南柯画廊欣然宣布将呈现群展《女人所生》(Of Woman Born)，以六位有过生育经验的艺术家的作品，讨论“成为母亲”的过程对于个体而言的真实影响。展览主题来源于作家艾德里安·里奇于1976年出版的同名散文集。那是七十年代的美国，电视里循环播放着肥皂剧与汽车广告，第二波女性思潮正在街头与大学校园发酵。世界踩着电子舞曲与比拼制造的火箭蒸蒸日上，而更多的女人，准确来说“母亲”，依然不被囊括在任何“先进”的活动之内，依然在漫长的白日呆在城郊的房子里，照看孩子，准备晚餐。
Nan Ke Gallery is pleased to present Of Woman Born, a group exhibition bringing together the works of six artists who have experienced motherhood. Through their practices, the exhibition considers the tangible ways in which becoming a mother reshapes an individual life. The exhibition takes its title from Adrienne Rich’s 1976 book Of Woman Born. It was America in the 1970s. Soap operas and automobile commercials flickered endlessly across television screens. Second-wave feminism was taking shape in universities and on city streets. The future seemed to arrive daily, propelled by technological optimism, consumer abundance, and the promise of progress. Yet many women—more precisely, many mothers—remained absent from these narratives of advancement. They stayed in suburban houses through the long afternoons, caring for children, preparing meals, and inhabiting forms of labor so ordinary as to become nearly invisible.
艾德里安于1953年结婚，先后生下三个儿子。身为先锋的学者与内省的诗人，她时常感到自己与当时境况下“母亲”身份之间的撕扯。在新婚时，她有浓密的深色卷发，眼窝深邃，鼻梁笔直，带一点欧洲旧家族式的端正。彼时，及膝裙、珍珠耳环与简洁的皮鞋使她看起来像是《广告狂人》之前那个年代的大学教授夫人。就是在这样的表象下，她开始思考，写下著作的开头：“All human life on the planet is born of woman.（这个星球上的所有人类生命，都由女人所生。）”
Adrienne Rich married in 1953 and gave birth to three sons. As a pioneering scholar and an introspective poet, she often found herself caught between her own sense of self and the role of “mother” as it was understood in her time. In photographs from her early marriage, she appears with thick dark curls, deep-set eyes, and a straight nose, carrying something of the composure associated with old European families. Knee-length skirts, pearl earrings, and sensible shoes made her look like the wife of a university professor from the years before Mad Men. It was beneath this seemingly familiar image that she began to think. There, she wrote the opening words of the book: “All human life on the planet is born of woman.”
“女人所生”作为一个由简单事实构成的短语，几乎立刻会令人联想到著名的《麦克白》里面女巫的预言，“...蔑视世人的力量吧，凡是女人所生者，都不能加害于麦克白”。然而，在邓西嫩城堡外，麦克德夫与麦克白展开决斗，他挥舞利剑，声称自己“并非女人所生”，而是被粗暴地从母体中提前剖出。暴君被他终结，史诗般的英雄从而诞生，代价是他的母亲不再成为人类，而是被降格为只为孕育英雄而存在的无生命组织。
遥远的呼应似乎在提醒着，自古以来，脱离母体、破坏母体，才成全孩子的个体高光，成为真正具有行动力、能够改变历史的人。为什么人类文化总是在想办法忘记自己来自母体？在艾德里安写下序言时，她用几乎不带有个人感情而又简单至极的语言戳破幻象，“女人所生”，就是这样而已。
As a phrase built from the simplest of facts, of woman born almost immediately calls to mind the witches’ prophecy in Shakespeare’s Macbeth: “...for none of woman born shall harm Macbeth.”Yet outside Dunsinane Castle, when Macduff finally confronts Macbeth, he reveals the loophole upon which the prophecy depends. Raising his sword, he declares himself not “of woman born,” but “untimely ripped” from his mother’s womb. The epic hero emerges through an act of separation. The price, however, is that the mother recedes from view: no longer a subject in her own right, she becomes little more than the site through which the hero enters the world.
The echo is distant, yet persistent. Again and again, cultural narratives seem to suggest that individuality is achieved through departure from the maternal body, that history belongs to those who sever the tie, who step beyond it, who leave it behind. Why has human culture so often sought to forget the body from which it came? Writing the introduction to Of Woman Born, Rich punctures this illusion with language that is almost startling in its simplicity, nearly devoid of personal sentiment. She returns instead to a fact: “of woman born”, and so it is.
在回忆起自己三次妊娠交织的经验时，艾德里安写下，“当我明显地、无可置疑地怀孕之后，我第一次感到自己在青春期和成年以后，不再有罪”。所有的休憩、闲坐、无所事事，所有的停滞、挣扎、无所成就，在已知怀孕的瞬间，都变得正确而寻常，变成了在孕育生命的头等大事之下被掩盖的琐事。
人类由衣着、皮肤与细胞膜组成的屏障变得不再明确，而是与另外一个独立的个体共享。谭不如（Tan Yao）的《卵》（Egg）呼应了这一过程。卵群安静地聚集，仿佛某种微型的祭坛。它们让人联想到丰收时节的供奉、庆典中的堆积，以及古老仪式中对于繁衍的想象。被钩织的卵连接在一起，柔软地伸展，如同人类都曾在一个女人的身体里，用数个月的时间缓慢展开自己。
Reflecting on the intertwined experiences of her three pregnancies, Rich wrote: “As soon as I was visibly and clearly pregnant, I felt, for the first time in my adolescent and adult life, not guilty.” Every pause, every moment of idleness, every instance of doing nothing at all; every delay, every struggle, every perceived lack of accomplishment suddenly became permissible. Once pregnancy was known, these concerns seemed ordinary, eclipsed by the greater task of carrying a new life.
The boundaries that separate one human being from another—those formed by clothing, skin, and cellular membranes—grow less certain. The self becomes shared with another independent existence. Tan Yao’s Egg echoes this process. Gathered quietly together, the cluster resembles a miniature altar of sorts. It calls to mind seasonal offerings, ceremonial accumulations, and ancient imaginings of fertility and abundance. The crocheted eggs remain connected to one another, extending softly outward, recalling how every human life once unfolded slowly over the course of months within a woman’s body.
厨房里总是有没收拾完的东西。空奶瓶，湿毛巾，半杯冷掉的咖啡，每一个小任务似乎都不值一提，爱不稀缺，但恰恰是由于其过于充盈，以至无法被单独承受。她于是写下，“我爱他们，但痛苦恰恰存在于这种巨大而无法逃避的爱之中。”
杨澜（Toba Yang）的笔触创造出了一个充满幻想的世界。鲜艳明快、甜点一样的色彩充斥画面，令人想到母亲与孩子共处的欢乐，与夜晚床头念童话故事般的温馨。然而在作品《蛋糕 iii》（Cake iii）中，当蛋糕上的奶油不断堆积，⼏乎覆盖了整个身体时，无孔不入的职责就形成了具有包裹感的质地。画很有童趣却透着荒诞的窒息感——明明身处⼀个应该被庆祝的状态⾥，却由于自我的时间和空间严重被挤压，感到喘不过气 。相对应地，《果汁》（Jus）则描绘了在陪伴中重新获得能量的瞬间。压抑与愉快于是交织，一如两条相互交织的生命。
The kitchen is always full of things left unfinished. Empty milk bottles. Damp towels. Half a cup of cold coffee. Each small task seems negligible on its own. Love is not scarce, but precisely because it is so abundant, it can no longer be held in isolation. So she writes, “I love them, but the pain lies exactly in this vast and inescapable love.”
Toba Yang builds a world saturated with fantasy. Bright, candy-like colors fill the surface of the paintings, recalling the easy happiness of mothers and children together, the quiet warmth of bedtime stories read at night. And yet in Cake iii, as cream accumulates on the cake, gradually covering the body beneath it, duty itself becomes a kind of enclosing substance. The work remains playful at first glance, almost childlike, but underneath it carries a suffocating absurdity—being inside something that should be celebratory, and still finding it difficult to breathe. Conversely, Jus depicts a moment in which energy is restored through companionship. Constraint and delight become intertwined, much like two lives bound together.
