Feb 28

“气场！2024” 女性艺术家年度展(上)

气场！ 2 0 2 4

前言

“气场！ 2024”线上展览汇聚了28位生气勃勃的华人女性艺术家，展示她们的最新作品、想法和感言。感恩我们心有灵犀的彼此陪伴。

气场...

就是她努力，追求一个属于她自己的房间。

气场，就是她走路带着风。

气场，是真诚。

气场，是坚持。

气场，是悲悯。

气场，是好奇。

她的气场是有故事的。

她的气场知道，如果我们共同努力，我们就可以改变一切。

她的气场重生，如凤凰涅槃。

气场是大的胸怀。

气场是一颗自由的心。

气场是爱。

气场是艺术的创造。

加入我们，加入我们的气场2024！

先锋艺术项目

策展人蒋贞蕾

2024年3月1日

Aura! 2024

Preface

The Aura 2024 Online Exhibition brings together 28 dynamic Chinese women artists in a showcase of their latest works, ideations, and testimonials. Thank you for joining each other on this road of constant growth. Our aura is the visible companion of our heart.

Her aura desires a room to call her own.

Her aura carries the wind with her every step.

Her aura is sincerity.

Her aura is persistence.

Her aura is compassion.

Her aura is chic.

Her aura is curious.

Her aura has a story.

Her aura knows that if we work together, we can change everything.

Her aura rebirths after death like a phoenix.

Aura is a big heart.

Aura is a free heart.

Aura is love.

Aura is artistic creation.

Join us for Aura 2024.

Avant-garde Art Projects

Curator: Zelene Jiang Schlosberg

March 1, 2024

通透的《气场》

—全球女性展

每年的3月8日都是一个普通却又不寻常的日子：全世界不同国家的女性都以各种独特的方式表达自己，让这个特定的日子见证她们的存在并关注女性议题。尽管新冠疫情给全球带来了巨大的灾难，但它也在一定程度上将全球联系紧密。疫情时期产生的互联网技术也为在全球不同时区的艺术家和艺术联展呈现了新的技术可能性。

《气场》是一场由全球28位女性华人艺术家携手呈现的盛大展览，用朴素而丰富的语言反映了女性对于自觉性的追求以及对当下社会对女性不公的敏感。

这场展览是一次全球性的联合，来自各个角落的女性艺术家以各种形式共同发声。作品形式丰富多彩，涵盖了绘画、摄影、雕塑和装置等多种艺术形式，呈现了女性对自我认知的多层面探索，为观众提供了一个深思熟虑的思考空间。

作品中呈现的不仅是丰富的色彩，更是对传统思想的深刻反思。女性艺术家们以朴实的手法揭示了传统观念对女性思想意识的制约。她们从日常生活中汲取灵感，将女性内在的世界巧妙呈现在作品之中，使我们不仅看见，更能感知到女性在传统框架下的压抑和挑战。

这是一场关于当代女性的故事，倾听女性心声的同时，也是对社会观念的巧妙挑战。《气场》深入探讨自由、平等的艺术之路，寻找女性的共鸣与那些自我失落的片段。

学术支持庸现

2024年1月31日

The Transparent "Aura"

— Global Women's Exhibition

Every year on March 8th marks an ordinary yet extraordinary day: women from different countries around the world express themselves in various unique ways, allowing this particular day to witness their existence and focus on women's issues. Despite the enormous challenges brought about by the COVID-19 pandemic globally, it has, to a certain extent, tightly connected the world. The internet technologies that emerged during the pandemic also presented new possibilities for artists and art collaborations across different time zones globally.

"The Transparent Aura" is a grand exhibition presented collaboratively by 28 female Chinese artists from around the world. Using simple yet rich language, the exhibition reflects women's pursuit of self-awareness and sensitivity to the injustice faced by women in contemporary society.

This exhibition is a global collaboration where female artists from various corners of the world collectively voice their perspectives in diverse forms. The artworks take on various forms, including painting, photography, sculpture, and installations, showcasing women's multi-dimensional exploration of self-awareness and providing the audience with a thoughtful space for reflection.

The works not only present a rich palette of colors but also deeply reflect on traditional thoughts. Female artists, with a simple approach, reveal the constraints of traditional concepts on women's intellectual consciousness. Drawing inspiration from everyday life, they skill fully depict the inner world of women in their works, allowing us to not only see but also perceive the oppression and challenges faced by women within traditional frameworks.

This is a story about contemporary women, an exploration of the artistic path towards freedom and equality, seeking resonance with women and those moments of self-loss while simultaneously cleverly challenging societal perceptions. "The Transparent Aura" delves into the journey of art that explores freedom and equality, searching for the resonance of women and those moments of self-loss.

Academic Support: Juan Xu

Jan 31, 2024

策展人CURATOR

蒋贞蕾 (Zelene Jiang Schlosberg)

学术支持 ACADEMIC SUPPORT

庸现 (Juan Xu)

艺术家 ARTISTS

一枚 (Yi Mei)

中朝边境，摄影，尺寸可变，2023

On Sino-North Korea Borderline, Photograph, Variable Size, 2023

中朝边境（局部），摄影，尺寸可变，2023

On Sino-North Korea Borderline (detail), Photograph, Variable Size, 2023

在我几乎所有的影像里，都有自己。一开始有人说我自恋，我便有意避开面孔的自拍，比如我拍头发，头发也是身体的一部分啊，或者尝试借她人的身体来表达。后者，我发现是失败的，这个不是对方面容和身材欠佳，一个活人在画面中却看上去是死的。这个不是我要的。看来我只有亲自进入自己的镜头了。在沙漠上，在黄河边，在印度古庙上，在自由女神像前，在布拉格和天安门广场，在曼谷郊区的铁轨上，在沙头角中英边界线，等等，以及最近的长白山天池邻边的中朝边境线上，我仰头，我倒下，我祈祷。有几位诗人朋友留言，所有的风景中，如果没有了一枚的身影就成了明信片，是你点亮了那里的风景，让画面富有了张力。是我们选择了艺术形式，还是艺术形式选择了我们？我们选择什么样的艺术方法才能恰如其分地与你的生命能量一拍即合。神说，这事成了！气场是一种隐形的影响力，或者叫感染力。在艺术家眼中，大自然与人是同构关系，而人与人，是一个生命感染另一个生命，我呼吸，我感知，我们精神上彼此致敬！

In almost all of my images, I have myself. At the beginning, some people said that I was narcissistic, so I deliberately avoided taking selfies of my face. For example, I took pictures of my hair, which is also a part of my body, or I tried to use other people’s bodies to express my feelings. The latter, I found, was a failure. This was not because the other person's face and figure were poor, but that a living person looked dead in the picture. This is not what I want. It seems that I have no choice but to enter my own lens, in the desert, by the Yellow River, on ancient Indian temples, in front of the Statue of Liberty, in Prague and Tiananmen Square, on the railway tracks in the suburbs of Bangkok, at the Sino-British border line in Shatoujiao, etc.. In the same way, by the nearest Tianchi in Changbai Mountain, on the China-North Korea border, I raised my head, fell down, and prayed. Several poet friends left messages, saying that if there is no figure in all the scenery, it will become a postcard. It is you who light up the scenery there and make the picture full of tension. Do we choose the art form, or does the art form choose us? What kind of artistic method we choose can properly match your life energy. God said, it is done! Aura is an invisible influence, or infection. In the eyes of the artist, nature and people have an isomorphic relationship, and people and people are one life infecting another life. I breathe, I feel, and we pay tribute to each other spiritually!

