海
“九零一代：一种历史的开启”，山西省当代美术馆，太原
“越位：青年艺术家的突围与实践”，宜兴市美术馆，宜兴
“Primordial dream 初始梦”，Blank gallery，东京
“无YU之美”，艺博画廊，上海 “We love Korea”，白石画廊，首尔
“我爱新加坡”，白石画廊，新加坡
“后浪拼图——新绘画的新面孔”，玉兰堂，北京
“大道至简——中国当代艺术展”，HANMO艺术中⼼，北京
“织物”，1905ArtSpace，沈阳
“绘画的理由——第五届Inter-Youth国际青年绘画展”，西岸艺术中心，上海 “亚洲对话：轻与盈”，西岸艺术与设计博览artnow VIP Lounge，上海
2022年
“发光·反光——第十九届‘海平线’绘画·雕塑联展”，中华艺术宫，上海
“再生：2020 – 2021 保时捷‘中国青年艺术家双年评选’获奖艺术家作品展，上海展览中⼼，上海
“再造霓虹——全国青年艺术邀请展”，海派美术馆，上海
“方巍、林科、苏畅、王一、张云垚——中国艺术家五人展”，39+Art Space，新加坡 “光的动词 Light is a verb：鞠婷、王一、谢佑承”，PTT Space，台北
“诉诸内⼼的⽆限”，蜂巢当代艺术中心，北京
“好奇无界：米奇艺术展”，UCCA x Disney，全国巡展 “霓虹森林——当代新艺力群展”，K11艺术空间，沈阳
“爱得不同——20位当代艺术家与100位特殊儿童公益艺术展”，金桥碧云美术馆，上海
“人间”，Blank gallery，上海
“一米之内——抽象绘画艺术群展”，Blank gallery，上海
“弄堂摩登”，今潮8弄，上海
“天井画廊”，Objective x 张园，上海
“相遇 Encounter：亚洲抽象艺术群展”，Holly'space华艺空间，上海
“乌托邦图景”，Holly'space华艺空间，北京
2021年
“第九届五粮液·明天雕塑奖：重塑边界”，四川美术学院美术馆，重庆
“观览：2020-2021 保时捷“中国青年艺术家双年评选”入围艺术家作品展，上海展览中心，上海
“第四届宝⻰艺术奖”，宝⻰美术馆，上海
“东京⽕炬：三菱集团·常磐橋双子塔艺术收藏计划”，常磐橋双子塔，东京 “糖果炮弹——当代新艺力群展”，K11艺术空间，⼴州
“异境古亭台——苏州园林艺术节当代艺术展”，沧浪亭，苏州
“Déesse美学复兴艺术项目——遇鉴·美”，UCCA Lab，北京
“色彩激起心灵的颤动”，HdMGallery，伦敦
“世界是你们的？”，艺博画廊，上海
“夜与昼：抽象2020/下”，艺博画廊，上海
“非浪潮”，外滩三号沪申画廊（SGA），上海
“不能承受的生命之蓝”，淮海TX艺术空间，上海
“永恒星球——现代传播 x 恒隆广场二十周年艺术项目”，恒隆广场，上海
“外滩空间艺术季——他山之境”，百空间·卜内門洋行，上海
“素履之往——造型基础留校素描作品展”，中国美术学院造型基础教学部，杭州 “相向而行——中国美术学院艺术创新推广展”，西岸穹顶艺术中心，上海
2020年
“绘画與存在——中日韩抽象绘画群展”，唐人当代艺术中心，北京
“山鲁佐德的救赎：新一代绘画备忘录”，蜂巢当代艺术中心，北京
“愿你生活甜如蜜”，巽美术馆，佛山
关于策展人
邱上源
Alfonse Chiu
邱上源（Alfonse Chiu，1997年生）是一位作家、设计师和策展人，常驻台北、新加坡和上海。他的实践以研究为导向，领域涵盖了当代艺术、建筑、表演和电影，旨在挖掘后殖民时期东南亚地区，其中支撑资本与意识形态流动的地下运作机制与基础架构。透过展览、出版物与表演，邱揭示权力与知识体制如何借由视觉、物质及空间文化的生产与流通，建构出社会对价值、财产与欲望的定义。
他曾于Khoj（新德里）、台南市美术馆（台南）、Matadero媒体实验室（马德里）、PACT Zollverein（埃森）、Loop艺术节（巴塞隆纳）、DECK（新加坡）、海马回光画馆（台南）等艺术机构呈现策展项目，并获以下机构委托撰文：亚洲电影资料馆、柏林国际电影节、沙迦建筑三年展、Nieuwe Instituut、Nasher雕塑中心，以及在《ArtReview》、《ArtAsiaPacific》、《Ocula》及《Hyperallergic》等期刊进行发表。他是2021年秋季e-flux期刊研究员、2025年欧洲建筑平台LINA研究员，并于2023年荣获由The World Around主办的首届青年气候奖。
邱上源拥有耶鲁大学建筑学院环境设计硕士学位，并担任耶鲁大学惠特尼人文中心热带研究工作组召集人。
Exhibition Introduction
Symbolic Systems: Notes on Graphic Notation
Written by | Alfonse Chiu
Graphic Notation is a duo exhibition that examines and problematises understandings of abstraction in contemporary Chinese painting through a comparative study on the works of two Sinophone artists: Wang Yi (b. 1991, Shanghai) and Richard Lin Show Yu (b. 1933, Taichung; d. 2011, Taichung). Seeking to read against the grains of art historiographical methodologies as currently practised across Sinophone academia, media, and museal ecologies, this exhibition marks an attempt to reconsider the extant descriptive lexicons of present-day engagements with abstraction as both artistic form and technical vocabulary in the works of Sinophone artists, especially in contexts of translation for critical, academic, and commercial purposes, where legitimacy is often necessarily identified with genealogies and genealogical affinities, regardless of broader socio-cultural and politico-economic contexts. Instead of repeating and reinforcing common (and empty) descriptions, Graphic Notation embraces a position of strategic alterity where graphic notations, as systems of non-representational signification, are simultaneously a method and metaphor towards abstraction.