鲁香凝（Amber Xiangning Lu）的创作提供了另一种想象。《成对》（Pair）细腻地描绘了动物陶瓷玩具，在木质框的映衬下犹如窗景，使人仿佛可以透过它看到一个精致、完美的家庭结构中所潜藏的等待与不确定性。《未解》（Unsolved）将艾伦·坡的哥特文学推入了想象畅游的飞地，用对称的结构记述了她自己创作的悬疑故事。当箱式的结构被置于平台上，则立即令人联想到弗吉尼亚所说“独属于她的书桌”。独立的一方台面成为了母亲想象的飞地，却似乎也是所有能够获得的、完全的自由。
在回忆母亲时，艾德里安写道，“看着她擦地板、擦银器，我同时理解了奉献与束缚。如果不找到自己的道路，我也会被同样的模式吞没。”谭不如（Tan Yao）的《刃刃刃》（Blade Blade Blade）系列绘画似乎是对于母职中的劳作的另一种解释，作品所使用的材料来自家庭生活中被使用、磨损、遗弃的织物：床单、浴巾、手帕、参加葬礼时留下的孝布、祖母遗留的棉布，以及各种留有时间痕迹的日用品。这些布料曾经包裹身体、吸纳汗水、参与照料与告别；而她用画笔当作利刃，一刀刀划向布料，以一种手稿式的绘图方式，显现埋伏于日常的神话里的生死，复仇，别离，宿命与崇高。
In recalling her mother, Adrienne writes, “Watching her scrub the floors, polish the silver, I understood both devotion and confinement. If I did not find my own path, I too would be swallowed by the same pattern.”Tan Yao’s series drawings Blade Blade Blade reads as another way of refracting the labour of motherhood. The materials she uses are drawn from the worn, used, and discarded textiles of domestic life: bedsheets, bath towels, handkerchiefs, mourning cloths left from funerals, cotton passed down from a grandmother, and various everyday fabrics marked by time. These textiles once wrapped bodies, absorbed sweat, participated in care and farewell; and she turns her brush into a blade, cutting into them again and again, rendering—through a manuscript-like drawing gesture—the myths embedded in the everyday: death and survival, revenge and separation, fate and a kind of quiet sublimity.
二十年过去，在艾德里安的丈夫去世、孩子长大、所写的文集也即将出版时，她的外表也发生了令人不可忽视的变化。在旧照片里，她的头发变得短而凌乱，眼神温和却坚定，曾经得体精致的套装也逐渐被宽松的针织衫与灯芯绒夹克取代。经典的美国中产阶级妻子的形象脱落了，使她看起来变得如她自己所说，“作为你自己走进一个房间，而不是作为某个孩子的母亲，或某个男人的妻子。”
Twenty years later, as Adrienne’s husband has died, her children have grown, and the collected essays she has written are on the verge of publication, a change in her appearance has become impossible to ignore. In old photographs, her hair is slightly disheveled, her gaze gentle yet firm. The carefully tailored suits of her earlier years have gradually given way to loose knitwear and corduroy jackets. The classic image of the American middle-class wife has fallen away, leaving her looking, as she herself once put it, “walking into a room as yourself, not as someone’s mother, or someone’s wife.”
对于母亲来说，身体既是孕育的神殿，也是自我的投射，是在没有外界更多支援或限制时，最直白自然的抵抗场所。这样的精神在曹雨（Cao Yu）的作品中也同样闪烁，《龙头》（Dragon Head）这张摄影作品几乎占据了独立的整个空间，带来强烈的压迫感。画面中的她傲然端坐于水龙头上，西装束身，一身规矩却被肆意的姿态撕碎，俯首下的目光逆势而上地冷眼审视着你，将自己从被欣赏、被物化的角色中调换，成为了审视者。破坏的龙头下，水流飞溅，迸发出原始的生命力，放肆地朝向前方、朝向所有观者的脸、朝向远方喷涌而出。
For a mother, the body is both a temple of creation and a projection of the self; in the absence of greater support or restraint from the outside world, it becomes the most direct and instinctive site of resistance. This same spirit flickers through the work ofCao Yu. Her photographic work Dragon Headoccupies almost an entire room of its own, generating an overwhelming sense of pressure and confrontation. In the image, she sits proudly atop a faucet, dressed in a tailored suit. The strictness of her attire is undone by the unruliness of her posture. With her head lowered yet her gaze cast upward against the expected direction, she looks at the viewer with cool scrutiny, reversing her position from one who is admired and objectified to one who observes and judges. Beneath the damaged faucet, water bursts forth in every direction, erupting with a primordial vitality—surging recklessly forward, toward the faces of all who stand before it, and outward into the distance.
水流既是孕育生命的来源，也是自我创造的初始之地。由此，如艾德里安所说的“做母亲”（Mothering）的状态不再被想当然地与“母职”（Motherhood）对等，而是强调天然的爱的冲动与个体自我实现的协同。苑瑗（Yuan Yuan）的绘画同样讨论着“自我”的含义，《外来》（External）将艳丽脆弱的花束围困在极具现代感的玻璃幕墙之中，镜面空茫的天光反射着冷色调，象征被迫承担的社会角色在不可见结构中的隐匿。《花影》（Flower Shadow）与《雏菊山》（Daisy Mountain）则更加柔软，她细致地描绘纤细花瓣在空气中漂浮的形态，用腹部的投影或角落的手指提出对于生命的共生想象，以及自我向上的希望。
Water is both the source of life and the ground of self-creation. In this sense, what Adrienne calls “mothering” is no longer simply interchangeable with “Motherhood,” but instead foregrounds the convergence of an instinctual love and the individual drive toward self-realization. Yuan Yuan’s paintings similarly return to the question of the self. In External, a bouquet of vivid yet fragile flowers is confined within a sleek, modern glass façade, while a cold, mirror-like light fractures the surface, suggesting socially imposed roles suspended within invisible structures. In contrast, Flower Shadow and Daisy Mountain soften the register: she carefully traces the drifting forms of delicate petals in air, using the projection of a torso or the gesture of a hand in the corner to propose an image of co-existence with life, and an upward-striving hope of the self.
在回忆自己的孕育经历时，艾德里安也理所当然地想到她自己的母亲。她是钢琴家Helen Jones Rich，婚后为了家庭放弃了自己的事业；而父亲则是著名医生和学者。这使她对母亲的感情复杂，在爱与认同的汪洋中，混杂着愤怒与恐惧的礁石。后来她以“母惧”（Matrophobia）来形容这种感情——害怕成为自己的母亲，害怕极有才华的女人被“妻子”与“母亲”的角色吞没的事件重演。
In recalling her own experience of pregnancy, Adrienne inevitably turns to the figure of her mother. She is Helen Jones Rich, a pianist who, after marriage, relinquished her career in order to devote herself to family; her father, by contrast, is a celebrated physician and scholar. This lineage leaves Adrienne’s feelings toward her mother deeply conflicted—an ocean of love and identification scattered with reefs of anger and fear. Later, she would name this tension matrophobia: the fear of becoming one’s mother, the fear that a highly gifted woman might once again be swallowed by the roles of “wife” and “mother.”
“我们之间，没有任何一个人只是母亲或女儿，我们都是两者”。在蔡雅玲（Cai Yaling）的《波普点-白》（Polka dot-white）中，她将母亲喜欢拽下来的白发收集起来，用波普点的形式缝在黑布上。波普点是她的童年时，母亲从上海买来的一件极为时髦的衬衫上的样式。在曾经这代表着对于长大的期待，而如今，则被银发的闪光填充，象征对于母亲而言岁月的流逝。
母亲的母亲，或者说上一位母亲。人性之中，或许没有什么比两个生物学上相似的身体之间流动的能量，更充满张力。其中一个曾在另一个体内安然栖居，另一个曾历经艰辛将其诞下。在这里，既孕育着最深的亲密，也孕育着最痛苦的疏离。在充斥着先进思想的纸页间滑翔的时候，艾德里安记得自己曾想“我必须成为另一种女人”。而无可否认的是，理解依然随着岁月如期到来，使她承认，“所有女人都会带着她的母亲，即使在反叛之中”。
A mother’s mother—or, put differently, the previous mother. There is perhaps nothing in human experience more charged than the energy that circulates between two biologically mirrored bodies: one once resting safely within the other, the other having labored to bring it into being. Here, intimacy and estrangement are not opposites but coextensive conditions. As Adrienne moves through pages saturated with progressive thought, she remembers thinking, “I must become another kind of woman.” And yet, inevitably, understanding arrives with time, and she comes to admit, “Every woman carries her mother, even in rebellion.”