一枚，本名王轶梅，艺术家、摄影人、诗人，上海对外经贸大学副教授，两届英国中兰开夏大学访问学者。居于上海。

多年囿于校园讲学跨文化和语言文学的一枚，终于在2012年夏天的某个时刻毅然决意地转向艺术领域，从而开启了艺术和诗歌的自由灵性之旅。这一转身一发不可收拾，借助自媒体，以她富有挑战和惊艳的姿态,连同她主持的艺术沙龙迅速走入公共视野。她把镜头对准自己，以发丝和身体为媒介，切入当下语境，将实景现实和超实景现实互构在同一时空中，以此来展现和表达个体与社会、文化和自然之间的多维度和多元化的关系。

主要个展和群展有《头发与世界的关系》（上海，2016），Art Centro双个展（纽约，2017），《一枚》（北京，2019），《一枚躺》（深圳，2021），《暗自涌动的梦境》（上海，2023）。《土耳其-中国：2021艺术互动的爱、宽容与和平在线展览》，《共享的危机》国际网络展 (2020)，《爱要发电》当代女艺术家群展 (上海，2021)，《奥拉·她视界》国际女性艺术家群展（杭州，2022), 《我们在一起——首届华人女性主义艺术家联盟开幕展》（2022），《重叠卡塞尔·行为影像文献展》（德国，2022），《儕Chai国际行为艺术节·行为影像展》（景德镇，2023）。2018年获红门国际艺术驻留“中国新锐艺术家奖”。

Yi Mei, WANG Yimei as real name, artist, photographer and poet. Associate professor of Shanghai University of Int’l Business & Economics, Visiting scholar twice at University of Central Lancashire in UK. Lives in Shanghai.

Her major solo and group exhibitions include:Link the Word with Her Hair (Shanghai,2016), Art Centro Double Show (NY, 2017), YI MEI (Beijing, 2019), BETWEEN (Shen Zhen, 2021), Dreams of Hidden Wave (Shanghai, 2023). Turkey-China:2021 online Art Exhibition of Interactive Love, Tolerance and Peace, Sharing Crisis int’l Online Exhibition (2020), Love Generates Power Contemporary Women Artists Exhibition (Shanghai, 2021), HOLARTE·SHE Int’l Feminist Artists Exhibition (Hang Zhou, 2022),

We Are Together——The First Chinese Feminist Artists Alliance Opening Exhibition (2022), Overlapping Kassel·Video & Images Documentary Show (Germany, 2022), Chai In’tl Performance Art Festival·Video & Images Show (Jingdezhen, 2023).2018 received Emerging Chinese Artists Award by Red Gate Int’l Residency Program.

郭桢 (Zhen Guo)

微风轻拂, 水墨，油彩，宣纸，2022-2023，186cm x 96cm

Breezing the body, Ink, Oil Paint, Rice Paper, 2022-2023, 186cm x 96cm

微风轻拂（局部）, 水墨，油彩，宣纸，2022-2023，186cm x 96cm

Breezing the body, Ink (detail), Oil Paint, Rice Paper, 2022-2023, 186cm x 96cm

郭桢最新的水墨画系列扰乱了这种丰富而微妙的色调，注入了戏剧性的彩虹条纹区域，这是一种激进而意想不到的创新。在其中一些作品中，条纹通过拼贴碎片叠加在墨水地面上。所有这些颜色的插入都是为了让人眼花缭乱，提醒观众，让眼睛摆脱任何习惯视觉或社会的自以为是。她说：“当我开始在水墨画上画这些几何线条、彩色条纹时，我就在想这些美丽的色彩如何改变了这个哑声的风景。” 她说她想“将人们的心情从黑暗抑郁转变为丰富多彩、以及对美好未来的期冀。”

—-Gail Levin 盖尔莱文

Guo Zhen's latest series of ink paintings disrupts this rich yet subtle palette, injecting areas of dramatic rainbow stripes, a radical and unexpected innovation. In some of these works, stripes are superimposed on an inky ground through collaged fragments. All these colors are inserted to dazzle, remind the viewer, and free the eye from any accustomed visual or social presumption. She said: "When I started painting these geometric lines and colorful stripes on the ink painting, I was thinking about how these beautiful colors changed this mute landscape." She said she wanted to "change people's mood from darkness and depression For richness and hope for a better future.”

—-Gail Levin

郭桢，艺术家，策展人。出生于中国山东日照， 1976 毕业于山东艺术学校美术系，1982年毕业于中国美术学院国画系并留校执教于中国画系，是改革开放后水墨艺术最早的探索者之一。 1986赴美国旧金山艺术学院留学，1987年赴加拿大约克大学艺术学院访问学者，1988年在纽约设立郭桢工作室，是活跃在国际艺术界的女性水墨艺术家，美国亚裔当代女性水墨艺术开拓者，参加过多个国际艺术展，并长期致力于国际当代女性艺术的研究和探索。近几年先后策划和参加了：中国长沙的“存在”国际女性艺术展、美国莫纳当代美术馆的“请触摸，身体边界”大型展览。韩国全北道立美术馆“亚洲女性艺术家展览”等。现为华人女性艺术家联盟创始人，美国女艺术家协会会员，中国美术家协会会员，多座美术大学的客座教授。

GUO ZHEN. Artist, curator. Born in Rizhao, Shandong, China, he graduated from the Fine Arts Department of Shandong Art School in 1976. He graduated from the Chinese Painting Department of the China Academy of Art in 1982 and stayed at the school to teach in the Chinese Painting Department. He was one of the earliest explorers of ink art after the reform and opening up. In 1986, she went to study abroad at the San Francisco Art Institute in the United States. In 1987, she went to Canada as a visiting scholar at York University School of Art. In 1988, she established Guo Zhen Studio in New York. She is a female ink artist active in the international art world and a pioneer in contemporary Asian female ink art in the United States. She has participated in many international art exhibitions and has been committed to the research and exploration of international contemporary female art for a long time. In recent years, she has planned and participated in: "Existence" International Women's Art Exhibition in Changsha, China, and "Please Touch, Body Boundaries" large-scale exhibition at Mona Museum of Contemporary Art in the United States. "Asian Women Artists Exhibition" at the Jeonbuk Provincial Museum of Art, South Korea, etc. She is currently the founder of the Chinese Feminist Artists Alliance, a member of the American Association of Women Artists, a member of the Chinese Artists Association, and a visiting professor at several art universities.

黄敏(Min Huang)

无题，110x90cm，青花瓷板2021—2023年

Untitled, 110x90cm, blue and white porcelain panel, 2021-2023

无题（局部），110x90cm，青花瓷板2021—2023年

Untitled, 110x90cm, blue and white porcelain panel, 2021-2023

黄敏的绘画中，既有对中国整体的思考，也有对某一具体地区的具体观察。她的作品关注中国普通人的生存处境和欲望，题材会阶段性的变化，但越来越自觉的从当代公民权利的角度发现问题，用朴拙有力的具像手法表达。作品强烈有力量。形式语言和材料丰富多变。”——杜曦云

In her paintings, Huang Min not only thinks about China as a whole, but also makes specific observations on a specific region. Her works focus on the living situation and desires of ordinary people in China. The subject matter will change gradually, but she is more and more conscious to find problems from the perspective of contemporary civil rights, and expresses them with simple, simple and powerful imagery. The work is strong and powerful. Formal language and materials are rich and varied." -- Du Xiyun

黄敏，1975年生于四川通江，1994– 1998 ，四川美术学院油画系本科毕业，获学士学位。2003 – 2006年，中央美术学院油画系三画室研究生毕业，获硕士学位。1998年，获四川美术学院本科毕业作品一等奖。1998年，获全国群星展铜奖。2006年，获中央美术学院研究生毕业作品一等奖。2006年，获中央美术学院“王嘉廉油画奖学金。2016年，获第三届南京国际艺术展“学术奖”和“大众欢迎奖”。

Huang Min, born in Tongjiang, Sichuan Province in 1975, graduated from oil Painting Department of Sichuan Fine Arts Institute with a bachelor's degree from 1994 to 1998. From 2003 to 2006, he graduated from the Oil Painting Department of the Central Academy of Fine Arts with a master's degree. In 1998, he won the first prize of undergraduate works of Sichuan Fine Arts Institute. In 1998, he won the bronze Award of the National Stars Exhibition. In 2006, he won the first prize of graduate works of the Central Academy of Fine Arts. In 2006, he won the "Wang Jialian Oil Painting Scholarship" of the Central Academy of Fine Arts. In 2016, he won the "Academic Award" and "Popular Award" of the third Nanjing International Art Exhibition.