Exhibition Site
For emerging Chinese painter Wang Yi, abstraction emerges as neither an explicit mean nor mode of expression, but rather a more incidental product of his studies on luminosity as a perceptual element within the traditions and ontologies of painting as representational media. Writing on his observations of the relationship between light and shadow in histories of Western European and East Asian painting, Wang locates within what he defined as the “visual ethics” of the two a veneration of “rationality”, “permanence”, and the manifestation of light in the former, and an inclination towards “obscurity”, “breadth”, “depth”, and the “immateriality of shadow” in the latter.
In his own works, Wang deploys traditional glazing techniques drawn from oil painting and ink painting where the patient overlaying of over hundreds of coats of slow and near-transparent layers create an almost uncanny effect of fused and almost indistinguishable colour fields that evoke what he notes as “the ambiguous yet translucent state of seeing in shadow”. By doing so, not only does each application of suspended pigment to a painting surface serve as a physical and quantifiable mark of a cast shadow from each gestural unit of painting itself as action and intention, but it also instantiates an indexical entanglement between luminosity, visibility, and the labour of mark-making that elegantly eludes the pitfalls of assuming authorial agency over a final semiotic production by drawing into view the semantic structure of graphic notations as a referential relationality—albeit one marked by an impish invitation to read deeper into the thingness of thing itself.
Exhibition Site - works of Wang Yi
Across paintings such as White Shadow (2026, acrylic on canvas, mineral pigment, metal powder, medical powder) and Shirakawa Yōfune (2026, acrylic on canvas, mineral pigment, metal powder, medical powder), geometric colour fields intercalate and intersect across a white background in graphic forms that resemble spectrograms, a visualisation technique used for signal processing where patterns and frequencies of analogue inputs were rendered legible through digital processes. Here, digitality takes on a sly double meaning: though the formwork of Wang’s compositions may mimic graphics produced via digital technology-enabled processes, they are very much the product of manual labour created with the digits of the artist’s hand. An allusion to the often obscured networks of human labour and raw materials behind algorithmic infrastructures, not only do Wang’s compositions trace a socio-technical lineage from the labour of women computers and calculators in early computational systems to the Global South content moderators of present-day digital media economies, they also identify the material processes through which digital imageries are enabled as a set of additive procedures where the layering of different tangible substrates are foundational to the production of these perceptual content.
Meanwhile, for works such as Ksana 2026–1 (2026, acrylic and resin on mirror stainless steel) and Ksana 2026–2 (2026, acrylic and resin on mirror stainless steel), Wang studies the uneasy intersections of artificial and natural radiances through the phenomenon of Cherenkov radiation, which manifests as the characteristic blue glow of underwater nuclear reactors, as a typology of natural light emitted through unnatural means. Across precisely laid out grids, a desaturated mosaic of colours constitute both an almost diagrammatic representation of the gradations of nuclear luminosity and an ominous spectacle of a nuclear explosion on a not-so-distant horizon. In these paintings, Wang’s diagrammatics unfurl with an almost architectural sensibility in his explorations of colour and geometric projection as optical operations as bound to the laws of physics as they are to the calculus of human desires.
王一 Wang Yi
白河夜川
Shirakawa Yōfune
2026
丙烯颜料、矿物颜料、金属粉末、药粉、画布
Acrylic on canvas, mineral pigment, metal powder, medical powder
H 150 x W 200 x D 5 cm
王一 Wang Yi
一闪 Ksana 2026–2
2026
丙烯颜料、树脂、不锈钢镜面
Acrylic and resin on mirror stainless steel
H 60 × W 60 × D 5 cm
Positioned in conversation with Wang’s paintings, select works by the late Taiwanese artist Richard Lin Show Yu extend an alternate trajectory of inquiry into abstraction as visual strategy, grounded in generational contexts. Trained in art and architecture at the former Regent Street Polytechnic (now part of University of Westminster) in London in the Fifties, Lin was a rare East Asian voice active within Euro-American circulations throughout the development of the mid-century Minimalist movement whose practice was characterised by a strict devotion to sparse, geometric compositions that nonetheless revealed certain geocultural affinities across material languages—drawings and paintings with East Asian ink traditions, plastic and metal wall installations with Euro-American modernisms.