“我们所知道的，其实远比我们被允许知道的更多”。在文集的尾章，艾德里安写道，使用在她的孩子们上学或入睡的间隙，在厨房、书房或客厅的角落，完成了第一本聚焦于“母亲”的著作。1976 年，当《女人所生》出版时，艾德里安·里奇46岁，三个儿子正步入少年和青年阶段。在半个世纪之后，展览希望纪念这样标志性的一刻——谈不上光辉地颂扬，而仅仅是正视母亲的真实处境，并以不抱目的的视角，致敬她们“成为母亲”的选择。
“What we know is in fact far more than what we are allowed to know.”In the final chapter of her collected essays, Adrienne writes of how the book was composed in fragments—between the hours when her children were at school or asleep, in the corners of kitchens, studies, and living rooms. It was there that she completed her first work devoted to “the mother” as its central subject.
In 1976, when Of Woman Born was published, Adrienne Rich was forty-six years old, and her three sons were entering adolescence and young adulthood. Half a century later, this exhibition seeks to recall that pivotal moment—not as a form of triumphant celebration, but as a quiet confrontation with the realities of motherhood. It offers a way of looking that is not driven by resolution or purpose, but instead attends, without agenda, to the lived conditions of mothers, and to the decision—at once ordinary and irreversible—to become one.
“献给我自己的母亲，
以及所有勇敢地自愿成为母亲的女人。”
"To my own mother,
and all those who have bravely chosen to mother."
text by Roxane Fu
鲁香凝生于北京，建筑学出身。2019 年毕业于 UAL切尔⻄艺术学 院纯艺术专业，2023年硕士毕业UCL 斯莱德艺术学院雕塑专业，常驻广州及伦敦。她的作品由绘画、声音、装置等不同的媒介共同构成。通过构建介于现实与虚构之间的氛围，她将过去与现在，真实与想象混合起来，在模糊了空间界限的同时，以诗意的方式探讨生活中令人感到不确定与不安的瞬间。
Amber Xiangning Lu graduated in 2023 with an MFA in Sculpture from UCL Slade School of Fine Art. She is currently based in Guangzhou and London. Her practice explores the ambiguity of space through diverse mediums, including painting, sound, video, and installation. Conceptually, her work is grounded in her back ground in architecture, a field she studied for six years in Shanghai and Paris. By creating an atmosphere that straddles the line between reality and fiction, she interweaves the past with the present, the real with the imagined. In this process, she poetically examines mo ments of uncertainty and unease in life, while subtly dissolving the boundaries between psychological and physical spaces.
Exhibitions 2024 rooted, yet flowing (Dual Exhibition), Nan Ke Gallery, Shanghai, CN 2024 Symphony of Senses: The Resonance between the Five Senses and the World, Shanghai West Bund Art Centre N Hall, Shanghai, CN 2024 The Line of Echo, Gallery LEGUME, Chengdu, CN 2024 Elephant in the Safe? , Asylum Chapel, London, UK 2023 In Between, Entrance Space, Zhengzhou, CN 2022 Can’t Pay You to Disappear, Hüten Gallery, Shanghai, CN 2021 I want to carry my person to the pinnacle, THE SHOUTER, Shanghai, CN 2020 Slade Runners, ASC Gallery, London, UK
个展 & 双个展
2025 她的房间：异乡人，颂艺术中心，北京，中国
2024 根深亦自由，南柯画廊，上海，中国
部分群展
2026 女人所生，南柯画廊，上海，中国
2026 山中一天人间一年，A4国际驻留艺术中心，成都，中国
2026 双重房间，瑀空间，上海，中国 2025 蕴生之匣， Gallery OM，上海，中国
2025 流动与聚集，家和我，入口空间，万宁，中国
2024 共感之境：五感与世界的共鸣，西岸艺术中心 N 馆，上海，中国
2024 回声线， Gallery LEGUME，成都，中国
2024 Elephant in the Safe? , Asylum Chapel, London UK
2023 之间，入口空间，郑州，中国
2022 无法让你消失，何顿画廊，上海，中国
2021 我想把自己带到塔尖，修道院公寓，上海，中国
2020 Slade Runners, ASC Gallery, London, UK
2019 Translations, Chelsea College of Arts, London, UK
2019 Bjork Baby, Cookhouse, London, UK
2019 Para-, 5th Base Gallery, London, UK
2018 Reverse Perspective, Yugen, Gent, Belgium
Solo & Duo Exhibitions
2025 HER ROOM: Stranger, Song Art Center, Beijing, China
2024 Rooted, Yet Flowing (Two-Person Exhibition), Nan Ke Gallery, Shanghai, China
Selected Group Exhibitions
2026 Of Woman Born, Nan Ke Gallery, Shanghai, China
2026 One Day in the Mountains, One Year in the Human World, A4 International Residency Art Center, Chengdu, China
2026 Double Room, Yu Space, Shanghai, China
2025 The Gestational Box, Gallery OM, Shanghai, China
2025 Flow and Gathering, Home and Me, Entrance Space, Wanning, China
2024 Empathic Realms: Resonance of the Five Senses and the World, West Bund Art Center N Hall, Shanghai, China
2024 Echo Line, Gallery LEGUME, Chengdu, China
2024 Elephant in the Safe?, Asylum Chapel, London, UK
2023 Between, Entrance Space, Zhengzhou, China
2022 Unable to Make You Disappear, Hodon Gallery, Shanghai, China
2021 I Want to Bring Myself to the Top of the Tower, Monastery Apartment, Shanghai, China
2020 Slade Runners, ASC Gallery, London, UK
2019 Translations, Chelsea College of Arts, London, UK
2019 Bjork Baby, Cookhouse, London, UK
2019 Para-, 5th Base Gallery, London, UK
2018 Reverse Perspective, Yugen, Ghent, Belgium
蔡雅玲，1984年出生于山西
本科、硕士、博士毕业于中央美术学院。2023取得中央美术学院美术学博士学位。2024年至今在中央美术学院博士后站工作。
坚持呈现自己生活中的真实情感，并创造恰当的艺术形式。提取日常生活中有深切体会的词汇和话语，探寻日常综合材料与文字情绪相对应的雕塑形式。把女性成长过程中身体和心理被压制的体验和感知，自然的渗透在材料的处理方式中，勾勒出当代女性面对现实困境的耐力和抵抗，搭建起与大众的生活经验共情的基座。
近几年主要个展有：2024年“皮格马利翁与嘉拉迪雅：蔡雅玲个展”（雷诺基金会，法国里昂） “Hidden body”蔡雅玲个展（巴黎国际艺术城，法国巴黎）、“我的秘密花园”（中法大学原址，中国北京）、2023年“红色，黄色，红色—蔡雅玲个展”（浙江美术馆，中国杭州）
作品曾在德国柏林Kommunale美术馆、中国美术馆、今日美术馆、民生现代美术馆、广东美术馆、中央美院美术馆、金鸡湖美术馆、合美术馆等机构展出。被德国柏林Kommunale美术馆、中央美术学院、广东美术馆、浙江美术馆、银川美术馆、合美术馆等公共机构收藏。
Cai Yaling,1984 Born in Shanxi Province
2007 Graduated from the First Studio of the Department of Sculpture, Central Academy of Fine Arts, with a bachelor's degree.2011 Graduated from the Department of Sculpture, Central Academy of Fine Arts, with a master's degree.2023 Graduated from the Central Academy of Fine Arts with a PhD.2024-present Postdoc station at the Central Academy of Fine Arts.
Insist on presenting the real emotions in one's own life and create appropriate art forms. Extracting words and discourses that are deeply experienced in daily life, we explore sculptural forms that correspond to the emotions of everyday materials and words. The experiences and perceptions of physical and psychological suppression during women's growth naturally permeate the material handling, outlining contemporary women's endurance and resistance in the face of real difficulties, and building a pedestal of empathy with the public's life experience.