杜婕 (Jie Du)

《2023.7.27-2023.8.10》，宣纸水墨，100x50厘米，2023年，杜婕

2023.7.27-2023.8.10， Ink, Chinese Xuan aper, 100x50cm，2023 ，Jie Du

《2023.7.27-2023.8.10》（局部），宣纸水墨，100x50厘米，2023年，杜婕

2023.7.27-2023.8.10 (detail)， Ink, Chinese Xuan aper, 100x50cm，2023 ，Jie Du

种子，很小。

种子是浓缩的记忆，千年雪藏，蕴含本质。

种子虽小，创造力最大。

每一粒种子萌发时，都自通神的美意。

风吹万万年，光照日日新，广阔天空，深沉海洋，重山峻岭，温暖土地.....

种子是前世的荣光泯灭时流下一滴泪，

种子是曾经的孤独和相亲相爱都走过

注定要分离时，轻轻微笑的底气。

草有种子，虫有种子，

兽有种子，鸟有种子。

人有人的种子，鬼有鬼的种子。

这个世界是一粒种子，

是神的种子。

当世界萌发时，显现了神的美意。

Seeds, very small.

Seeds are condensed memories. Thousands of years of snow, contains the essence.

The seed is small, the creativity is greatest.

Every seed, when it germinates, is given the good will of God.

The wind blows for thousands of years, fresh and bright every day, the vast sky, the deep sea, the high mountains, and the warm earth.....

The seed is a drop of tears when the glory of the past life is lost, and the seed is the confidence to smile gently when the loneliness and love have gone through the doomed separation.

Grass has seeds, worms have seeds, beasts have seeds, birds have seeds.

People have seeds,ghosts have seeds.

This world is a seed, a seed of God.

When the world emerged, God's good will was revealed.

杜婕1968年出生于湖北，毕业于华中师大。个展：<感恩的旅途> <后会有期> 麦勒画廊，<十六回> <无立足镜> 今格空间。近期联展：2016年《我偏爱生活——雷顿•韦斯收藏展》维塞尔伯格博物馆，〈抽象绘画〉斯拉克画廊德国，2018年〈All This-共存〉美国， 2019年〈新抽象：第二回展〉HDM画廊。出版物：《念珠与笔触》《生活在宋庄》《后会有期》《慢艺术》《白兔中国当代收藏》《麻将-希客中国当代艺术收藏》《女红绣事》《中国抽象艺术》《我偏爱生活》

Jie Du, born in Xiangyang, Hubei, in 1968, had studied physics before shifting her interests and dedication to the practice of painting. Du Jie has been the subject of solo exhibitions including,“No Place for Subjectivity to Stand” (2021), Ginkgo Space, Beijing;“Sixteen Cycles” (2018), Ginkgo Space, Beijing; “Until We Meet Again” (2008), Galerie Urs Meile, Beijing; “Thanksgiving Journey” (2004), Galerie Urs Meile, Lucern, Switzerland and etc. Her works have been the subjects of major group exhibitions in China and overseas, including, “I Prefer Life” (2016), Reydan Weiss Collection, Weserburg Museum für Moderne Kunst, Bremen, Germany; “Out of the Peony Pavilion – Chinese Contemporary Women Art Exhibition” (2016), The Russia Museum of Ethnology, St Petersburg, Russia; “Chinese Abstract Slow Art” (2012), Kunsthalle Recklinghausen, Recklinghausen, Germany; “Chinese Abstract Slow Art” (2011), Singer Laren Museum, Laren, Netherlands; “Ten Years of The White Rabbit” (2011), The White Rabbit Museum, Sydney, Australia; “Mahjong: Contemporary Chinese Art From the Sigg Collection”, Kunstmuseum, Bern, Switzerland; “Prayer Beads and Brush Strokes” (2003), Beijing Tokyo Art Project, Beijing, China. Du Jie’s works have been acquired by renowned private and public collections including：Foundation Olbricht Berlin, Collection Reydan Weiss, The UBS Collection, White Rabbit Collection, Sammlung Goetz Collection, The Uli Sigg Collection and The Fu Ruide Collection.

黄引 (Yin Huang)

《道具序语》，黄引作品，丙烯，纸本，拼贴， 70X178 cm，2023

<Preface to Props>, Huangyin work, acrylic, paper, collage, 70x178cm, 2023

《道具序语》(局部)，黄引作品，丙烯，纸本，拼贴， 70X178 cm，2023

<Preface to Props> (detail), Huangyin work, acrylic, paper, collage, 70x178cm, 2023

人类造神，历史开始了，而当人变成神人类历史便终结了！

——尤瓦尔 .赫拉利

在作品《道具序语》中我运用耳朵，喇叭，舞台幕布和鲜花作为媒介，构建超现实剧场场景，

来想象人类从智人向智神的不断探求中可能得到的反噬，主体的缺失，人类所依赖的故事，

形象和语言将被AI破译掌握与重新编写或者杜撰，我们赖以生存和思考的主线将瓦解而不

再可靠……….

"History began when humans invented gods, and will end when humans become gods".

-Yuval Noah Harari

In my work "Preface to Props", I use ears, trumpets, stage curtains, and flowers as media to construct surreal theatrical settings, imaging the possible backlash humans might encounter in their continuous journey from being Homo sapiens to aspiring Homo gods. With the lack of subjectivity, the stories, images, and language that humans rely on will be decoded, mastered, rewritten, or fabricated by AI. The main thread that we depend on for survival and thinking will crumble and no longer be reliable

黄引（Huang Yin）职业艺术家出生于四川成都，现居北京，作品《似水流年》获《走向新世纪——中国青年油画展》优秀作品奖，作品《春去春来》获《第九届全国美展》铜奖。作品曾在比利时，卢森堡，巴黎，香港，北京，上海等世界各地举办过个展，参加过多个重要的群展。作品被多个美术馆、艺术机构和私人收藏家收藏。作品曾发表在纽约时报，澳大利亚《Trouble》艺术杂志封面，《东方艺术大家》2014年6月期封面，西班牙艺术杂志《art.es》等诸多杂志，作品被收录在美国性别研究学者魏淑凌所著《实验北京：中国当代艺术中的性别与全球化》，批评家佟玉洁所著的《中国女性主义艺术》等诸多重要专业学术书籍。

Huang Yin, an artist born in Chengdu, Sichuan Province now lives in Beijing. She graduated from Sichuan Fine Arts Institute in 1997 with a bachelor's degree in oil painting. Her graduation work Youth Passes like Running Water was awarded the Excellent Work in “Into the New Century—the Exhibition of Oil Paintings by Young Chinese Artists", and another work Spring Comes and Goes won the Bronze Award in “The Ninth National Art Exhibition”. She has held solo exhibitions around the world and participated in several important group exhibitions. Huang Yin’s works are found in collections of several art museums, art institutions, and private collectors.

黄引以其独特的创作手法和高超的绘画技巧来观察和表现对她的成长经历和现实社会的感受，她喜欢用隐喻和戏剧舞台的方式去设计她的画面，她拥有惊人的创造能力和诙谐的创作语言，运用众所周知的童话与历史真实事件结合的转译丰富她的绘画内容，使观众在观看的时候有耳目一新的感受，诱发观众对作品陷入深深的思考。

With her unique creative approach and superb painting skills, Huang Yin observes and expresses her feelings about her upbringing and real society. She likes to design images metaphorically and theatrically. With her creative ability and humorous creative language, she has used well-known fairy tales and real historical events to translate and enrich the content of her paintings. So that the audience will have a refreshing experience when confronting the work, and fall into a deep reflection.

何雨 (Yu He)

书于身体，身体影像，尺寸可变，2023

written on the body, Performance photography, size variable, 2023

书于身体（局部），身体影像，尺寸可变，2023

written on the body（detail）, Performance photography, size variable, 2023

女性，生来就是奥秘的；奥秘，必然是包含女性力的。神秘，是一个地点，在这里女人讨论光源但逻辑推理上被压制的耀眼之光，谈论主体与客体化为流体在火焰中彼此混合，谈论天地存在之中所包含的智力场域、更为广阔的、超越词与明的智性、讨论含摄万物的精神照耀…

Women, born to be mystic. Mystics, certainly contains the power of women.