Where in earlier works such as Abstract in Green and Gold (1959, oil on canvas) and Work on Paper (1957, oil on paper), Lin appeared to draw on a coarser tactility to mark-making which felt distinctly more emotional despite the relative simplicity of his compositions, later works displayed a more exact and controlled approach. For example, in May 1, May 2, May 3, May 4 (1971, screen prints on paper and acetate), a set of four square planes serves as the representational screen upon which rectangular forms are affixed, bringing to mind, in conjunction with its title, the format and graphic form of the calendar as a diagrammatic instrument for the passage of both time and labour capacity.
林寿宇 Richard Lin
纸上作品
Work on Paper
1957
油彩 Oil on canvas
H 52 × W 64 cm；
H 65 × W 76 cm（含框 Framed）
林寿宇 Richard Lin
五月一日，五月二日，五月三日，五月四日
May 1, May 2, May 3, May 4
1971
网版印刷于纸本与透明片
Screen prints on paper and acetate
H 50.8 × W 50.8 cm；
H 51.5 × W 51.5 cm（含框 Framed）
四件一组 Set of four
Thinking through and with the works of Wang and Lin, Graphic Notation emerges thus as a proposal for an alternate strategy that locates modern and contemporary Chinese abstraction within an expanded and expansive field of technical visual cultures—diagrams, scores, plans, renderings, amongst other genres. Here, compositions of graphic notations themselves serve as the representational field of seemingly objective information and data that nonetheless maintain a distinct aesthetic grammar, and whose hybridities, transmissions, and adoptions through the dispersals of global industrial standards further question and destabilise recurrent cliches of periodisation and attribution in Chinese art-writing, which commonly evokes historicised aesthetic pedigrees without acknowledging their relationships to broader shifts in situated dynamics of social and political transitions. By returning to the fundamental gestures of mark-making as a form of graphic notation, this exhibition seeks to further a reading of the nature of abstraction as symbolic inscriptions undergirding the ideological apparatuses of perception and cognition of present-day social cultures.
Exhibition Site - works of Richard Lin
About the Artist
Richard Lin
b.1933 - 2011, Taichung, Taiwan.
Richard Lin (1933-2011), painter and designer in metal and plastic, working in a Minimalist style, born in Taichung, Taiwan. For a time he worked as Lin Show Yu. Studied at Millfield School, Somerset. In the mid-1950s studied architecture for four years at Regent St Polytechnic. Had first of a series of one-man shows in 1959 at Gimpel Fils, then began to show internationally in the Netherlands, America, Germany and elsewhere, winning several prizes.
Richard Lin is widely regarded as a key figure in cold abstraction and minimalist art. His practice is distinguished by an extreme white aesthetic and a near-architectural sense of rational structure. Influenced by his background in architecture, Lin incorporates materials such as aluminum, acrylic, and metal strips, transforming painting into a spatial form that exists between painting and relief. Through the precise orchestration of geometric lines and subtly modulated layers of white, he constructs a visual order that is at once restrained and exacting. Within this rigorous economy, the surface reveals a quiet spatial tension and rhythmic sensibility. His work is often seen as resonating with an Eastern philosophy of reduction, where a process of continual subtraction gives rise to a deeply internalized and contemplative perceptual experience.
scroll to view the artist's CV
Solo Exhibitions
1958 Institute of Contemporary Arts, London, UK
1959 Gimpel Fils Gallery, London, UK
1960 Stone Gallery, Newcastle upon Tyne, UK
1961 Gimpel Fils Gallery, London, UK
1963 Royal Marks Gallery, New York, NY, USA; Architectural Association, London, UK
1964 Gimpel Fils Gallery, London, UK
1966 Marlborough New London Gallery, London, UK
1968 Marlborough Galleria d’Arte, Roma, Italy
1969 Galerie Semiha Huber, Zurich, Switzerland
1970 Marlborough New London Gallery, London, UK
1971 Galerie Withofs, Brussels, Belgium; Galerie Teufel, Koblenz, Cologne, Germany
1972 Galerie Löhrl, Frankfurt, Germany
