展会信息

艺博会|清影参展2026北京当代艺术博览会|展位E5

 作者：本站编辑  2026-05-17 11:46:39  0

清影艺术空间即将参展2026北京当代艺术博览会“陆迹”，呈现宾雅、陈栋帆、大卫·伊兹霍夫、丁人远、黄佩姗、李依凡、美艾、王宇琛八位艺术家的作品，展位E5。期待与您北京相见！

Inna Art Space is pleased to announce our participation in Beijing Dangdai Art Fair 2026 “LAND TRACE”, presenting works by Bignia Wehrli, Chen Dongfan, David Ilzhöfer, Ding Renyuan, Peishan Huang, Li Yifan, Mie Yim, and Melting Wang,at Booth E5. Looking forward to seeing you in Beijing!

清影艺术空间 Inna Art Space

2026 北京当代艺术博览会

展位 Booth: E5

时间 Duration: 2026.5.21 - 5.24

艺术家 Artists:

宾雅 Bignia Wehrli

陈栋帆 Chen Dongfan

大卫·伊兹霍夫 David Ilzhöfer

丁人远 Ding Renyuan

黄佩姗 Peishan Huang

李依凡 Li Yifan

美艾 Mie Yim

王宇琛 Melting Wang

贵宾预览 VIP Preview

5.21 (周四｜Thu), 13:00-19:00

5.22 (周五｜Fri), 11:00-19:00

公众开放日 Public Days

5.23 (周六｜Sat), 11:00-19:00

5.24 (周日｜Sun), 11:00-18:00

地址 Location：

北京全国农业展览馆11号馆（北京市朝阳区东三环北路16号）

Hall 11, National Agricultural Exhibition Center (No. 16 North Road, East 3rd Ring Road, Chaoyang District, Beijing)

宾雅 Bignia Wehrli

给海的脚注（行走） Footnote to the Sea (Walking)，2026

收藏级喷墨打印 Archival inkjet print

55 × 79 cm

1/10 + 2AP

她沿海而行，右脚固定一个光点。掠过。步履的波浪。她变换步伐——轻舞，踏地，跃起——黎明里，旋起一行行光的弧线。

She walks along the sea, a light at her right foot. In passing. The waves of her walking. She varies her step—dancing lightly, stomping, leaping— leaving swirls of light in the dawn.

宾雅，出生于瑞士，现生活和工作于柏林和星星山（瑞士）。她曾在德累斯顿美术学院（德国）、巴黎国立高等美术学院（法国）和中国美术学院（中国）学习艺术。通过自制的仪器，她的创作将行动和空间的运动转化成符号。她的作品已经在国际上多次展出，包括2024 年在杭州清影艺术空间的个展“一条路，任何一条路”，2022年在浙江美术馆的第四届杭州纤维艺术三年展“缓存在”，2022年在柏林Kindl当代艺术中心举办的“道法柏林，而游于外”，2020年在普罗夫迪夫（保加利亚）Sariev画廊的“Magia Naturalis”，2018年在温特图尔艺术馆举办的个展“持在手上的地平线”。

Bignia Wehrli, born in Uster, Switzerland, is an artist based in Berlin and Sternenberg (Switzerland). She studied art at the Dresden Academy of Fine Arts at the École des Beaux-Arts Paris and at the China Academy of Art Hangzhou (China). Bignia Wehrli’s work translates actions and spatial movements into signs using specially developed instruments. Her work has been shown internationally in exhibitions including in 2024 her solo show «A way, any way», Inna Art Space, Hangzhou, in 2022 «Being Theoria: The 4th Hangzhou Triennial of Fiber Art», Zhejiang Art Museum, Hangzhou, «Forming Comunities: Berliner Wege», Kindl - Zentrum für zeitgenössische Kunst, Berlin, in 2020 «Magia Naturalis», Sariev Gallery, Plovdiv (Bulgaria) and in 2018 her solo show «Den Horizont in der Hand halten» at Kunsthalle Winterthur.

陈栋帆 Chen Dongfan

陈栋帆 Chen Dongfan

鸟影之三：穿行 Bird-Shadow lII: Passage, 2025

布面丙烯 Acrylic on canvas

300 × 200 cm

笔触在急骤的奔袭中松开了对形状的执迷，只留下掠过时的速度。一切正在穿过，尚未定型。我想要留下的不是形象——而是那道黑影刚走，我们只来得及看见它遗落在光里的痕迹。

The brushstroke, in its charge, loosens its fixation on form — leaving only the speed of passing. Everything moves through; nothing yet settles. What I want to keep is not the image, but what a dark shape leaves in the light — what we glimpse just after it’s gone.