何雨：南京大学文学学士，新南威尔士大学商科硕士，当代艺术创作者，创作领域涵盖绘画、行为、影像、表演及诗歌。在投身艺术创作之前，她曾经从事职业管理生涯十余年。近期个展包括 “燃烧的凹镜与柏拉图的洞穴”，碧云美术馆，上海（2023）， “拓扑宇宙”何雨个展，灰墙艺术空间，上海（2023）， “星辰与人间”何雨个展，厘米空间，上海（2023）， “与密涅瓦的猫头鹰一起散步”，非典型艺术馆，哈尔滨（2023）。

HE Yu is a contemporary artist with practice wide in painting, performance, video, photography, and poetry. She has a BA from Nan Jing University and Master degree in Commerce from University of New South Wales. For over 10 years, she worked in corporate world while she had a fortuitous encounter that changed the course of her life forever. Her recent solo exhibitions include: Burning Mirror and Plato Cave, BAM museum, Shanghai (2023), Cosmo & Loka, CM art space, Shanghai (2023), Topological Universe” Grey Wall space, Shanghai (2023), and Strolling with the owl of Minerva, Atypical Art Museum, Harbin (2023).

花花 (Hana Jiang)

舞者，65cm x 65cm, 帆布丙烯, 2023

Dancer, 65cm x 65cm, acrylic on canvas, 2023

舞者（局部），65cm x 65cm, 帆布丙烯, 2023

Dancer (detail), 65cm x 65cm, acrylic on canvas, 2023

“再细细看花々的作品，众多数据渐渐浮出。据我了解，它们是对艺术史、个人经历、记忆和梦想的混合参考、举例和再次诠释，它们暗示了精神和艺术的内部冲突。我断定花々对法国艺术家路易丝·布尔乔亚（Louise Bourgeois）非常熟悉——她的作品经常取材于童年的记忆和梦想。花々对不同人物的不同部分进行了编码与颜色区域的混合，就像经常出现在花々画里的具有类人身体和鸟或花等头部的混血儿们。要么，就像在《珍妮和她的朋友们》中的一大群人物一样，她画里描绘的一切都反映和呈现人们在当下共同面临的困惑和痛苦。但相反，花々个人风格的标记、独特的人、鸟比例以及颜色和笔触的质感使她的画弥漫着优雅。我想强调的是，优雅本身也是一种暴力。它暗示着一股梦幻但又是虐待狂一般的暗流，或者至少是痛苦和自我意识的方式，即，记忆是一个冲突的过程，一个被过去经历劫持和被当下现实绑架所双料加重的过程。

花々已经进入了一个有趣的绘画方向。它与形形色色的童脸卖萌、斑斑点点炫目的霓虹彩点、病病殃殃生气毫无的学院抽象，以及兢兢业业与照相机拼抢谁细的肖像完全不同。我惊讶花々是如何获取和采用奇特元素并将它们空间化：几乎就像一个闯入了平庸风景的仙境，产生一股新鲜气息。花々，请不断地让我们惊奇吧。”

马特·莫里斯（芝加哥艺术学院教授）

"Looking more closely at Huahua's works, numerous data gradually emerged. As far as I understand, they are mixed references, examples and reinterpretations of art history, personal experiences, memories and dreams. They hint at the internal conflicts of spirit and art. I concluded that Huahua was very familiar with the French artist Louise Bourgeois - her works were often based on childhood memories and dreams. Huahua codes and mixes color areas for different parts of different characters, like the hybrids with humanoid bodies and bird or flower heads that often appear in flower paintings. Or, just like the large group of characters in "Jenny and Her Friends," everything she depicts reflects and presents the confusion and pain that people face in the present. But instead, the marks of Huahua's personal style, the unique proportions of people and birds, and the texture of color and brushstrokes imbue her paintings with elegance. What I want to emphasize is that elegance itself is also a kind of violence. It hints at a dreamlike yet sadistic undercurrent, or at least a painful and self-aware way in which memory is a conflicted process, one exacerbated both by hijacking by past experiences and by present reality.

Huahua has entered an interesting direction in painting. It is completely different from the various cute faces of children, the dazzling neon dots, the sickly and lifeless academic abstracts, and the conscientious portraits competing with the camera for details. I'm amazed at how Huahua acquires and adopts strange elements and spatializes them: almost like a wonderland that breaks into a banal landscape, creating a breath of freshness. Huahua, please keep surprising us. "

Matt Morris (Professor, Art Institute of Chicago)

花々，又名 H.J，出生于中国上海。她曾就读于芝加哥艺术学院并获得美术学士（BFA）学位。花々一直乐意并随时准备探索她生活中新的可能性。她的职业经历丰富，如诗人，学前教育者、儿童文学作家、图书出版者和推销员、老人护理员等。对花々来说，最意想不到的是成为一个画家。一个人可能一生都没有意识到她/他所拥有的才华，而重要的是勇于不断尝试，不断去寻找隐藏的属于自己的宝藏。花々现在美国、上海和墨西哥生活和创作。展览： 2023 《花谷雅集》大沪联合艺术空间，上海。2023 《惊讶–花谷作品展》东岳美术馆，北京。2023 《国际艺术对画/2023新春在线作品展[中国苏格兰]》艺术传承，北京。2022 《芝加哥艺术学院BFA展》芝加哥艺术学院，芝加哥。2022 《追求–中美女性艺术家芝加哥联展》亚洲艺术研究所，共步(Co-Pro Gallery)画廊，芝加哥。2021 《第19届纸板上的艺术展》亚洲艺术研究所，芝加哥。2021 《自然三相》亚洲艺术研究所，芝加哥。2019 《第17届纸板上的艺术展》前行项目画廊，芝加哥。

Hana Jiang, also known as H.J., was born in Shanghai, China. She holds a BFA degree from The Art Institute of Chicago. H. J. has been willing and ready at any time to explore the new possibilities in her life. She has countless career experiences, such as poet, preschool educator, author of children’s literature, book publisher, real estate developer, caregiver for the elderly, etc. The most unexpected career for H. J. is to be a painter. One could live one's entire life without realizing the talent she or he processes, and it is important to try to find the treasure that is hidden in oneself. Hana lives and works in Chicago, Shanghai and Mexico. Exhibition: 2023 “Gathering in the Flower Valley” United Art Space of Great Shanghai. 2023 "Surprise – Works from the Flower Valley" Eastern Mountain Art Museum (东岳美术馆), Beijing. 2023 "International Art's Dialogue/2023 New Year Online Works Exhibition [Scotland/China]" Art Inheritance Gallery, Beijing. 2022 "BFA Exhibition" The School of the Art Institute of Chicago, Chicago. 2022 “And the Pursuit of… - Sino-American Female Artists Exhibition”, Joint exhibition at The Research House for Asian Art and CO-PRO Gallery, Chicago. 2021 “19th Art on Cardboard Show " The Research House for Asian Art, Chicago. 2021 “Three Visages of Nature” The Research House for Asian Art, CO-PRO gallery, Chicago. 2019 “17th Art on Cardboard Show" Project Onward Gallery, Chicago

凌星 (Xing Ling)

《叠：一种女性的记忆》,水墨和手工纸，136 厘米×69厘米，2020-2024年，凌星。

folding：A Memory for Women, Ink and Handmade Paper, 136 cm×69cm, 2020-2024, Xing Ling

《叠：一种女性的记忆》(局部），水墨和手工纸，136 厘米×69厘米，2020-2024年，凌星

Folding A Memory for Women (details), Ink and Handmade Paper, 136 cm×69cm, 2020-2024, Xing Ling

在卫生巾流行之前，很多女性在生理期使用的是卫生纸。而在我曾住过的中国南部山区，女性用的是当地出产的草纸，一种用稻草制造的深黄色的粗糙的纸。

1978年8月，参加学校收割稻谷的劳动归来，我发现裤子上有血迹。那时我还是小学生，所以母亲毫无心理准备，有点慌乱。她翻出她几年不用的月经带，拿了家人上厕所用的毛边纸，开始教我叠纸。从此之后，我开始了一个女性必做的一件要事：每个月都要叠几天的纸。这种形式的叠纸是一门纯粹女性的艺术，每个女性都做得很认真。如果纸叠好了，她活动起来就比较方便；而如果纸没叠好，她不仅活动不方便，且会给自己带来不少麻烦，甚至可能丢丑。

2020年，新冠病毒大流行期间，因为一张淡黄色手工纸，触发了我对毛边纸的遥远的记忆。我将纸快速折成一个小长条，然后往上倒红色的水墨颜料，就得到了这张原稿。但这个作品一直没有拿出来，因为我无法向人解释自己的创作意图，直到今天。对我来说，这不仅是一张平面作品，更是一次行为艺术：这个作品表达的不仅是一种相关女性的记忆，更是一次对传统观念的挑战。

Before the popularity of sanitary napkins, many women used toilet paper during their menstrual period. In the mountainous areas of southern China where I once lived, women used locally produced straw paper, a dark yellowrough paper made from straw.