1974 Marlborough Fine Art, London, UK
1975 Marlborough Fine Art, London, UK
1979 Galerie der Spiegel, Cologne, Germany
1982 Lung Men Art Gallery, Taipei, Taiwan
1984 "No Beginning No End – Existence and Variation Series", Spring Gallery, Taipei, Taiwan
1995 Home Gallery, Taipei, Taiwan
2007 "The Scenery of Mind – Selected Exhibition of Richard Lin", Jia Art Gallery, Taipei, Taiwan
2009 Xue Xue White, Taipei, Taiwan; Jia Art Gallery, Taipei, Taiwan
2010 "Limit: Richard Lin Art Exhibition 2010", Xue Xue White, Taipei, Taiwan; Jia Art Gallery, Taipei, Taiwan; "Homage to the Master One is Everything", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2011 Jia Art Gallery, Taipei, Taiwan
2013 "Taiwanese Minimalist Master – Richard Lin", Jia Art Gallery, Taipei, Taiwan
2014 "One Day Museum – Richard Lin", Taipei, Taiwan
2015 "An Instant Is Eternity – 2015 Exhibition of Richard Lin: Donations to the Museum Collection", Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2019 "Richard Lin Show-Yu: A Retrospective of Major Works from the 1950s to 70s", Bonhams, Hong Kong, China
2023 Hive Center for Contemporary Art, Shanghai, China
2024 "Approaching the Truth: Richard Lin Solo Exhibition", FRIEZE SEOUL | FRIEZE MASTERS, Seoul, South Korea
Group Exhibitions
1958 "The 25th Anniversary of International Artists Association", RBA Galleries, London; "Three Chinese Painters", AIA Gallery, London; "Famous Masters", Leicester Galleries, London; "British Contemporary Abstract Art", ICA, London
1961 "International Watercolor Biennial", Brooklyn Museum, NY, USA
1962 "Compass 2", Van Abbemuseum, Eindhoven, Netherlands
1963 "Seven Young British Painters", Kunsthalle Basel, Switzerland; "Chinese Modern Art", Städtisches Museum Leverkusen, Germany; "British Artists", Gimpel Hanover Galerie, Zurich, Switzerland; "Liverpool Biennial", Walker Art Gallery, UK
1964 "documenta III", Kassel, Germany; "Pittsburgh International Art Exhibition", Carnegie Institute, PA, USA; "Contemporary British Painters", Kunstverein Düsseldorf, Germany; "Metropolis", Whitworth Art Gallery, Manchester, UK; "Dissection", Leicester Museum, UK; "Contemporary British Artists", Albright-Knox Art Gallery, NY, USA; "New Painting", Arts Council England, UK
1965 "British Eye", Marlborough-Gerson Gallery, NY, USA; "Prints Exhibition", Marlborough New London Gallery, UK
1966 "Open Painting Exhibition", Ulster Museum, Belfast, UK; "Opening", Richard Demarco Gallery, Edinburgh, UK; "Relief Sculpture Exhibition" & "Prints Exhibition", Marlborough New London Gallery, London, UK; "Exhibition of the Alcoa Collection of Contemporary Art", Carnegie Institute, PA, USA; "Modern Prints Exhibition", Museum Boijmans Van Beuningen, Netherlands; "White and White", Kunsthalle Bern, Switzerland
1967 "Young British Artists", Galerie Alice Pauli, Switzerland; "Young British Prints Exhibition", Galerie d'art Moderne, Basel, Switzerland; "Spring", Bradford City Art Gallery, UK; "Edinburgh 100", Scottish National Gallery of Modern Art, UK; "Transatlantic Prints: 1960-67", Laing Art Gallery & Museum, UK; "Liverpool Biennial", Walker Art Gallery, UK; "Carnegie International", Carnegie Institute, PA, USA
1968 "Four London Artists", Marlborough-Gerson Gallery, NY, USA; "British Boutique", Kunstverein in Hamburg, Germany
1969 "Exhibition on the Queen Elizabeth II Cruise Ship", Cunard-Marlborough London Gallery, UK; "Industrial Art", Royal College of Art, London, UK
1970 "White Game", Galerie Withofs, Brussels, Belgium; "International Art Exhibition", Kunsthalle Basel, Switzerland
1971 "International Art Exhibition", Kunsthalle Basel, Switzerland
1972 "Monochrome Structure", Galerie Teufel, Cologne, Germany; "International Print Biennale", Krakow, Poland
1973 "Contemporary British Painters and Sculptors", Marlborough-Godard Gallery, Toronto, Canada
1981 "International Art Exhibition", Cologne, Düsseldorf, Germany
1982 "Overseas Chinese Painters", Hong Kong Museum of Art
1985 "Chinese Modern Sculpture Exhibition", Taipei Fine Arts Museum, Taiwan
1986 "Abstract Art Exhibition", Louisiana Museum of Modern Art, Denmark
1987 "Pure Abstraction - Art Exhibition", Museum of Modern Art, Israel
1989 "Contemporary Abstract Art", Museum of Modern Art, Wales, UK