陈栋帆，1982年生于山东，2008年毕业于中国美术学院，现生活与工作于纽约与杭州。陈栋帆的绘画实践在多样的主题与形式中不断实验，并纳入了概念、行动、场域等诸多要素，以此形成了一个复杂且坚固的创作体系。其架上绘画呈现出两条鲜明线索。一条线索里，他以叙事性的主题与稚拙感的造型来表现对现实生活的感悟；另一条线索内，他凭借表现或抽象的形式来发掘绘画语言本身的可能性。除此之外，公共空间的艺术，绘画-音乐-表演共构的现场艺术，都是他创作体系所覆盖的领域。

Chen Dongfan (b.1982, Shandong, China) graduated from the China Academy of Art in 2008. The artist presently works and lives between New York and Hangzhou. Chen’s painting practice entails a multitude of experimentation, encompassing various forms and themes, incorporating concept, action and site, among various other elements, taking these as means to substantiate a both complex and robust system of practice. The artist’s easel based painting manifests two clear practical trajectories. In the first, narrative themes and a naiveté of form are deployed to express insights into a lived reality; in the second, both expressive and abstract forms serve to uncover potentialities within painterly discourse. His practice also encompasses works produced for public space, along with collaborative happenings incorporating live painting, music and performance.

大卫·伊兹霍夫 David Ilzhöfer

大卫·伊兹霍夫 David llzhöfer

无题Untitled, 2025

布面油画 Oil on canvas

100 × 120 cm

伊兹霍夫的创作试图捕捉一种抵抗线性时间的姿态。初看往往令人错愕，这些狰狞、怪异、紧张甚至扭曲的形象，似乎凝结跌宕起伏的瞬间，又潜伏着戏剧化的汹涌。但它们或许并非心理畸变的投射，而是未被滤镜篡改的真实。

Ilzhöfer’s work seeks to capture a defiance against linear time. At first glance, his grotesque, tense, and distorted forms—seemingly frozen in climactic moments—appear charged with psychological turbulence. Yet these are not depictions of mental aberration, but unedited truths untainted by filters.

大卫·伊兹霍夫，1990年生于德国，现生活和工作于慕尼黑。他于2022年毕业于慕尼黑美术学院，获得艺术学位（荣誉）。伊兹霍夫的绘画与雕塑作品将神话与日常结合在一起，探索隐匿的叙事与情感。在广泛的视觉文化渗透下，他的作品挑战当代人的认知与视角，在矛盾与错杂中寻求平衡，在固态的背后延展时间。

David Ilzhöfer (b.1990, Germany) is an artist based in Munich. He studied Fine Arts at the Akademie der Bildenden Künste in Munich and graduated with honors in 2022. Ilzhöfer’s paintings and sculptures intertwine myth and the mundane, excavating hidden narratives and emotions. Infused with the textures of visual culture, his works challenge contemporary perceptions, forging equilibrium within contradiction and complexity, stretching time behind solid forms, elastic and unresolved.

丁人远 Ding Renyuan

无题 Untitled, 2025

陶瓷、釉下彩 Porcelain, underglaze

17.6 × 6 × 19.8 cm

丁人远的器皿与人偶雕塑，根植于世界各地的民间艺术与部落图腾。他关注那些质朴生活方式背后的原始信仰，却不满足于复刻。经过个人语言的转化与形象的再设计，原始、稚拙却神秘不失庄严的形态从泥土中生长出来——化作一种被重新唤醒的真实。

Ding Renyuan's vessels and figures are rooted in folk art and tribal totems from around the world. He is drawn to the primal beliefs behind simple ways of living, yet never settles for mere replication. Through the transformation of his personal visual language and the redesign of forms, shapes that are primitive, naïve, yet mysteriously solemn emerge from the clay—becoming a reality reawakened.