In August 1978, when I returned from the labor of harvesting rice at school, I found blood stains on my pants. At that time, I was still a primary school student, so my mother was unprepared and a bit panicked. She dug up her menstrual belt that she hadn't used for years, took the Maobian paper used by family members to use in the restroom, and started teaching me how to fold paper. From then on, I began an important task that women must do: folding paper for a few days every month. This form of origami is a purely female art, and every woman takes it very seriously. If she folds the paper well, it will be more convenient for her to move around; If she doesn't fold the paper properly, not only will it be inconvenient for her to move around, but it may cause a lot of trouble, and may even bring shame to her.

In 2020, during the COVID-19 pandemic, a piece of faint yellow handmade paper triggered my distant memory of rough paper. I quickly folded the paper into a small strip and poured red ink pigment on top to obtain this original manuscript. But this work has never been exhibited because I am unable to explain my creative intention to others until today. For me, this is not only a print work, but also a performance art: this work expresses not only a memory related to women, but also a challenge to traditional concepts.

凌星，1960年代生人，现居中国南昌，符号学研究者，艺术家。早年从事声音作品创作，近10年转向美术创作。其由纸本中国现代水墨画起步，向综合材料和装置作品发展。其作品强调对她个人生存体验的叙述。

Xing Ling，born in the 1960s and residing in Nanchang, China; Semiotics researchers and artists. She engaged in the creation of sound works in her early years and has shifted to art creation in the past decade. She started with paper-based modern Chinese ink painting and developed towards comprehensive materials and installation works. Her works emphasize the narrative of her personal survival experience.

刘志敏 (Zhimin Liu)

蝉蜕, 布油画, 140x120 cm, 2023年, 刘志敏

the exuviation, oil painting on canvas, 55.1x47.2inch, 2023, Liu Zhimin

蝉蜕 (局部), 布油画, 140x120 cm, 2023年, 刘志敏

the exuviation (detail), oil painting on canvas, 55.1x47.2inch, 2023, Liu Zhimin

《蜕变》系列是近两年我绘画的主题。作为女性我的关注终没脱离女性本身，赶上大变革的时代，我们经历了太多、见证了太多，参与了太多，经过长期不断的反思、对比、学习、认知、觉悟，观念逐步走向成熟，思想发生了质的改变！从新中国妇女解放运动到今天走过近百年的历史，路程显得极为漫长且坎坷，几千年男尊女卑旧封建意识根深蒂固，要把捆在身上的枷锁砸开，获取人格的平等与尊重，重新认识自我，以全新的身份、全新的姿态、全新的视角，活出女性自己的气场！这就是《蜕变》的主题，是多年来我走过的绘画创作道路的必然呈现。用我们的努力和智慧，创作一片女性自己独特的空间，用我们哲学思维的大脑思考人类、思考历史，用我们天性的悲悯情怀为社会文明发展做更多的事情，这是个不断觉醒和成熟的过程！随着社会的改变而改变，是社会影响了我们，同时也是我们在推动着社会的发展改变！女性不仅是花一样美丽的风景，并有天使般纯净的心灵，让美丽的生命得以正常的绽放，让世界有一片完美的天空，而非男权女权的斗争！这是来源于女性自身内心世界自发的力量。试看90后，00后的新女性，不被婚姻绑架，不做生育机器，追求生命的自由平等，展示出新一代女性的社会生存态度与社会价值。

The "Transformation" has been the series theme of my paintings in the past two years. As a woman, my attention has never been separated from women themselves. In the era of great changes, we have experienced too much, witnessed too much, and participated in too much. After long-term and continuous reflection, comparison, learning, cognition, awareness, and concepts received, we gradually become mature, our thoughts have undergone qualitative changes! From the women's liberation movement in China to today, we have gone through nearly a hundred years of history. The journey seems extremely long and bumpy. The old feudal consciousness of men being superior to women has been deeply rooted for thousands of years. We must break the shackles tied to our soal, gain equality and respect for personality, and re-understand, with a new identity, a new posture, and a new perspective, show out the attitude of ourselves! This is the theme of "Transformation", and it is an inevitable manifestation of my creation over these years.We will create a unique space for women through our efforts and wisdom, use our philosophical brains to think about mankind and history, and use our natural compassion to do more for the development of social civilization. This is a process of constantly awakening and mature ! Changes with the changes of society. It is society that affects us, and we also change the society! Women are not only beautiful flowers, but also have pure hearts , allowing beautiful lives to bloom normally and keeping the world away from the struggle between men and women! This is the spontaneous power that comes from women's own inner world. Let’s take a look at the grils born in the 90s and 00s. They are not inhibited by marriage, they begin to pursue freedom and equality in life, and demonstrate their attitudes to the world as a new generation.

刘志敏 1962年生于河北省廊坊永清, 1985年毕业于河北师范大学美术学院, 1995年就学于中国美术家协会油画研修班, 同年就学于中央工艺美术学院（清华大学美术学院）, 任教华北石油教育学院美术系, 河北省美术家协会会员, 河北省油画学会会员, 中国石油美协会员, 中韩艺术交流学会理事, 中国香港美术家协会会员, 清华大学校友学会会员, 清华大学天津校友学会会员, 从事绘画艺术创作及教学近30年, 作品多次参加国内外艺术展览活动, 部分作品被个人及机构收藏, 绘画种类：主要画油画；兼国画、水彩, 工作室：北京宋庄天津滨海, 热爱艺术如同热爱自己的生命。

Liu Zhimin Born in 1962 in Yongqing, Langfang, Hebei Province, Graduated from the Academy of Fine Arts of Hebei Normal University in 1985, In 1995,she studied in the oil painting training class of the Chinese Artists Association. Studied at the Central Academy of Arts and Crafts in the same year (Tsinghua University Academy of Fine Arts), Teaching at the Fine Arts Department of North China Petroleum Education College, Member of Hebei Artists Association, Member of Hebei Oil Painting Society, Member of China Petroleum Artists Association, Director of China-Korea Art Exchange Society, Member of China Hong Kong Artists Association, Member of Tsinghua University Alumni Association, Member of Tsinghua University (Tianjin) Alumni Association, Engaged in painting art creation and teaching for more than 30 years, The works have participated in many art exhibitions. Some works are collected by individuals and institutions, Type of painting: Oil painting,Chinese painting and watercolor, Studio: Beijing Songzhuang /Tianjin Binhai, Love art as you love your own life.

蒋贞蕾 (Zelene Jiang Schlosberg)

《随想曲》，帆布，丙烯，线、81x61x3.8 厘米，2023年，蒋贞蕾

Capriccio,canvas,acrylic,thread,32x24x1.5inches, 2023,Zelene Jiang Schlosberg

《随想曲》（局部），帆布，丙烯，线、81x61x3.8 厘米，2023年，蒋贞蕾

Capriccio (detail), canvas,acrylic,thread, 32x24x1.5inches, 2023,Zelene Jiang Schlosberg

发自内心的图像是有力量的。 2022 年初，当那著名的事件发生时，我翻来覆去，无法入睡。后来我深受其影响，创作了两幅以白色为主色调的作品。其中之一是2022年底完成的《沉思》，另一幅是便是如上的《遐想曲》，完成于2023年初。我在两幅作品中都非常隐蔽地嵌入了“子宫矩阵”的形象。这种低调的咏叹，如果不仔细观察或没有艺术家指出，是不容易发现的。子宫是一个永恒的主题。母体承载着生命、希望以及一切美好和想象，但也面临着流血和禁锢的危险。

我对这项工作的受欢迎程度感到非常惊讶。首先，《沉思Contemplation》被格莱美奖获奖打击乐团体“第三海岸打击乐”选为他们2023年9月新发行专辑《呼吸之间》的封面；顺便说一句，“第三海岸打击乐”是当代著名的乐团，其四名乐队成员均为男性；而《随想曲》则于2023年底被一位美籍华裔收藏家（男）收藏。我无法做任何事情来直接帮助事件的主角，但她的生命在所有那些愿意关心的人心里成为白色丰碑，照亮苦痛和梦想。我没有把这个故事告诉那些赞扬和收藏这些作品的人，但我认为至少有一些人直观地理解和支持它，因为我们有相同的精神基础。正是这个基础将我们跨越性别和种族联系在一起。

Images that come from the heart are powerful. When the famous incident [of the Chained Woman?] happened in early 2022, I tossed and turned and couldn't sleep. Later, I was so affected by it that I created two works with white as the main tone. One of them is "Contemplation" which was completed in late 2022. The other is the above-mentioned "Capriccio", which was completed in early 2023. Very covertly, in both works I embedded the image of a “womb matrix”. This low-key chant is not easy to spot without looking carefully or without the artist pointing it out. The womb is an eternal theme. The maternal body carries life, hope, and all beauty and imagination, but it also faces the danger of bleeding and imprisonment.