2015 "Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan", Liang Gallery, Taipei, Taiwan
2019 "A Moveable Line", Art Basel Hong Kong
2021 "Places of Being Space and Materiality in Taiwan's Avant-Garde Art, 1980-2021", National Taiwan Museum of Fine Arts, Taiwan; "On the Passage of a Few persons through A Brief Moment in Time", The Museum of NTUE, Taipei, Taiwan
2023 "The Subtle Resonance of Shanshui: Re-immersing in Painting", Tainan Art Museum, Taiwan; "The Eye of Abstraction", National Center of Photography and Images, Taipei, Taiwan
2024 "A Class on Space: Point and Line to Plane", Taipei Fine Arts Museum, Taiwan
2025 "Modern Chinese Landscape Art and Modern Abstract Minimalist Art", Art Basel Hong Kong, Liang Gallery
Collection
Manchester, UK
Norwich Museum, Norwich, UK
Glasgow Museum and Gallery, Glasgow, UK
Department of Recreation and Amenity, Middlesborough, UK
Fitzwilliam Museum, Cambridge, UK
Clare College, Cambridge University, Cambridge, UK
Christchurch, Oxford University, UK
Exeter University, Exeter, UK
Charterhouse School, UK
Museum of Modern Art, Wales, UK
Städtisches Museum Leverkusen, Leverkusen, Germany
Museum Moenchengladbach, Moenchengladbach, Germany
Gemeentemuseum Den Haag, The Hague, Netherlands
Museum Boijmans Van Beuningen, Rotterdam, Netherlands
Galleria Nazionale d'Arte Moderna, Roma, Italy
Goteborges Konstmuseum, Goteborges, Sweden
Foundation Sara Hildon-Gurothin, Finland
Wäinö Aaltonen Museum of Art, Helsinki, Finland
Louisiana Museum of Modern Art, Denmark
Museu de Arte de São Paulo, São Paulo, Brazil
Regional de Olinda Museum, Brazil
Art Gallery of Ontario, Toronto, Canada
McCrory Stores Corporation, New York, NY, USA
Brooklyn Museum, New York, NY, USA
Albright-Knox Art Gallery, Buffalo, NY, USA
Alcoa Collection of Contemporary Art, Pittsburgh, PA, USA
Walker Art Center, Minneapolis, MN, USA
Carnegie Institute, Pittsburgh, PA, USA
Hirshhorn Museum and Sculpture Garden, Washington, USA
National Palace Museum, Taipei, Taiwan
Taipei Fine Arts Museum, Taipei, Taiwan
National Museum of Fine Arts, Taichung, Taiwan
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
Museum of Modern Art, Israel
Wang Yi
Born in 1991, Shanghai.
Lives and works in Shanghai.
Wang Yi’s artistic practice originates from painting and expands through a variety of media—including sculpture, installation, text, and collage—using symbolic forms, colors, and materials as carriers to explore the broader potential of abstraction beyond questions of style. The artist believes that all social phenomena—past, present, and future—can be expressed through elementary geometric forms, and summarizes his creative philosophy as “Grand Geometry.”
As a member of China’s new generation of abstract artists, Wang Yi regards abstraction as a vessel for ideas: phenomena and thought ultimately manifest in distinct forms that respond to issues of nature and the city, historical culture, and social structure. He conceals his responses to reality within abstract surfaces, allowing them to converse with China’s unique cultural context and to generate new layers of meaning through that encounter.
Wang has won or been nominated for several awards, including ‘Porsche 2020-2021 Young Chinese Artist Biennial Prize’(2021), ‘Tomorrow Sculpture Award’(2021), ‘John Moores Painting Prize (China)’(2016), ‘Luo ZhongLi Scholarship’(2016), and ‘Creative M50 Creative Prize’(2012).
scroll to view the artist's CV
Solo Exhibitions :
2025
‘The Shape Salon’, Mandarin Oriental, Guangzhou, China
‘TINGBAN Shanghai Narrative: The Pavilion of Mirage’, Anfu275, Shanghai, China
2024
‘Glow Within and Beyond’，ORVEDA，Shanghai，China
2020
‘Dark Light, Bright Night’, AIKE, Shanghai, China
2019
‘Flame from Void: Wang Yi Solo Project’, HOW Art Museum, Shanghai, China2018
‘Geometry Rules All Phenomena’, Hive Centre for Contemporary Art, Shenzhen, China ‘Inside and Outside : Claude Viallat & Wang Yi’, HdM Gallery, Beijing, China
2017
‘A Thousand of Layers : Wang Yi Solo Project’, Asia Now, AIKE, Paris, France
2016
‘Yi Ri Guang : Wang Yi Solo Exhibition’, AIKE, Shanghai, China2015
‘Mirror : Wang Yi Solo Project’, Art Taipei, AIKE, Taipei, Taiwan2014