丁人远，1990年生于湖南长沙，现工作生活于广东珠海。他在2013年毕业于北京师范大学珠海分校设计学院，获文学学士学位；2016年毕业于湖南科技大学艺术学院，获艺术学硕士学位。在丁人远近年的创作中，日常中的荒诞经由个人想象被戏剧化地表达，直接的画面看似俏皮、又或许危机四伏。他较多关注民俗文化的表现形式，并将其与自身直觉结合，主要以陶瓷和绘画作为媒介探索流行世界中的自我行动。

Ding Renyuan (b.1990, Changsha, Hunan), currently lives and works in Zhuhai, Guangdong. He obtained his BA in Design from Beijing Normal University, Zhuhai Campus in 2013, and his MA from the School of Art at Hunan University of Science and Technology in 2016. In his recent works, the absurdities of everyday life are dramatized through personal imagination, with seemingly playful yet potentially perilous direct imagery. He focuses on the expressive forms of folk culture, integrating them with his intuition, and primarily explores self-expression in the pop world through ceramics and painting.

黄佩姗 Peishan Huang

显现的瞬间#1A Moment Revealed #1，2025

艺术微喷，装裱于木框 Fine Art Inkjet Print, Framed in Wood

163 × 113 cm

1/3 + 2AP

在黄佩姗的摄影中，碎片被重新调度与组合，构成一种图像的再语法，在个人经验与他者痕迹之间生成新的视觉。它们不再仅作为“材料”而存在，沉积的斑驳与情感的毛边让它们成为时间的存档、混杂记忆的容器、与文化历史之间一种不可言说的媒介。

In Peishan Huang's photographic practice, fragments are rearranged and combined to create a new visual syntax, generating a fresh perspective between personal experience and the traces of others. They no longer exist solely as "materials"; instead, the patina of wear and the emotional edges transform them into an archive of time, a vessel of mixed memories, and an ineffable medium of cultural history.

黄佩姗，1994年生于云南大理，是一位工作和生活于上海和纽约的跨媒介艺术家。她在2018年毕业于中国传媒大学广告学院并获学士学位，于2022年取得美国马里兰艺术学院纯艺术硕士学位。黄佩姗的创作以摄影、图像、柔性雕塑及综合材料的场域特定装置为主要媒介，探索物理景观与情感景观之间的动态互文，以及物件与空间的诗意共振。近期，她的研究聚焦于人造自然与空间叙事，以及其在当代语境中的象征与实践意义。

Peishan Huang (b.1994, Dali, Yunnan) is a multimedia artist based between Shanghai and New York. She graduated from Communication University of China with a BA in 2018, and received her MFA in Fine Art from Maryland Institute College of Art in 2022. Working across photography, moving image, soft sculpture, and site-responsive installations, her practice investigates the interwoven relationship between physical and emotional landscapes. She is particularly drawn to the poetic potential of objects and space, using material and form to evoke layered narratives. Recently, her research has focused on artificial nature and spatial storytelling, examining their symbolic weight and functional roles within contemporary culture.

李依凡 Li Yifan

春途Journey in Bloom，2025

布面油画 Oil on canvas

200 × 140 cm

花朵、棘刺与蜷缩的女孩在笔触间彼此交融，在流动的边缘与松散的轮廓中，与异构的细节一同构成了浪漫自由而又静谧克制的春之图景。

Flowers, thorns, and a curled-up girl blend into one another amid the brushstrokes. Within flowing edges and loose contours, together with heterogeneous details, they compose a spring vision that is at once romantic and free, yet still and restrained.

李依凡，1996年出生于浙江丽水，现居杭州。本硕博毕业于中国美术学院油画系，曾就读于德国汉堡美术学院。李依凡的创作围绕身体、感知与世界之间相互渗透的关系展开，她常以身体、植物、水域、枝刺、螺号与眼睛等形象，构筑介于现实与梦境之间的绘画空间。在她的画面中，身体并非固定的主体，而是在色层、线条、边缘与环境的牵引中不断变形、舒展与重新定位。她的作品在柔软与尖锐、亲密与距离、平衡与失衡之间展开，使内在感知逐渐成为一种可被观看的结构。

Li Yifan, born in 1996 in Lishui, Zhejiang, currently resides in Hangzhou. She completed her Bachelor's, Master's, and Doctoral degrees in the Oil Painting Department at the China Academy of Art, and previously studied at the Hochschule für bildende Künste Hamburg. Li’s practice explores the porous relationship between the body, perception, and the world. Through recurring images of bodies, plants, water, thorns, conch shells, and eyes, she constructs pictorial spaces that move between reality and dream. In her paintings, the body is not a ﬁxed subject, but a form continually shaped and repositioned by layers of color, line, edge, and environment. Her work unfolds between softness and sharpness, intimacy and distance, balance and disorientation, allowing sensation to gradually take on a visible structure.