In recent years, her solo exhibitions include:Pygmalion et Galatée,2024(Fondation Renaud FORT DE VAISE,LYON)Hidden body ,2024 (Cité Internationale des Arts, Paris), My Secret Garden,2024(original site of Sino-French University, Beijing), Red, Yellow, Red - Cai Yaling Solo Exhibition ,2024(Zhejiang Museum).
Her works have been exhibited at Kommunale Art Museum, Berlin, Today Art Museum, Minsheng Art Museum, Guangdong Art Museum, Central Academy of Fine Arts Art Museum, Jinji Lake Art Museum, and Hefei Art Museum. His works have been collected by Kommunale Museum of Art, Berlin,Central Academy of Fine Arts , Zhejiang Art Museum, Guangdong Art Museum, Yinchuan Art Museum,United Art Museum,,and other public institutions.
曹雨（1988 年生于辽宁 ，毕业于中央美术学院雕塑系，获本科及硕士学位）的创作横跨影像、装置、表演、摄影、雕塑及绘画等诸多媒介，以其独特的跨学科实践、诙谐讽刺的表达以及尖锐大胆的艺术语言而闻名。她被认为是中国新一代女性艺术家中的领军人物，也是现今亚洲最具影响力的新兴艺术家之 一。
近年来，曹雨的作品被载入多国艺术史书籍，并被海内外高校编入当代艺术教材和研究课题。
她已屡获多项国内外大奖，其作品在中国大陆及欧洲多地的重要个展中亮相，其机构性展览在全球顶尖艺术博物馆呈现，在德国、奥地利、挪威、丹麦、美国、韩国和澳大利亚引发了广泛关注与讨论。
她的艺术实践为当代艺术尤其是女性艺术家在中国艺术界中的地位和发展做出了重要贡献，对理解当代中国以及全球化背景下的当代艺术发展具有重要意义。
Cao Yu’s (b.1988, Liaoning. BFA & MA, Sculpture, Central Academy of Fine Arts, Beijing, China) works span a diverse range of media including video, installation, performance, photography, sculpture and painting. She is famous for her incisive and bold artistic language, distinctive cross-disciplinary practice, witty and ironic expression. Cao has been recognized as one of the most influential emerging artists in Asia today, the leading figure of China’s new generation female artists.
In recent years, Cao Yu’s works have been featured in art history books across multiple countries, and adopted as part of contemporary art textbooks and research topics by universities at home and abroad. She has repeatedly won numerous art awards both domestically and internationally.
Her works have been showcased in major solo exhibitions across China and multiple regions across Europe. Her institutional exhibitions have been presented globally at leading art museums, sparking widespread attention and discussion in Germany, Austria, Norway, Denmark, the United States, South Korea, and Australia.
Her artistic practice has made significant contributions to the status and development of contemporary art, especially for female artists in the Chinese art community. This is of great significance for understanding contemporary China and the development of contemporary art in the context of globalization.
个展
2024 化粪池，麦勒画廊，中国北京
2023 I Was Born To Do This，麦勒画廊，瑞士卢森
2021 路过人间，麦勒画廊，中国北京
2019 尤物，麦勒画廊，瑞士卢森
2017 我有水蛇腰，麦勒画廊，中国北京
主要群展
2026
永恒的明天——中国当代艺术，奥克兰美术馆，新西兰奥克兰
2025
Anker Protocol – 1.0，麦勒画廊苏黎世（安克街），瑞士苏黎世
2024
中国当代艺术年鉴展2014–2024，壹美美术馆，中国北京
缺失的拼图——家庭关系缺失的童年，近悦儿童美术馆，中国成都
命运之爱，保时捷“中国青年艺术家双年评选”提名艺术家群展，上海展览中心西馆圆厅S20，中国上海
80后的图景/代际的跨越，上海油罐艺术中心，中国上海
日月光华，上海久事美术馆，中国上海
好消息，歌德学院，中国北京
野蛮人写诗，ASE基金会，中国上海
2023
了不起的“她们”——福布斯中国致敬 卓越女性艺术家邀请展，凤凰中心，中国北京
她山之石，嘉德艺术中心，中国北京
市野剧场——AAC艺术中国 2023，深圳市雅昌艺术中心美术馆，中国深圳
洄 · 第八届繁星计划·青年艺术家研究展，武汉美术馆(琴台馆)，中国武汉
出走！中国当代艺术中的女性身份，萨尔茨堡现代博物馆，奥地利维也纳
The 2023 Sovereign杰出亚洲艺术奖展，Sovereign艺术基金会（SAF），中国香港
等待的剧场，萃舍云集当代艺术收藏中心，中国南京
SIGG: Chinese Contemporary Art from the Sigg Collection，SONGEUN艺术文化基金会，韩国首尔
2022
第七届广州三年展，化作通变，广东美术馆，中国广州
赋权，沃尔夫斯堡美术馆，德国沃尔夫斯堡
生活在新世纪：1989年以来的中国媒体艺术，蔚山美术馆，韩国蔚山
出走！中国当代艺术中的女性身份，挪威利勒哈默尔美术馆，挪威利勒哈默尔；加姆勒斯特兰德国际艺术中心，丹麦哥本哈根
2021
中国当代艺术年鉴展2020，上海多伦现代美术馆，中国上海
靡菲斯特的舞步，沪申画廊，中国上海
艺术家在场：AAC艺术中国十五年回顾展，深圳市雅昌艺术中心美术馆，中国深圳
LOVELOVELOVE爱的艺术—感官花园，今日美术馆，中国北京
Echo，麦勒画廊，瑞士阿尔德茨
空间幻象——中国装置新一代，银川当代美术馆，中国银川
重度的情调，G+空间，中国武夷山
SNAPSHOT，麦勒画廊，中国北京
2020
Shifting艺术之旅，麦勒画廊，瑞士阿尔德茨
恶是，蜂巢当代艺术中心，中国北京
2019
Goodbye Plastic，Longtang，瑞士苏黎世
时间开始了，2019乌镇当代艺术邀请展，北栅丝厂，中国乌镇
Bodies of Work，Baxter Street at the Camera Club，美国纽约
中国私语 Chinese Whispers - Recent Art from the Sigg Collection，MAK Museum für Angewandte
Kunst，奥地利维也纳
2018
HER KIND 创，筑中美术馆，中国北京
SANKT MARTIN，Martina Tauber Fine Art，德国慕尼黑
相遇亚洲——多元化的青年艺术视觉，四川美术学院美术馆, 坦克库, 重庆当代艺术中心，中国重庆
延伸的空间-2018东莞雕塑装置艺术节，同沙生态公园，中国东莞
中国当代艺术年鉴展 2017，北京民生现代美术馆，中国北京
写·生，本来画廊，中国广州
平窓：Peace over window，特定空间，韩国平昌
0:00，BANK，中国上海
2017
Extended Ground，麦勒画廊 北京-卢森，瑞士卢森
BANANA BANANA2， DISKURS Berlin，德国柏林
THE PUBLIC BODY .02， Artspace，澳大利亚悉尼
策展角落，巴塞尔艺术展香港展会，香港会议展览中心，中国香港
艺术8：中国青年艺术家奖入围艺术家联展，艺术8，中国北京
影像·观察，寺上美术馆，中国北京
2016
另一种选择：第三届今日文献展，今日美术馆，中国北京
新伊甸园——中日韩青年艺术展，金鸡湖美术馆，中国苏州
自我技术-炼丹术与身体改造，盈艺术中心，中国上海
花托般盛开：多维的13位艺术家，罗湖美术馆，中国深圳
第一届道滘新艺术节，XI当代艺术中心，中国东莞
新视觉艺术节2016——第十三届全国高等美术院校应届毕业生优秀作品展，华·美术馆，中国深圳
为什么表演?，明当代美术馆，中国上海
BANANA BANANA，JNBY概念店，中国北京
China Streaming·VIA Art Channel中国艺术家视频艺术专场，东京宫，法国巴黎
获奖
获得 第12届AAC艺术中国·青年艺术家大奖（2018）
获得 艺术8·中国青年艺术家奖 提名奖（2017）
获得 年度非凡艺术家奖 （2025）
入围 The 2023 Sovereign Asian Art Prize杰出亚洲艺术奖（2022）
提名 “保时捷”中国青年艺术家双年评选（2024）
入选 2020 Gen.T亚洲明日先锋榜（2020）
入选 中国艺术权力榜（2018）
入围 CCAA艺术家奖（2018）
入围 法国Opline Prize艺术奖（2019）
获得 中央美术学院2011毕业生作品展 三等奖（2011）
获得 曾竹韶雕塑艺术奖学金作品展 提名奖（2011）
美术馆及公共收藏
Erlenmeyer 基金会，瑞士巴塞尔
M+视觉文化博物馆，中国香港
FB Art Collection，意大利博尔扎诺
寺上美术馆，中国北京
中央美术学院美术馆，中国北京
南京萃舍云集当代艺术收藏中心，中国南京
筑中美术馆，中国北京
驻留项目
2025 曹雨：山河宣言 ，TWT，澳大利亚悉尼
Solo Exhibition
2024 Septic Tank, Galerie Urs Meile, Beijing, China
2023 I Was Born To Do This, Galerie Urs Meile, Lucerne, Switzerland
2021 Passing Through the Human World, Galerie Urs Meile, Beijing, China
2019 Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland
2017 I Have an Hourglass Waist, Galerie Urs Meile, Beijing, China
Selected Group Exhibitions
2026
Forever Tomorrow: Chinese Art Now, Auckland Art Gallery Toi o Tmaki, Auckland, New Zealand
2025
Anker Protocol – 1.0, Galerie Urs Meile Zurich (Ankerstrasse), Zurich, Switzerland
2024
THE EXHIBITION OF ANNUAI OF CONTEMPORARY ART OF CHINA 2014–2024, ONE ART MUSEUM, Beijing, China
THE MISSING PUZZLE—A Childhood Lacking Family Relationships, Jinyue Children’s Art Museum, Chengdu, China
Amor Fati, Porsche “Young Chinese Artist of the Year” Nominees’ Exhibition, Shanghai Exhibition Center West Hall Round Hall S20, Shanghai, China
PICTURES OF THE POST—80S GENERATION / GENERATIONAL LEAP, TANK SHANGHAI, Shanghai, China