I was really surprised by the reception of the work. First of all, "Contemplation" was selected by the Grammy Award-winning percussion group "Third Coast Percussion" as the cover of their newly released album "Between Breaths" in September 2023; by the way, "Third Coast Percussion" It is a well-known contemporary ensemble whose four band members are all male; and " Capriccio" was collected by a Chinese-American collector (male) at the end of 2023. I can't do anything to directly help the protagonist of the incident, but her life can serve as a white monument in the hearts of all those who are willing to care, shining a light on suffering and dreams. I have not told this story to the men who have praised and collected these works, but I think that at least some men understand and support it intuitively because we have the same spiritual foundation. It is this foundation that connects us across gender and race.

蒋贞蕾出生于湖南永州，毕业于北京师范大学。灵感常来自于建筑和当代古典新音乐。独展包括“一个阳光灿烂的下午”（伊利诺伊州立大学芝加哥分校，2012），“过渡景观”（密苏里州北中央学院，2019），“悬崖”（伊利诺伊州东中央学院，2019），“无间之距”（英国伦敦沃尔特画廊，2021），“后城市游荡”（纽约美华艺术协会456画廊）。为“芝加哥雕塑国际”等机构成员。参加多个国际和美国的艺术群展，包括美国周氏兄弟艺术中心、亚洲艺术研究所、韩国CICA美术馆和英国皇家雕塑家协会。她的作品《方向 #0》是作曲家约翰·利伯托雷2018 年CD 专辑《线画》的封面艺术。她的作品《沉思》是格莱美奖获奖乐团“第三海岸打击乐”2023 年CD专辑《呼吸之间》的封面艺术。蒋贞蕾是迈阿密艺术博览会和洛杉矶艺术博览会的多年参展艺术家。

Zelene Jiang Schlosberg, a Chicago-based visual artist, is renowned for art that blurs the line between painting and sculpture. Solo exhibitions include Chinese American Arts Council Gallery (NYC), North Central College (Illinois), University of Illinois at Chicago, East Central College (Missouri) and Woldt Gallery London. She has participated in numerous group shows, including Chicago Sculpture International, The Research House for Asian Art, Zhoub Art Center, The Art Center-Highland Park, CICA Art Museum Korea, and The Royal British Society of Sculptors in London. Her painting “Directions #0” was featured on the cover of composer John Liberatore’s 2018 debut CD album, “Line Drawings” (Albany Records), and her work “Contemplation” serves as the cover art for Grammy-Award winning Third Coast Percussion’s latest album, “Between Breaths,” released in September 2023 (Cedille Records). She has been a multi-year participant at Context Art Miami and Los Angeles Art Show.

马鸣 (Ming Ma)

无界，桑蚕丝布面，155x100cm，2023，马鸣

Borderless and Boundless, Mulberry silk fabric surface, ink, 155x100cm, 2023, Ma Ming

无界 (局部)，桑蚕丝布面，155x100cm，2023，马鸣

Borderless and Boundless (detail), Mulberry silk fabric surface, ink, 155x100cm, 2023, Ma Ming

作品《无界》是一个系列作品。主要想表达的是和平，宁静与无限。地球是一个整体，万物是也是一体，如果世界没有划分地域边界就会减少战争，减少冲突和矛盾，减少灾难和痛苦，减少恐惧与苦难，减少混乱与伤害。希望这个世界没有界线，没有分割，没有边界与局限。每个人都能自由自在的，幸福的生活在地球上。如果社会上没有阶层的划分与限制，生活会减少困扰与纷争，减少苦痛与挣扎，减少哭泣与烦恼，人就能自由宁静的生活着，呼吸着，每个生命才有着无限的可能。

The work "Unbounded" is a series of works. The main expression is peace, tranquility, and infinity. The earth is a whole, and all things are one. If the world is not divided into regional boundaries, there will be fewer wars, fewer conflicts and contradictions, fewer disasters and pain, less fear and suffering, and less chaos and harm. I hope this world has no boundaries, no divisions, no borders and no limitations. Everyone can live freely and happily on the earth. If there were no class divisions and restrictions in society, life would have fewer troubles and disputes, less pain and struggles, less crying and worries. People would be able to live and breathe freely and peacefully, and each life would have unlimited possibilities.

马鸣,女，山东人，当代艺术家,现定居北京。1998年研修于中央美术学院壁画系。展览: 1999年中国当代艺术展，北京。2003年中国当代艺术百人展，北京。2004年上海春季艺术沙龙展，上海。2004年中国当代油画展，北京。2005年首届宋庄艺术节，北京。2005年中国北京《融》主题展，北京。2006年宋庄艺术家推介展，北京。2007年当代女性艺术家作品展，北京。2007年《生活在宋庄》当代油画展，北京。2007年《东岸码头》首届当代艺术展，北京。2008年当代艺术《角度》主题展，北京。2008年《生活在宋庄》女性作品展，北京。2008年中韩女艺术家邀请展，北京。2008年中国当代艺术家作品展，德国。2010年 “ 虹” 当代女性艺术家作品展，北京。2010年中国当代艺术年鉴展，北京。2011年 “阳春三月”女性艺术家作品展，北京。2013年美国迈阿密平行展，美国。2015年东方意象艺术展，西班牙。2015年世界和平艺术大展，法国巴黎。2015年 "艺术的未来”，广东中山。2016年香港AAF艺术博览会，香港。2016年香港亚洲当代艺术展，香港。2017年深圳国际艺术博览会。2018年世界和平艺术展，北京。2018年世界女性艺术双年展，澳门。2018年北京抽象展，北京。2018年《红谷子》开放展，北京。2019年 “跨境”主题展，意大利威尼斯。2019年《精神密码》主题展，北京。2020年北京抽象艺术展，北京。个展：2009年马鸣艺术作品展，北京万盛园美术馆。2017年《无界》个展，苏蒙画廊。

Ma Ming Born in Shandong, China. 1993 Graduated from Oil Painting Department of Academy of Fine Arts of Ningxia University, Ningxia, China. 1998 Training in the mural department assistant training courses China Central Academy of Fine Arts, Master degree, Beijing, China. Now Living in Beijing, China. Selected Solo Exhibitions: 2009 Ma Ming art exhibition Beijing Art Museum Wansheng Park, Beijing, China.2017 Unbounded•Ma Ming Works Exhibition, Soemo Fine Arts, Beijing, China. Selected Group Exhibitions: 2020 Beijing Abstraction Art Exhibition, Beijing. 2019 Themed exhibition, Venice Biennale, Venice, Italy. Consious Incoding Themed Exhibition, Beijing. 2017 Shen Zhen International Art Fair, Shen Zhen, China. Asia Contemporary Art Show Fall 2017 Hong Kong, Hong Kong. Portraits From The Circumstances•Special Exhibition, Soemo Fine Arts, Beijing, China. Affordable Art Fair Hong Kong 2017, Hong Kong. Asia Contemporary Art Show Hong Kong 2017, Hong Kong. 2016 Asia Contemporary Art Show Hong Kong 2016, Hong Kong. 2014 Metz Contemporary Art Exhibition, Centre Pompidou-Metz, France. 2013 Miami parallel Exhibition, Miami, USA. 2011 Spring March female artist exhibition, Beijing, China. 2010 Chinese Contemporary Art Yearbook Exhibition, Beijing, China. Contemporary Female Artists Exhibition, Beijing, China. 2008 Contemporary Artists Exhibition, Berlin, Germany. "Living in Songzhuang" female art exhibition, Beijing, China. China and South Korea Female Artists Invitation Exhibition, Beijing, China. 2008 contemporary art "angle" theme exhibition, Beijing, China. 2007 China Contemporary Female Artists Exhibition, Beijing, China. "Living in Songzhuang contemporary oil paintings of Beijing", Beijing, China. The First Contemporary Art Exhibition of "east coast dock", Beijing, China. 2006 Songzhuang artist promotion exhibition, Beijing, China. 2005 The first art festival in Songzhuang, Beijing, China. China Beijing "thaws" theme exhibition, Beijing, China. 2004 Shanghai Spring Art Salon Exhibition, Shanghai, China. Chinese contemporary oil painting exhibition, Beijing, China. 2003 The Chinese Contemporary Art Exhibition of 100 Artists, Beijing, China. 1999 Chinese Contemporary Art Exhibition, Beijing, China.