美艾 Mie Yim

89，2020 - 至今 Ongoing

粉彩画于手工纸上 Pastel on Shizen Paper

29 × 23 cm

在美艾的绘画当中，形象的内部和外部难分彼此，具象和抽象争抢着画布。于是，画面变成了一个矛盾的集合体：超饱和的颜色和柔和色调变化杂糅在一起，线条、圆点、尖峰的笔触交相现身——美艾的作品是危险而迷人的所在。

In Yim's paintings, the interior and exterior of the imagery are indistinguishable, and figuration and abstraction compete for space on the canvas. Thus, the image becomes a contradictory collection: supersaturated colors and soft tonal variations mixed, with lines, dots, and peaky brushstrokes appearing and disappearing in turn. Yim's works are both dangerous and captivating.

美艾，1963年生于韩国首尔，现生活和工作于纽约。鲜艳色彩与戏剧性内容的并置是其美感理念的基本特征——而这种美感几乎总是伴随着潜在的恐怖感。美艾的表达方式连接了诸多引人注目的二元对立：明亮与黑暗、人工与有机、秩序与混乱、和谐与暴力。

Mie Yim(b.1963, Seoul, S. Korea) is an artist based in New York. The juxtaposition of brilliant colors and dramatic content is a fundamental feature of the artist's notion of beauty-which is almost always accompanied by an underlying sense of horror. Yim's mode of expression bridges compelling dichotomies: luminosity and darkness, artificiality and organic matter, order and chaos, harmony and violence.

王宇琛 Melting Wang

王宇琛 Melting Wang

双重辐射 - 土地切片画 Dual Radiation – Land Slice Painting, 2025

木板上综合材料，土，乳胶，焊锡，光栅贴纸

Mixed media on board, soil, latex, solder, lenticular sticker

180 × 130 cm

王宇琛的作品往往在反复操作与回应材料的过程中逐步生成具体形态，而非预先完整设想。焊锡从画面中心向外绘制放射状结构，呈现光的循环，同时延伸出介于微生物形态与电路节点之间的小型生物结构。这些扩散性线条与迷彩图案交叠，使画面在构建与生成之间持续展开。

In Melting Wang's works, form emerges gradually through repeated actions and material negotiation, rather than from a fully predetermined design. Solder is drawn radially from the center of the composition, forming an out-ward-expanding structure that suggests a circulation of light. From this core extend small organic forms that hover between microbial organisms and circuit nodes. These dispersive lines overlap with the camouflage pattern, allowing the image to unfold continuously between construction and generation.

王宇琛，1990年生于内蒙古，现工作生活于北京。他于佛罗伦萨美术学院获艺术学士学位，后于米兰布雷拉美术学院学习并取得艺术硕士学位。王宇琛的作品涵盖影像、装置和雕塑等多种媒介，他的作品多以彼此关联的系列形式呈现。他的实践植根于技术进化、生态失衡与文化断裂交织的当下，关注人类与自然、技术、身体之间的再连接，并由此展开关于修复与进化的开放性想象。利用3D打印、数字建模等技术，与天然材料融合、嫁接，构建出理想化的人造景观系统，作为实践中的“生态修复试验田”。在这些景观中，技术物与数码物的介入与自然物、身体感知维度并置共生，构成一个跨越自然—技术—神话体系的复合关系模型。

Melting Wang(b.1990, Inner Mongolia) is a contemporary artist working across video, installation and sculpture. Wang received his BFA from the Florence Academy of Fine Arts and MFA from the Brera Academy of Fine Arts in Milan, he currently lives and works in Beijing. Wang's works are often presented as interrelated series. Wang’s work explores the intersections of technological evolution, ecological disruption, and cultural rupture, imagining new modes of reconnection between humans, nature, and technology. By integrating digital modeling, 3D printing, and natural materials, he constructs speculative artificial landscapes—experimental sites for ecological restoration. These immersive environments combine digital objects, technical objects, organic elements, and embodied perception, proposing hybrid systems that traverse nature, technology, and myth to envision multi-species coexistence and evolving futures.

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