Splendors of the sun and moon, SHANGHAI JIUSHI ART MUSEUM, Shanghai, China
Good News, GOETHE INSTITUT, Beijing, China
Poetry By the Barbarian, ASE Foundation, Shanghai, China
2023
AMAZING WOMEN—A Tribute Exhibition to Outstanding Female Artists by Forbes China, Phoenix
Satellite Television Center, Beijing, China
FROM THE OTHER HILL, GUARDIAN ART CENTER, Beijing, China
The Wild Theatre—Award Of Art China, 2023, Shenzhen Artron Art Center, Shenzhen, China
SWIRL · The 8th stars plan young Artists Research Exhibition, Wuhan Art Museum (Qintai), Wuhan, China
Stepping Out! - Female Identities in Chinese Contemporary Art, Museum der Moderne, Salzburg, Austria
The 2023 Sovereign Asian Art Prize Exhibition, Sovereign Art Foundation (SAF), Hong Kong, China
A Theatre of Waiting, The Cloud Collection, Nanjing, China
SIGG: Chinese Contemporary Art from the Sigg Collection, ONGEUN Art and Cultural Foundation, Seoul, Korea
2022
The 7th Guangzhou Triennial, Symphony of All the Changes, Guangzhou Academy of Fine Arts, Guangzhou, China
Empowerment, Kunstuseum Wolfsburg, Salzburg , Germany
Screening series, Living in the new century: Chinese media Arts since 1989, Ulsan Art museum, Ulasan, South Korea
Stepping Out! - Female Identities in Chinese Contemporary Art, Lilehammer Art Museum, Norwegian; Kunstforeningen Gamle Strand, Copenhagen, Denmark
2021
The Exhibition of Annual of Contemporary Art of China, Shanghai DuoLun Museum of Modern Art, Shanghai, China
Tangle of Revolution and Political Soul, Shanghai Gallery of Art, Shanghai, China
THE ARTIST IS PRESENT: THE 15 YEARS OF AWARD OF ART CHINA, Shenzhen Artron Art Cenrer, Shenzhen, China
LOVELOVELOVE THE SENSORY GARDEN, Today Art Museum, Beijing, China
Echo, Galerie Urs Meile, Ardez, Switzerland
Space Fantasy: The New Generation of Chinese Installation Art, Museum of Contemporary Art Yinchuan, Yinchuan, China
Symphony of Gravity & Harshness, G+ Art Space, Wuyishan, China
SNAPSHOT, Galerie Urs Meile, Beijing, China
2020
Shifting, Pop-up Art Parcours, Galerie Urs Meile, Ardez, Switzerland
Being of Evils, Hive Center for Contemporary Art, Beijing, China
2019
Goodbye Plastic, Longtang, Zurich, Switzerland
Now Is The Time, 2019 Wuzhen Contemporary Art Exhibition, North Silk Factory, Wuzhen, China
Bodies of Work, Baxter Street at the Camery Club of new York, New York, US
Chinese Whispers 中国私语 - Recent Art from the Sigg Collection, MAK Museum für Angewandte Kunst, Vienna, Austria
2018
Her Kind, Zhuzhong Art Museum, Beijing, China
SANKT MARTIN, Martina Tauber Fine Art, Munich, Germany
Encounter Asia -- Multi-vision of Youth, Museum of Sichuan Fine Arts Institute, Tank Loft, Chongqing
Contemporary Art Center, Chongqing, China
Extending Space-2018 Dongguan Sculpture and Installation Art Festival, Tongsha Ecological Park, Dongguan, China
The Exhibition of Annual of Contemporary Art of China 2017, Beijing Minsheng Art Museum, Beijing, China
XIE-SHENG, bonacon gallery, Guangzhou, China
平窓：Peace over window, Specific Space, Pyeongchang, Korea
0:00, BANK, Shanghai, China
2017
Extended Ground, Galerie Urs Meile, Lucerne, Switzerland
BANANA BANANA2, DISKURS Berlin, Berlin, Germany
THE PUBLIC BODY .02, Artspace, Sydney, Australia
Queen, Kabinett, Art Basel Hong Kong, Hong Kong, China
Prix Yishu 8 Chine Exposition des Finalistes, Yishu 8, Beijing, China
Recent Acquisitions – Recent Developments, Sishang Art Museum, Beijing, China
2016
The 3rd Today’s Documents – BRIC-á-brac:The Jumble of Growth, Today Art Museum, Beijing, China
Neo - Eden: The Artworks by Young Chinese, Japanese and Korean Artists, Jinji Lake Art Museum, Suzhou, China
The 3rd Today’s Documents-BRIC-á-brac:The Jumble of Growth, Today Art Museum, Beijing, China
Technology - Alchemy and Body Modification, Ying Art Center, Shanghai, China
Thinking in Torus: Young Chinese Artists Across Dimensions, Luohu Art Museum, Shenzhen, China
The 1st Daojiao New New Art Fesrival, XI Contemporary Art Center, Dongguan, China
2016 - Fresh Vision, OCT Art and Design Gallery, Shenzhen, China
WHY the PERFORMANCE?, McaM, Shanghai, China
BANANA BANANA, JNBY Concept Store, Beijing, China
China Streaming·VIA Art Channel, Palais de Tokyo, Paris, France
Awards
Best Young Artist of the Year · The 12th AAC Award (2018)
Nomination, Yishu · 8 Chinese Young Artist Award (2017)
Extraordinary Artist of the Year Award (2025)
Finalists for The 2023 Sovereign Asian Art Prize (2022)
Nomination, “PORSCHE” Young Chinese Artist of the year (2024)
Selected into Generation. T Asia’s Leaders of tomorrow 2020 (2020)
Shortlisted for Opline Prize, France (2019)
Shorlisted for the Chinese Contemporary Art Award (CCAA) (2018)
China Art Power100 (2018)
Third prize, Central Academy of Fine Arts Graduates Outstanding Exhibition 2011, Beijing, China (2011)
Nomination, Zeng Zhushao Sculpture Fellowship, Datong, China (2011)
Public Collections
Erlenmeyer Stiftung, Basel, Switzerland
M+ Colletion, Hong Kong, China
FB Art Collection, Bozen, Italy
Si Shang Art Museum, Beijing, China
Central Academy of Fine Arts Art Museum, Beijing, China
The Cloud Collection, Nanjing, China
Zhuzhong Art Museum, Beijing, China
Artist-in-Residence Project
2025 Cao Yu: Shan He Declaration, TWT, Sydney, Australia
谭不如（Yao TAN）的近期实践关注日常中隐而持续的关联：身体与记忆、个体与家族、现实与信仰，以及人与世界之间难以言说的联系。她通过虚构人物、仪式与材料转译，构建介于现实与传说之间的叙事系统，使神话成为回应当下经验的方式，并为未被命名的感受提供栖居之所。近年来，她以文本、图像、材料与行动的交织，持续构建开放的“写作”现场。
Yao TAN’s recent practice explores the subtle yet persistent connections in daily life: between body and memory, individual and family, reality and belief, and the often inexpressible links between humans and the world. She constructs narrative systems between reality and myth through fictional characters, ritual, and material translation, using myth as a way to respond to present experiences and to provide a dwelling for unnamed feelings. In recent years, she has continued to develop long-term projects that weave together text, image, material, and action, creating an open “writing” space.