‘Wang Yi’, HdM Gallery, Hangzhou, China2013
‘Zhang Peiyun & Wang Yi Duo Exhibition: Dream’, M50 Art Space, Shanghai, China
2012
‘Nothing’, J : Gallery, Shanghai, China
Group Exhibitions :
2025
‘The Cabinet of Wonder’, X Museum, Shanghai, CN
‘The Future To Be’, Lenovo Tianjin Future Center, Tianjin, China
‘Into The Trance’, The Bund·City Hall Plaza, Shanghai, CN
‘The Exhibition of Annual of Contemporary Art of China’, Duolun Museum of Modern Art, Shanghai, CN
‘NOV. 10, 2001’, ZiWU Gallery, Shanghai, CN
‘100 Years of Chinese Abstraction’, ZZW Art Center, Foshan, CN
‘The Breathing Corridor’, This That Gallery, Dusseldorf, DEU
‘Gaze of Matter’, Crossing Art, Shanghai, CN
‘Quantum–Revive: Shanghai Urban Space Art Season 2025’, Shanghai, CN
2024
‘Incarnation’, Song Art Museum, Beijing, CN
‘Timeless Masterpieces: Contemporary Chinese Art Through the Age’, New Art Museum, SG
‘The Age of Human Wisdom – the 3rd Jinan International Biennale’, Shandong Museum of Art, Jinan, CN
‘Exhibition of Precious Collection from Art Museums around China’, National Art Museum of China (NAMOC), Beijing, CN
‘Metaphysics: Restart’, Being Art Museum (BAM) , Shanghai, CN
‘Time of Alloy – PORSCHE Young Chinese Artist Of The Year’, Phillips Asia HQ, Hongkong, CN
‘Unseen Orchestra’, MakeRoom, Los Angeles, US
‘The One Fundamental Emptiness’, AIKE, Shanghai, CN
‘Curator for the Day: Season 2’, China Art Museum, Shanghai, CN
‘The New Narrative as Method’, Yangpu District Culture and Art Center (YCAC), Shanghai, CN
‘Magneticfield: Contemporary Art Invitational Exhibition’, Lishui Art Museum, Lishui, CN
‘Time·Durée’, YIBO Gallery, Shanghai, CN
‘PARACEZEGADI’, Shanghai Flim Group Art Space, Shanghai, CN
‘Equal Value’, Riverside, Hangzhou, CN
‘Glow Within and Beyond’, Orveda, Shanghai, CN
‘Glass Flows in Myriad Forms’, Museum of Marisfrolg HQ, Shenzhen, CN
‘Time of Alloy : PORSCHE Young Chinese Artist Of The Year’, Phillips Asia HQ, Hongkong, CN
‘DREAM xiàn chăng’, Westbund Art & Design Fair, Shanghai, CN
2023
‘Projection’, SiFang Art Museum, Nanjing, CN
‘Upstairs Cities’, ASE Foundation, Shanghai, CN
‘Greater Than Abstraction’, Space 185 of Bund Art Center, Shanghai, CN
‘De/Construct: Tsuyoshi Maekawa, Soonik Kwon, Wang Yi’, Whitestone Gallery, Hongkong, CN
‘METro-BIOSIS : Shanghai Urban Space Art Season 2023’, Shanghai, CN
‘My Generation : The Art of Post-90s’, Shanxi Contemporary Art Museum, Taiyuan, CN
‘OffSide – Youth Artists Breaking and Practicing’, Yixin Art Museum, Yixin, CN
‘Primordial dream’, Blank Gallery, Tokyo, JP
‘Beauty without YU’, YIBO Gallery, Shanghai, CN
‘We love Korea’, Whitestone Gallery, Seoul, KR
‘We love Singapore’, Whitestone Gallery, Singapore, SG
‘Rear Wave: New Faces of New Paingting’, Line Gallery, Beijing, CN
‘Greatness in Simplicity – Chinese Contemporary Art’, Hanmo Art Center, Beijing, CN
‘Asian Dialogue: Light in Air’, artnow, Shanghai, CN
2022
‘Light/Reflect – 19TH Sea Horizon Painting and Sculpture Exhibition’, China Art Museum, Shanghai, CN
‘REGENERATE: Porsche Young Chinese Artist of the Year – Winners' Exhibition’, Shanghai Exhibition Center, Shanghai, CN
‘Reconstituted Neon’, Shanghai Style Art Museum, Shanghai, CN
‘Neon Wonderland’, chi K11 Museum, Shenyang, CN
‘Group Show: Five Chinese Artists’, 39+ Art Space, Singapore, SG
‘Light is A verb’, PTT Space, Taipei, TW
‘Appeal to the Infinite Within’, Hive Centre for Contemporary Art, Beijing, CN
‘The Human World’, Blank Gallery, Shanghai, CN
‘Encounter: Asian Abstract Art ’, Holly’s Space, Shanghai, CN
‘Gazing into the Patio: the Juxtaposition of Diversity and Inclusiveness’, Garden ZhangYuan, Shanghai, CN
‘Mickey: The Ture Orignal & Ever Curious’, UCCA Lab, Beijing, CN
2021
‘Tokyo Torch: Collection from Mitsubishi Estate’, Tokiwabashi Building, Tokyo, JP
‘Spectacles: Porsche Young Chinese Artist of the Year – Nominee Artists' Exhibition’, Shanghai Exhibition Center, Shanghai, CN
‘Beautiful Home: 4TH Powerlong Art Award’, Powerlong Museum, Shanghai, CN
‘Candy Boom – Young Artist New Power’, chi K11 Museum, Guangzhou, CN
‘Towards a New Land: Tales of the Ancient Pavilion’, Canglangting (The Surging Wave Pavillion), Suzhou, CN
‘DS 9: Encountering Aesthetics’, UCCA Lab, Beijing, CN