金楠稀 (Nanxi Jin)

跳动的笔画；陶瓷；未知；2023；金楠稀

Dancing Script; Ceramics; Various size; 2023; Nanxi Jin

跳动的笔画（细节）；陶瓷；未知；2023；金楠稀

Dancing Script (detail); Ceramics; Various size; 2023; Nanxi Jin

在评论艺术时，我经常听到童年，包括童年的创伤是如何激励他人的。回想自己的童年，我很幸福。作为独生女，感谢父母给了我一个美好的童年。然而，被迫练习毛笔字是唯一不快乐的经历。即使是现在，回到家也要先完成一张 100 格的毛笔字。这段经历极大地影响了我的个人成长和艺术创作。作为一名女性艺术家，我的目标是探索女性身份和成长经历如何在我的作品中体现出来。女性的经历往往被忽视，但她们却塑造了独特的艺术风格和主题。我希望通过我的艺术作品，展示女性在艺术领域的力量和意义，同时为她们的叙事做出贡献。

When critiquing art, I often hear about how childhood, including its traumas, inspires others. Reflecting on my own childhood, I find happiness. As an only child, I'm grateful to my parents for a wonderful upbringing. However, being forced to practice brush lettering was the only unhappy experience. Even now, returning home means completing a 100-grid brush writing sheet before anything else. This experience significantly influences my personal growth and art. As a female artist, I aim to explore how female identity and upbringing manifest in my work. Women's experiences are often sidelined, yet they shape unique artistic styles and themes. Through my art, I hope to showcase the strength and significance of women in the arts while contributing to their narratives.

金楠稀是一位用粘土创作的跨学科艺术家。她目前在芝加哥生活和工作。2020 年，她从纽约州立阿尔弗雷德大学陶瓷学院获得艺术设计学士学位。2022 年，她从芝加哥艺术学院毕业。她的作品曾在多个展览中展出，包括 Ceramic Art Avenue Gallery(2019)、2021 年纽约设计周期间的 NYCxDesign、:iidrr Gallery(2023)。她曾获得 2022 年 "石湾杯''青年陶艺大赛一等奖、第十二届中国陶瓷艺术展银奖和中国民族工艺美术大赛银奖。作品《百变花瓶》被广东石湾陶瓷博物馆收藏。

Nanxi Jin is an interdisciplinary artist who works with clay. She currently lives and works in Chicago. She obtained a BFA in Art & Design from New York State College of Ceramics at Alfred University in 2020. She graduated from the School of Art Institute of Chicago in 2022. Her works have been exhibited in multiple exhibitions, including Ceramic Art Avenue Gallery (2019), NYCxDesign during New York Design Week 2021, :iidrr Gallery (2023) She received the First Prize in the 2022 "Shiwan Cup'' Youth Ceramics Competition, Silver Medal of the 12th Chinese Ceramic Art Exhibition and Silver Award for China Ethnic Arts and Crafts Competition. Her work “Various Vase” has collected in Guangdong Shiwan Ceramic Museum.

孙国娟 (Guojuan Sun)

我一直都是有翅膀的，照片拼贴， 37x48cm， 2021

I've Always Had Wings, Photo Collage, 37x48cm, 2021

我一直都是有翅膀的（局部），照片拼贴， 37x48cm， 2021

I've Always Had Wings (detail), Photo Collage, 37x48cm, 2021

过去的感受真的已经不是现在的感受，我的本性并没有改变，人生的轨道也并没有改变，但我们对人生，对艺术，对自己的感悟，却是一直在推动着我们走向更加内心化的自己。

The feelings of the past are truly not the same as those of the present. My essence hasn't changed, and the trajectory of life hasn't changed either. However, our understanding of life, art, and ourselves is always propelling us towards a more introspective self.

孙国娟独立艺术家。个展：2002．美丽的挽歌.孙国娟个人作品展，韩国汉城ATSIDE画廊。2007．天凉好个秋孙国娟个人作品展1984-2007 中国北京你画廊。2011. 美丽的挽歌，孙国娟作品展,北京99起艺画廊。2012．夜航，孙国娟装置作品展，中国上海红耳艺术空间。2019.往昔景物.豆蔻年华豆蔻之作—孙国娟早期作品展，中国北京而已美术馆。

联展：1995．中国当代艺术中的女性方式，中国北京艺术博物馆。2002．光州双年展，韩国光州美术馆。2002. 釜山双年展，韩国釜山大都会美术馆，2007．从西南出发—西南当代艺术1985—2007，中国广州广东美术馆。2008．休斯敦摄影双年展，美国休士顿艺术联盟。2008.女人的创造，香港奥沙艺术空间。2008. 第7届上海双年展，中国上海美术馆。2008. 姐姐回来了，韩国京畿道现代美术馆。2008. 而都是我 - 21位中国艺术家们的自拍像，中国上海全摄影画廊。2008. 心房，龙德轩艺术空间，北京，中国 2012. 桥梁2，中瑞艺术家交流展，瑞典乌普萨拉博物馆。2012.合璧观念艺术专题展，中国北京树美术馆。2016. 国际华人艺术节-中国当代青年艺术展，中国宁波美术馆。2023. 风景后，中国CGK昆明当代美术馆。

作品收录和阐释：高名潞等著：《中国当代艺术史1985-1980》，上海人民美术出版社1987年。吕澎，易丹著：《中国现代艺术史1970-1987》，湖南美术出版社1992年。廖雯著：《女性艺术—女性主义作为方式》，吉林美术出版社1999年。

吕澎著：《中国当代艺术史1990-1999》，湖南美术出版社2002年。邹跃进著：《新中国美术史1949-2000》，湖南美术出版社2002年。徐虹著：《女性：美术之思》，江苏人民出版社2003年。朱其著：《1990年以来的中国先锋摄影》，湖南美术出版社2004年。徐虹著：《女性艺术》，湖南美术出版社2005年

鲁虹著：《越界中国先锋艺术1979-2004》，河南美术出版社2006年。吕澎著：《20世纪中国美术史》，北京大学出版社2006年。江铭著：《中国后现代艺术》，台湾飞鸿文化有限公司出版2006年。鲁虹著：《2000-2005新世纪中国当代艺术图鉴》湖南美术出版社2006年。高名潞著：《85美术运动》，广西师范大学出版社 2007年。

贺万里著：《中国当代装置艺术史1979-2005》上海书画出版社 2008年。李宝妍（韩国）著：《论中国当代艺术》SIGONGART版社（韩国）2008年

鲁虹著：《聚变：中国当代艺术图鉴2005-2009》河北美术出版社2009年。吕澎/朱朱/高千惠主编：《新中国艺术三十年》timezone 8出版 2010年

吕澎著：《美术的故事—从晚清到今天》，北京大学出版社 2010年。佟玉洁著：《图像中的修辞学》，广西师大出版社 2011年。

鲁虹著：中国当代艺术史1978—2008大学教材，河北出版传媒集团河北美术出版社2014年。

Sun Guojuan is an independent artist. Solo exhibition: 2002. Beautiful Elegy. Solo exhibition of Sun Guojuan's works, ATSIDE Gallery, Seoul, South Korea. 2007. It’s a Cool Autumn Sun Guojuan’s Solo Exhibition 1984-2007 You Gallery, Beijing, China. 2011. Beautiful Elegy, Sun Guojuan Works Exhibition, Beijing 99 Art Gallery. 2012. Night Flight, Sun Guojuan's installation exhibition, Hong'er Art Space, Shanghai, China. 2019. Scenes from the Past. Cardamom Years, Cardamom Works - Sun Guojuan’s Early Works Exhibition, Beijing Art Museum, China.