毕业于法国利摩日高等国立美院
曾获2024年UCCA尤伦斯青年赞助人年度艺术家提名
入围2024年香港Beyond future art prize 短名单
长期项目
衣娥（2024—至今）
围绕虚构神祇“衣娥”展开的长期艺术计划，以织物与废弃物为线索，追踪人类、物与其他生命之间的共生关系。
项目呈现：
2025，衣娥：赴宴，M的房间x废墟火车项目
2026，2024，衣娥2，504 Knitting Lab， 北京
2027，2024，衣娥，三里屯外交公寓，北京
母神的谜团（2025—至今）
以母神形象及相关神话谱系为研究对象，关注生育、照料、繁衍与信仰之间的关系。
项目呈现：2025，母神的谜团，燕郊双年展，河北燕郊
音节 Syllable（2022—2024）
以刺绣介入日常工业制品，通过重复的针线书写女性身体、记忆与生命经验。 项目在持续流动的公共空间中展开，将私密叙事转化为可被共同参与的集体书写。
群展
2026
女人所生，南柯画廊，上海，中国
蔓发：大地颂歌 武汉SKP RDV Gallery x颂艺术中心，武汉
2025
如果褶皱可以颤动屋脊，The third street gallery，上海
青年100年度艺术家展，星地艺术中心，北京
2024
废墟艺术周，Art中山，中山
心要野，山中天艺术中心，北京
邮轮诗人，狮语画廊，上海
2023
Chimiquement citronné, Parcours bijoux 2023, 巴黎 , 法国
Together，Gallery GAo ShAn，赫尔⾟基，芬兰
2023，Uneamourpourrien，潮白河，河北燕郊，中国
2021-2022
XY, A-gallery, 塔林，爱沙尼亚
A bout portant，Galerie le Vitrine，利摩日，法国
Until Death Do Us Part , Alliage France，里尔，法国
KORU 7, Lappeenranta博物馆, Lappeenranta，芬兰
Marzee International Graduate Show, Galerie Marzee, 荷兰
2021
Off wall, 布鲁塞尔，比利时
La Micro-Folie. La Souterraine，法国
2019
Le bijou is still a risky business. Institut Français，慕尼黑，德国
Luddites, Museum of the Pays d'Ussel, 法国
Graduated from the École Nationale Supérieure d'Art de Limoges (ENSA Limoges), France
Nominated for the UCCA Young Patrons Artist of the Year Award, 2024
Shortlisted for the Beyond Future Art Prize, Hong Kong, 2024
Long-Term Research Projects
Yi'e (2024–Present)
A long-term art project centered on the fictional deity “Yi’e,” using fabrics and discarded materials as a thread to trace the symbiotic relationships between humans, objects, and other forms of life.
Selected Presentations
2025 — Yi'e: Banquet, M's Room × Ruins Train Project
2024 — Yi'e II, 504 Knitting Lab, Beijing, China
2024 — Yi'e, Sanlitun Diplomatic Residence Compound, Beijing, China
Mysteries of the Mother Goddess (2025–Present)
An ongoing research project investigating mother-goddess figures and related mythological lineages. The project examines the relationships between fertility, care, reproduction, and belief.
Selected Presentations
2025 — Mysteries of the Mother Goddess, Yanjiao Biennale, Hebei, China
Syllable (2022–2024)
“Syllable” engages everyday industrial objects through embroidery, using repeated stitches to write women’s bodies, memories, and life experiences.
The project unfolds in continuously shifting public spaces, transforming private narratives into a collectively participatory writing.
Group Exhibitions
2026
Of Woman Born, Nan Ke Gallery, Shanghai, China
Vines Unfurling: Ode to the Earth, RDV Gallery × Song Art Center, Wuhan SKP, Wuhan, China
2025
If Folds Could Tremble on the Rooftops, The Third Street Gallery, Shanghai, China
Young Artists of the Year Exhibition, Xingdi Art Center, Beijing, China
2024
Ruins Art Week, Art Zhongshan, Zhongshan, China
Wild at Heart, Wind H Art Center, Beijing, China
Cruise Poets, Leo Gallery, Shanghai, China
2023
Chimiquement citronné, Parcours Bijoux 2023, Paris, France
Together, Gallery Gao Shan, Helsinki, Finland
Uneamourpourrien, Chaobai River, Hebei, China
2021–2022
XY, A-Gallery, Tallinn, Estonia
À bout portant, Galerie Le Vitrine, Limoges, France
Until Death Do Us Part, Alliage France, Lille, France
KORU 7, Lappeenranta Museum, Lappeenranta, Finland
Marzee International Graduate Show, Galerie Marzee, Nijmegen, Netherlands
2021
Off Wall, Brussels, Belgium
La Micro-Folie, La Souterraine, France
2019
Le bijou is still a risky business, Institut Français, Munich, Germany
Luddites, Musée du Pays d'Ussel, France
教育背景
2012 – 2014
法国巴黎塞尔吉⾼等美术学院（École Nationale Supérieure d’Arts Paris-Cergy）
国家⾼级艺术⽂凭 D.N.S.E.P
2009 – 2012
法国巴黎塞尔吉⾼等美术学院（École Nationale Supérieure d’Arts Paris-Cergy）
国家造型艺术⽂凭 D.N.A.P
2003 – 2007
中国华东理⼯⼤学（East China University of Science and Technology, Shanghai）
⽣物⼯程学⼠学位（理⼯优秀⽣部）
个展
2025《紫⾊的太阳将睡在湖中》，tbh⼩屋，上海，中国
2024《夏⽇，嘎嘎，平⾏世界》，Zeto画廊，巴黎，法国
2016《乐观的乒乓与瓶装空⽓》，Mansart画廊，巴黎，法国
群展（部分）
2026 女人所生，南柯画廊，上海，中国
2026 北京当代艺博会，Carte Blanche画廊，北京，中国
2025《印迹》，PDP画廊，佩泽纳，法国
2025《梦境风景，显现风景》，Carte Blanche画廊，英蓝中⼼，杭州，中国
2022《杰克在漫步》，艺术家驻留项⽬收藏展，APM，圣布⾥亚克，法国
2021《游⾏，⼩⼜，运动，⼤海》，La Maison Fraternelle，巴黎，法国
2019《⼗⼀⽉在维特⾥》，让-科莱市⽴美术馆，维特⾥-叙尔塞纳，法国
2018《美展》，喜玛拉雅美术馆，上海，中国
2018 上海青年艺术博览会（SH YAF），上海，中国
2018《Massive Group Chaud #1》，La Rotonde，巴黎，法国
2017《有⼀个花园》，勒昂修道院，布列塔尼，法国
2016《⼗⼀⽉在维特⾥》，让-科莱市⽴美术馆，维特⾥-叙尔塞纳，法国
2016 YIA 艺术博览会 #07，Carreau du Temple，巴黎，法国
2015《正⾯/反⾯》，路易威登基⾦会，巴黎，法国
群展《Dwell》，Mansart画廊，巴黎，法国
群展《Yes to All》，Treize画廊，巴黎，法国
群展《之后呢？》，绘画群展，Nathalie Obadia画廊，巴黎，法国
2014《千层纸 IV》，集体绘画展，YGREC 画廊，巴黎，法国
2011 群展《Macaroniste》，Kadist 艺术基⾦会，巴黎，法国
2008 声⾳表演，《Elsie Else Festival 2》，Les Instants Chavirés，巴黎，法国
1991
参演中国电视剧《咱爸咱妈》，饰落落⼀⾓
驻留项⽬
2025 Villa tbh，上海，中国
2017 Plessix-Madeuc ⼯作室：APM，迪南，法国
2016 巴黎国际艺术城（Cité Internationale des Arts），法国
出版
⽂章《胡⼦⾥长花》发表于《艺术世界》杂志，第335期，上海，中国
Education
2012 – 2014
D.N.S.E.P with Honors, École Nationale Supérieure d’Arts Paris-Cergy, France
2009 – 2012
D.N.A.P, École Nationale Supérieure d’Arts Paris-Cergy, France
2003 – 2007
Bachelor’s Degree in Bioengineering, East China University of Science and Technology,
Department of Excellence in Science and Engineering, Shanghai, China