‘Colour Provokes a Psychic Vibration’, HdM Gallery, London, UK
‘The World is Yours ?’, YIBO Gallery, Shanghai, CN
‘Night & Day – Abstraction 2020 Part III’, YIBO Gallery, Shanghai, CN
‘It’s Not a Wave…’, Shanghai Gallery of Art (SGA), Shanghai, CN
‘The Unbearable Blue of Being’, TX art space, Shanghai, CN
‘Other Lands – Bund Space Art Season’, Brunner Mond&Co Building, Shanghai, CN
2020
‘Painting and Existence: Chinese, Japanese and Korean Abstract Painting Travelling Exhibition’, Tang Contemporary Art, Beijing, CN‘Wish You a Sweeeeeet Life’, Dundee Contemporary Art Museum, Foshan, CN
‘Beautiful is Relentless: Aston Martin’, Woods Museum, Beijing, CN
‘Fusion and Innovation’, 2020 Exhibition of Contemporary Art in Shanghai, Lingang Contemporary Art Museum, Shanghai, CN‘The Salvation of Shanrazad: Memo of the New Generation Painting’, Hive Center for Contemporary Art, Beijing, CN‘Abscission of Appearance’, Cube Art Center, Shanghai, CN‘The Signature Art Prize’, ARTCLOUD, Shenzhen, CN‘Coexist’, Antenna Space & Objective, Shanghai, CN‘Winter Group Show’, HdM Gallery, London, UK
2019
‘Chemical Nature: Hui Weiyi & Wang Yi’, TANK, Shanghai, CN
‘The Atonal River’, AIKE, Shanghai, CN‘New Abstraction: Chapter 2’, HdM Gallery, Beijing, CN
‘Light Profoundness: The worldly of East Asian Artists’, Hive Centre for Contemporary Art, Beijing, CN
‘Pal(ate)/ette/’, Shanghai Gallery of Art (SGA), Shanghai, CN‘Connection’, RONGYI Art Museum, Shanghai, CN
2018
‘Brilliant City’, online exhibition, David Zwirner, Hong Kong, CN
‘Spiral Stairs’, AIKE, Shanghai, China
‘The Clouded Peach Blossom Spring’, Hive Centre for Contemporary Art, Beijing, CN
‘Visual Graphy’, Liang Project, Shanghai, CN
‘After Sunset’,Galerie Liusa Wang, Paris, FR
2017
‘No Commission: Shanghai’, Shanghai Exhibition Center, Shanghai, CN
‘All Happens after Sunset’, MoCA Pavilion, Shanghai, CN‘Degree Zero of Art: The Rational Expression of Abstract Art’, Hive Center For Contemporary Art, Beijing, CN
‘Full of Tigers on the Roof’, Hive Center for Contemporary Art, Beijing, CN
‘HanFeng Collection Exhibition’, Aman Art Space, Shanghai, CN
2016
‘Luo Zhongli Scholarship’ Exhibition, Art Museum of Sichuan Fine Arts Institute, Chongqing, CN
‘John Moores Painting Prize (China) 2016’, Minsheng Art Museum, Shanghai, CN
‘The Power of Painting - After 80 Artists' Nomination Exhibition’, Hive Center for Contemporary Art, Beijing, CN‘Abstract China 2016’, Ming Yuan Art Museum, Shanghai, CN
‘Forest’, Wanying Art Museum, Shijiazhuang, CN‘The Working Of Non – Figurative System’, Rightview Art Museum, Beijing, CN
‘New Capital: Huang Yu Collection Exhibition’, Chengdu Museum of Contemporary Art, Chengdu, CN‘Visual Animals – Zhou Chong Collection Exhibition’, Mingo, Shanghai, CN
‘The Suggestive Wheel: An Era of Metaphors’, Boxes Art Space, Shenzhen, CN
‘VARIATIONES’, 10 Corso Como Gallery, Shanghai, CN‘Between You and Them – The Identity of Self, Object and Place’, Australian China Art Foundation, Shanghai, CN‘Pursuit of Excellence: Artists from Academy the First National – Wide Tour Exhibition of Oil Painting’, National Art Museum of China (NAMOC), Beijing, CN‘New Geometrical Abstraction’ Art Basel Hong Kong 2016, Hadrien de Montferrand Gallery, Convention and Exhibition Centre, Hong Kong, CN
2015
‘Yuan Yi: Chinese New Abstract Art Exhibition’, the OCT Space of Alternative Culture Making, Shenzhen, CN
‘The Fictitious Present: Inter– Youth Painting Exhibition of International Art Institutes’, China Academy of Art Museum, Hangzhou, CN‘Small is Beautiful’, Jewelvary Art & Boutique, Shanghai, CN‘My House is Your House’, Shanghai Oil-painting & Sculpture Institute (SPSI), Shanghai, CN
‘To Be Confirmed’, Jewelvary Art & Boutique, Shanghai, CN
‘The Boundaries of Order’, Hive Center for Contemporary Art, Beijing, CN
‘Feeding the Future—Variations’, Milano EXPO, Unicredit, Milano, IT
2014
‘Winter Group Show’, AIKE, Shanghai, CN
‘Study’, Jewelvary Art & Boutique, Shanghai, CN‘New Generation of Abstract Art’, Si Shang Art Museum, Beijing, CN
‘Art in the City’, chi K11 Museum, Shanghai, CN
‘Culture - September – Zhejiang Province Exhibition of Fine Arts’, Ningbo Museum of Art, Ningbo, CN‘Fiction – The Young Artists Exhibition’, Exhibition & Conference Center WTCZ, Hangzhou, CN