Solo Exhibitions
2025
The purple sun will sleep in the lake, Villa tbh, Shanghai, China
2024
Été coin-coin monde parallèle, Zeto Gallery, Paris, France
2016
Optimist Ping Pong & Canned Air, Mansart Gallery, Paris, France
Group Exhibitions (Selected)
2026
Of Woman Born, Nan Ke Gallery, Shanghai, China
Beijing dang dai, Carte blanche Gallery, Beijing, China
2025
West bund Art&Design, Carte blanche Gallery, Shanghai, China
West bund Art&Design, Villa tbh, Shanghai, China
Art021 Shanghai, Vanguard Gallery, Shanghai, China
Empreintes, PDP Gallery, Pézenas, France
Paysage rêvé, paysage révélé, Carte Blanche, Winland Center, Hangzhou, China
2022
Jack en balade, Artist residency, APM, Saint-Briac-sur-Mer, France
2021
Parade, petites bouchées, mouvement, la mer, La Maison Fraternelle, Paris, France
2019
Novembre à Vitry, Jean-Collet Municipal Gallery, Vitry-sur-Seine, France
2018
Mei Zhan, Himalaya Museum, Shanghai, China
Shanghai Young Art Fair (SH YAF), Shanghai, China
Massive Group Chaud #1, La Rotonde, Paris, France
2017
There is a Garden, L’Abbaye de Léhon, Brittany, France
2016
Novembre à Vitry, Jean-Collet Municipal Gallery, Vitry-sur-Seine, France
YIA Art Fair #07, Carreau du Temple, Paris, France
2015
Recto/Verso, Fondation Louis Vuitton, Paris, France
Dwell, Group exhibition, Mansart, Paris, France
Yes to All, Group exhibition, Treize, Paris, France
Et après ?, Collective painting exhibition, Nathalie Obadia Gallery, Paris, France
2014
Mille Feuillets IV, Collective drawing exhibition, YGREC Gallery, Paris, France
2011
Macaroniste, Group exhibition, Kadist Art Foundation, Paris, France
2008
Sound performance, Elsie Else Festival 2, Les Instants Chavirés, Paris, France
1991
Actor in the Chinese TV series Zan Ba Zan Ma
Residencies
2025
Villa tbh, Shanghai, China
2017
Les Ateliers du Plessix-Madeuc: APM, Dinan, France
2016
Cité Internationale des Arts, Paris, France
Publications
Article Growing flowers from a beard published in Art World magazine (No. 335), Shanghai, China
苑瑗（1984年出生于中国北京）现生活和工作于北京。2008年本科毕业于中央美术学院油画系，2015年硕士毕业于中央美术学院油画系。苑瑗始终对自己所处的环境及女性的状态有着高度的敏感性，种种机缘和个人经历，让她开始对更加广博的自然环境与人的关系产生兴趣，在画面的主体中，女性逐渐隐入了繁花或植物之中，以具有象征意义的局部穿梭在暧昧不明的光影和缝隙之间，甚至彻底被隐去。苑瑗对植物的关注，实际仍然来自于她对于女性身份和个体精神状态等母题的探索。
她近期参加的展览有：“女人所生“，南柯画廊（即将开启，上海，2026）；巴塞尔艺术展香港展会，Tabula Rasa 三米画廊（香港，2026）； “一个花园”，蛇口画廊（深圳，2026）； “帧之絮语 — 绘画中的时空与心象”， M美术馆（苏州，2025）；“以爱相传 — 时代延续与媒介迭新”, X美术馆 （北京， 2025）， “静火 — 在每一帧空白里呼吸”，SIMPLE ONE（北京，2025）； “绿苔，楼台与尘埃”，个展，三远当代艺术（北京，2024）； “缺席/返场：流动中的艺术与价值”，银川当代美术馆（银川，2024）；“柏拉图的阶梯”，颂艺术中心（北京，2024）；“Contemporary Myths and Artefacts”, （斯德哥尔摩，2023）；“阿图姆的园丁敲敲窗”，个展，Tabula Rasa 快闪项目（上海，2023）；“Unveiled”，No.9 Cork Street（伦敦，2023）；Art SG 艺博会，双个人项目， Tabula Rasa 画廊（新加坡，2023）；“一朵花的可能性”，个展，Tabula Rasa 画廊（北京，2021）；“绘画的逻辑”，新疆美术馆（乌鲁木齐，2021）；“动漫美学双年展”，上海当代艺术馆（上海，2020）；“厚岸草”，个展，Tabula Rasa 画廊（北京，2019）；“乌托邦中的反乌托邦”，Dietz 空间（科隆，2019）；“山水间”，上海当代艺术馆（上海，2016）；“中国8”，奥斯特豪斯博物馆（哈根，2015）；“喻红策划：物非物”，尤伦斯当代艺术中心（北京，2010）等等。
教育经历
2015 中央美术学院油画系，获硕士学位
2008 中央美术学院油画系，获学士学位
个展
2026 一个花园，蛇口画廊，深圳， 中国
2024 绿苔，楼台与尘埃，三远当代艺术，北京，中国
2023 阿图姆的园丁敲敲窗，百空间 x Tabula Rasa 画廊，上海，中国
2023 Art SG，双个展，Tabula Rasa 画廊，双个展，新加坡
2021 一朵花的可能性，Tabula Rasa 画廊，北京，中国
2019 厚岸草，Tabula Rasa 画廊，北京，中国
2015 半入花园，Tabula Rasa 画廊，北京，中国
2014 Die Bruecke 艺术家驻地计划，柏林，德国
2011 苑瑗：新作品，北京公社，北京，中国
2010 苑瑗——褪色时光，前波画廊，北京，中国（巡展至前波纽约空间）
2010 物非物，尤伦斯当代艺术中心，北京，中国
群展
2026 女人所生，南柯画廊，上海，中国
2026 巴塞尔艺术展香港展会，Tabula Rasa 三米画廊，香港
2025 帧之絮语 — 绘画中的时空与心象, M 美术馆，苏州, 中国
2025 以爱相传 — 时代延续与媒介迭新, X 美术馆，北京， 中国
2025 静火 — 在每一帧空白里呼吸，SIMPLE ONE，北京，中国
2024 缺席/返场：流动中的艺术与价值，银川当代美术馆，银川，中国
2024 柏拉图的阶梯，颂艺术中心，北京，中国
2023 Contemporary Myths and Artefacts, 斯德哥尔摩，瑞典
2023 Tabula Rasa: Unveiled，No.9 Cork Street，伦敦，英国
2023 ⾏⽆疾徐，Just Art，北京，中国
2022 她 · 视界”，VOGUEfiim 2022 线下短片首映暨艺术周，上海，中国
2022 花·器·艺术家，正大宝库，北京，中国
2021 绘画的逻辑，新疆美术馆，乌鲁木齐，中国
2020 动漫美学双年展 史努比70周年，上海当代艺术馆（MoCA Shanghai），上海，中国
2020 物自在——文化互融下的新艺术，苏州·金鸡湖双年展，苏州，中国
2020 Tabula Rasa Vista，Tabula Rasa 画廊，北京，中国
2019 乌托邦中的反乌托邦，Dietz 空间，科隆，德国
2018 写生:，本来画廊，广州，中国
2016 极光，索卡艺术，北京，中国
2016 山水间，上海当代艺术馆（MoCA Shanghai），上海，中国
2015 International Artists Christmas Exhibition 2015／2016 – Global Impression，斯达克文化基金会狮子 行宫，柏林，德国
2015 方之所，兰佩尔茨拍卖行，柏林，德国
2015 中国8，奥斯特豪斯博物馆，哈根，德国
2015 研展，中央美术学院美术馆，北京，中国
2014 新身份，VDA，柏林，德国
2013 存在与不存在是一样的，尤伦斯艺术商店UCCA，北京，中国
2013 @what中国当代艺术新一代，ARKO美术馆，首尔，韩国
2012 盲区，杨画廊，北京，中国
2012 生成半岛计划第一回：症候，伊比利亚当代艺术中心，北京，中国
2010 北京之声：在一起或孤芳自赏，佩斯画廊， 北京，中国
2010 2010青年艺术市集“我是”，天安时间，北京，中国
2009 全手工夏季艺术市集，天安时间，北京，中国
2009 各搞个的，台北当代艺术馆，台北，台湾
2008 co2008展览，前波画廊，北京（巡展至前波画廊纽约空间）
2008 第一展，荔空间，北京，中国
Yuan Yuan (b.1984, Beijing, China) currently lives and works in Beijing, China. She received her Master of Arts and Bachelor of Arts degrees from Central Academy of Fine Arts. She is best recognised for her large-scale paintings of flowers. Via Yuan Yuan’s large-scale paintings, the flower appears to be a non-subjective object. The blossom on the still-standing branches is held by feather-like green leaves, occupying the frame freely and at the same time extending outside the picture, as if the flower itself is already in self-actualisation at a majestic posture before the depiction.
Her recent exhibitions include: Of Woman Born, Nan Ke Gallery (Upcoming, Shanghai, 2026); Art Basel Hong Kong, Tabula Rasa Gallery (Hong Kong, 2026); A Garden, Shekou Gallery (solo, Shenzhen, 2026); Whispers of Frames - Time, Space, and the Imagery Within, M Museum (Suzhou, 2025); Inherit with Love: Continuity of Time and Media Innovation, X Museum (Beijing, 2025); Silent Fire: Breathing through the Void, SIMPLE ONE (Beijing, 2025); Someone Was Just Here, N3 Contemporary Art (solo, Beijing, 2024); Absence/Encore: The Flow of Art and Value, MOCA Yinchuan (Yinchuan, 2024); Plato’s Ladder, Soul Art (Beijing, 2024); Contemporary Myths and Artefacts (Stockholm, 2023); Atum’s Gardener Tapping on Your Window, Tabula Rasa Gallery Pop-up Space (solo, Shanghai, 2023); Unveiled, No.9 Cork Street (London, 2023); ART SG, Tabula Rasa Gallery (dual solo, Singapore, 2023); The Possibility of a Flower, Tabula Rasa Gallery (solo, Beijing, 2022); The Logic of Painting, Xinjiang Art Museum (Urumqi, 2021); Animamix Biennial, 70 Years of Snoopy, Museum of Contemporary Art (Shanghai, 2020); Glasswort, Tabula Rasa Gallery (solo, Beijing, 2019); Utopia / Dystopia, Dietz (Cologne, 2019); Shan Shui Within, Museum of Contemporary Art (Shanghai, 2016); China 8 Contemporary Art From China at Rhine & Ruhr, Osthaus (Hagen, 2015); Curated by Yu Hong Pan Lin & Yuan Yuan: True False Objects, Ullens Center for Contemporary Art (Beijing, 2010), among others.
Education
2015 M.A., Department of Oil Painting, Central Academy of Fine Arts, Beijing, China
2008 B.A., Department of Oil Painting, Central Academy of Fine Arts, Beijing, China
Solo Exhibitions
2026 A Garden, Shekou Gallery, Shenzhen China
2024 Someone Was Just Here, N3 Contemporary Art, Beijing, China
2023 Atum’s Gardener Tapping on Your Window, BAIwork x Tabula Rasa Gallery, Shanghai, China
2023 Art SG, dual solo booth, Tabula Rasa Gallery, Singapore
2021 La Possibilité d’une Fleur, Tabula Rasa Gallery, Beijing, China
2019 Glasswort, Tabula Rasa Gallery, Beijing, China
2015 Half-way into the Garden, Tabula Rasa Gallery, Beijing, China
2014 Die Brücke, Berlin, Germany
2011 Yuan Yuan: New Works, Beijing Commune, Beijing, China
2010 Yuan Yuan: A World of Yesterday and Tomorrow, Chambers Fine Art, Beijing, China
2010 (travelled to Chambers Fine Art New York location) Curated by Yu Hong - Pan Li & Yuan Yuan: True False Objects, UCCA, Beijing, China
Selected Group Exhibitions
2026 Of Woman Born, Nan Ke Gallery, Shanghai, China (Upcoming)
2026 Art Basel Hong Kong, Tabula Rasa Gallery, Hong Kong
2025 Whispers of Frames - Time, Space, and the Imagery Within, M Museum, Suzhou, China
2025 Inherit with Love: Continuity of Time and Media Innovation, X Museum, Beijing, China
2025 Silent Fire: Breathing through the Void, SIMPLE ONE, Beijing, China
2024 Absence/Encore: The Flow of Art and Value, MOCA Yinchuan, Yinchuan, China
2024 Plato’s Ladder, Soul Art, Beijing, China
2023 Contemporary Myths and Artefacts, Stockholm, Sweden
2023 Tabula Rasa: Unveiled, No.9 Cork Street, London, UK
2023 XING WU JI XU, Just Art, Beijing, China
2022 The Female Gaze, VOGUE film Art Show, Shanghai, China
2022 Flowers, Vases and Artists, CP Treasury, Beijing, China
2021 The Logic of Painting, Xinjiang Art Musuem, Urumqi, China
2020 Animamix Biennial Snoopy 70th Anniversary, MoCA Shanghai, Shanghai, China
2020 Thing Self: New Art in the Integration of Civilizations, The 5th Suzhou Jinji Lake Biennale, Suzhou, China
2019 Utopia / Dystopia, Dietz, Cologne, Germany
2018 XIE - SHENG, Bonacon Gallery, Guangzhou, China
2016 Aurora, Soka Art Beijing, Beijing, China
2016 Shan Shui Within, Museum of Contemporary Art, Shanghai, China
2015 International Artists Christmas Exhibition 2015 / 2016 - Global Impression, Lion Palais Koenigsallee, Berlin, Germany
2015 China 8, Osthaus Museum Hagen, Hagen, German
2015 CAFA Postgraduates Graduate Exhibition, Central Academy of Fine Arts, Beijing, China
2014 New Identity, VDA, Berlin, Germany
2013 Being is Not Being, UCCASTORE, Beijing, China
2013 @What - New Contemporary ART From China, ARKO Art Center, Seoul, Korea
2012 4 Blind Spots, Gallery Yang, Beijing, China
2012 Becoming Peninsula I: Symptoms, Iberia Center for Contemporary Art, Beijing, China
2010 Beijing Voice: Together or Isolated, Pace Gallery, Beijing, China
2010 The mARkeT/ I'm … 2010, Beijing Center for the Arts, Beijing, China
2009 The mARkeT/ Summer 2009, Beijing Center for the Arts, Beijing, China
2009 Spectacle to Each, Museum of Contemporary Art, MoMA Taipei, Taipei, Taiwan
2008 CO 2008, Chambers Fine Art, Beijing China (travelled to Chambers Fine Art New York location)
2008 The First Exhibition, Li Space, Beijing, China
往期展览
南柯纽约新展｜Show Me How to Fly Away
展览预告｜所多玛一百二十天 120 Days of Sodom
Nan Ke Gallery
作品咨询请邮件至
info@nankegallery.com
11:00 - 18:30
周二至周日 Tuesday - Sunday
021-52727270
info@nankegallery.com
上海市黄浦区长乐路386弄5号
No. 5, Lane 386, Changle Road, Huangpu District, Shanghai