‘New Abstraction’, Hadrien de Montferrand Gallery, Beijing, CN
‘Creative M50 2013’, M Art Space, Shanghai, CN
‘The Original File’, J:GALLERY, Shanghai, CN‘Century Star Exhibition’, The Art Museum of China Academy of Art, Hangzhou, CN
‘The Measurement of Painting’, Xuhui Art Museum, Shanghai, CN
2013‘From University to Universe — Fresh Vision 2013’, OCT Contemporary Art Terminal (OCAT), Shenzhen, CN‘The Youth on Hands: 2013 CAA Excellent Graduation Works Exhibition’, The Art Museum of China Academy of Art, Hangzhou, CN‘Will and Representation’, J:GALLERY, Shanghai, CN
‘Critical Point’, J:GALLERY, Shanghai, CN
‘YOUTH’, No.6th East Street Contemporary Art Center, Hangzhou, CN
2012
‘CREATIVE M50 – 2012 Annual Creative Prominent Awarded Works Exhibition’, M Art Center, Shanghai, CN
‘Excavation Discovery – Exhibition of the Newcomers’, Chinese Academy of Oil Painting, Chinese National Academy of Arts, Beijing, CN‘Century Star Exhibition’, The Collection Showroom of China Academy of Art, Hangzhou, CN
‘Works — Heart Beating’, Minneapolis College of Art and Design (MCAD), Minneapolis, US
‘Discover the body online’, CCC Gallery, Shanghai, China
2011
‘The Sixth Century Star Exhibition of China Academy of Art’, Silver Medal Award, The
Art Museum of China Academy of Art, Hangzhou, CN‘The Fifth Zhejiang Province Youth Art Exhibition’, Taizhou Calligraphy and Painting Institution, Taizhou, CN
‘National Young Artists Recommending Exhibition’, Ming Yuan Art Center, Shanghai, CN
2010
‘CREATIVE M50 – 2010 Annual Creative Prominent Awarded Works Exhibition’, Epson Imagine Gallery, Shanghai, CN
‘The Fifth Century Star Exhibition of China Academy of Art’, Silver Medal Award, The Art Museum of China Academy of Art, Hangzhou, CN
About the Curator
Alfonse Chiu
Alfonse CHIU (b. 1997) is a writer, designer, and curator based between Taipei, Singapore, and Shanghai. Working across contemporary art, architecture, performance, and cinema, Chiu's research-based practice seeks to excavate the subterranean processes and infrastructures underpinning capital and ideological flows in post-colonial South/East Asia. Through exhibitions, publications, and performances, Chiu identifies how regimes of power and knowledge manifest through the production and circulation of visual, material, and spatial cultures to structure social definitions of value, property, and desire.
They have presented curatorial projects at Khoj (New Delhi), Tainan Art Museum (Tainan), Medialab Matadero (Madrid), PACT Zollverein (Essen), Loop Festival (Barcelona), DECK (Singapore), Fotoaura Institute of Photography (Tainan), among others. Their texts have been commissioned by institutions including the Asian Film Archive, Berlin International Film Festival, Sharjah Architecture Triennial, Nieuwe Instituut, and the Nasher Sculpture Center; and published in periodicals including ArtReview, ArtAsiaPacific, Ocula, and Hyperallergic. They were the fall 2021 e-flux journal fellow, a 2025 European architecture platform LINA fellow, and a cohort laureate of the inaugural Young Climate Prize 2023, organized by The World Around.
Chiu holds a Master of Environmental Design from the Yale School of Architecture and is convener of the Tropical Studies Working Group at the Yale University Whitney Humanities Center.
關於 PTT SPACE
PTT的名字來源於台灣常用的論壇名，取其論壇開放討論的特性，希望能創造一個開放且不斷有新議題的藝術平台。這個空間承載了台北八大畫廊將近40年的歷史，並在這樣的基礎上生發出新的觀念。此空間設立在台北市東區巷內的老公寓中，伴隨周遭濃厚的生活氣息，期待空間外的日常與空間內的展覽相呼應，藝術和生活合而為一。
The name of PTT inspired by a popular forum in Taiwan featured an open discussion with a wide range of topics. We hope to create a space that includes any possibilities for the arts. This space is an exten- sion of the 40 years old Pata Gallery, located in an old apartment in the East District of Taipei and sur- rounded by Taipei's messy yet nostalgic ambiance.
PTT SPACE
https://www.facebook.com/pttspace0
https://www.instagram.com/ptt_space/
Telephone
+886 2 2771 - 0917
pttspace@gmail.com
Location
台北市松山區敦化南路一段100巷7弄31號一樓
10557, Taipei City, Songshan District, Alley 7, Lane 100, Section 1, Dunhua South Road, No.31, 1F
营业时间 Opening Hours
Tue. - Fri. 12:30 - 18:30
Sat. 12:30 - 19:00
(Sun. – Mon. Closed)