Joint exhibition: 1995. Feminine Mode in Chinese Contemporary Art, Beijing Art Museum, China. 2002. Gwangju Biennale, Gwangju Museum of Art, South Korea. 2002. Busan Biennale, Metropolitan Museum of Art, Busan, South Korea, 2007. Starting from the Southwest—Southwestern Contemporary Art 1985-2007, Guangdong Museum of Art, Guangzhou, China. 2008. Houston Photography Biennial, Houston Art Alliance. 2008. Women’s Creation, Osage Art Space, Hong Kong. 2008. The 7th Shanghai Biennale, Shanghai Art Museum, China. 2008. My sister is back, Gyeonggi Museum of Modern Art, South Korea. 2008. It's all me - Self-portraits of 21 Chinese artists, Quan Photography Gallery, Shanghai, China. 2008. Atrium, Long Dexuan Art Space, Beijing, China 2012. Bridge 2, Sino-Swedish Artist Exchange Exhibition, Uppsala Museum, Sweden. 2012. Combined Concept Art Special Exhibition, Shu Art Museum, Beijing, China. 2016. International Chinese Art Festival-Chinese Contemporary Youth Art Exhibition, Ningbo Art Museum, China. 2023. After Landscape, CGK Kunming Contemporary Art Museum, China.

Collection and interpretation of works: Gao Minglu et al.: "History of Chinese Contemporary Art 1985-1980", Shanghai People's Fine Arts Publishing House, 1987. Lu Peng, Yi Dan: "History of Modern Chinese Art 1970-1987", Hunan Fine Arts Publishing House, 1992. Liao Wen's "Female Art—Feminism as a Method", Jilin Fine Arts Publishing House, 1999.

Lu Peng's "History of Contemporary Chinese Art 1990-1999", Hunan Fine Arts Publishing House, 2002. Zou Yuejin: "New China Art History 1949-2000", Hunan Fine Arts Publishing House, 2002. Xu Hong's "Women: Thoughts on Art", Jiangsu People's Publishing House, 2003. Zhu Qi's book: "Chinese Pioneer Photography since 1990", Hunan Fine Arts Publishing House, 2004. Xu Hong: "Female Art", Hunan Fine Arts Publishing House, 2005

Lu Hong writes: "Transgressing Chinese Avant-garde Art 1979-2004", Henan Fine Arts Publishing House, 2006. Lu Peng: "History of Chinese Art in the 20th Century", Peking University Press, 2006. Jiang Ming: "Chinese Postmodern Art", published by Taiwan Feihong Culture Co., Ltd. in 2006. Written by Lu Hong: "Illustrated Guide to Chinese Contemporary Art in the New Century 2000-2005" Hunan Fine Arts Publishing House, 2006. Gao Minglu: "85 Art Movement", Guangxi Normal University Press, 2007.

He Wanli: "History of Contemporary Chinese Installation Art 1979-2005" Shanghai Painting and Calligraphy Publishing House, 2008. Li Baoyan (South Korea): "On Chinese Contemporary Art" SIGONGART Publishing House (South Korea) 2008

Written by Lu Hong: "Fusion: Chinese Contemporary Art Illustrated 2005-2009" Hebei Art Publishing House, 2009. Edited by Lu Peng/Zhu Zhu/Gao Qianhui: "Thirty Years of New Chinese Art" published by timezone 8, 2010

Lu Peng, "The Story of Art—From the Late Qing Dynasty to Today", Peking University Press, 2010. Tong Yujie: "Rhetoric in Images", Guangxi Normal University Press, 2011.

Lu Hong: Chinese Contemporary Art History 1978-2008 University Textbook, Hebei Publishing Media Group Hebei Art Press 2014.

唐梦 (Meng Elizabeth Tang)

我是誰?，唐夢，2024，AI 藝術

Who am I?, By Meng Elizabeth Tang, 2024 AI Art

我是誰?（局部），唐夢，2024，AI 藝術

Who am I? (detail), By Meng Elizabeth Tang, 2024 AI Art

基于在前几年线上流传的几件轶事。这件作品是我尝试使用人工智能创作的初步尝试。

Based on an online anecdote that took place in mainland China. My initial attempt at creating a project using artificial intelligence.

唐夢,生于中国天津，现任教于新加坡莎顿国际学院。唐夢先后获得北京电影学院摄影系电影学士学位(BFA)，美国纽约大学艺术硕士学位 (MA)，和美国明尼苏达大学获艺术创作硕士学位(MFA)。她曾任教于北京电影学院摄影系和美国明尼苏达大学。作为一个艺术家，她的创作领域包括电影，影像装置，摄影，雕塑和行为艺术等。她的作品被美国和亚洲等地的专业收藏家和美术馆所收藏。唐夢现已出版了一本翻译著作，发表了多篇关于当代艺术的文章。2011年唐夢被美国《明尼苏达月刊》评选为“最值得关注的艺术家” 之一。美国独立艺术杂志《雨的士》在2011年发表长篇专文介绍她的艺术实践。2014年明尼苏达大学授予唐夢(1914-2014)百年最佳华人校友奖。2018年唐夢任国际女性艺术家协会副会长至今。

Tang Meng, a native of Tianjin, China, is currently a faculty member at Shelton International College in Singapore. Tang Meng has earned a Bachelor of Fine Arts (BFA) in Cinematography from Beijing Film Academy, a Master of Arts (MA) from New York University, and a Master of Fine Arts (MFA) in Artistic Creation from the University of Minnesota. Prior to this, she has instructed at the Cinematography Department of Beijing Film Academy and the University of installations, photography, sculpture, and performance art. Professional collectors and museums in the United States and Asia collect her paintings. Tang Meng has authored a translated piece and other pieces about modern art. the "Most Noteworthy Artists" to keep an eye on. In 2011, the American her artistic approach. In 2014, Tang Meng received the Centennial Outstanding Chinese Alumni Award from the University of Minnesota for the period of 1914- Association of Women Artists since 2018.

魏琳 (Lin Wei)

《独处玉宫》，布板油画, 20.32 x 20.32厘米，2024, 魏琳

“Alone in the Jade Palace” , Oil on panel, Size: 8”x 8”, 2024, Lin Wei

《独处玉宫》（局部），布板油画, 20.32 x 20.32厘米，2024, 魏琳

“Alone in the Jade Palace” (detail) , Oil on panel, Size: 8”x 8”, 2024, Lin Wei

最近黄柳霜的一张黑白老照片，促使我创作了《独处玉宫》。

传统里，玉石因其硬度和美丽而备受推崇。特别是其微妙、半透明颜色的宁静感使人们联想到灵魂的不朽。带着对春天的期盼，绿色征服了我，成了本次创作的主色调。

黄柳霜是一位美国女演员，一位华人洗衣工的女儿。她被誉为好莱坞第一位美籍华裔电影明星，也是第一位获得国际认可的美籍华裔女演员。

由于当时的种族偏见，她发现自己扮演的角色，诸如“龙女士”、“蝴蝶夫人”和“中国娃娃”等都存在种族印象。她尽可能地改变人物形象来超越这些种族印象的局限。

尽管歧视带给她了许多障碍，但黄柳霜继续出现在六十多部电影和许多令人难忘的电视和戏剧节目中，展示了她在表演、歌唱和语言等各方面的天赋才华。

我想画出她如玉的清新，如玉的优雅和神秘，如玉的坚强和执着。

《独处玉宫》重提黄柳霜的光环，我想说：在这个喧嚣复杂的世界里，我们依然可以挖掘艺术自由和创作的空间……我们的气场是永不放弃心中所爱的事物！

Recently I saw an old black and white photo of Anna May Wong. It inspired me to create “Alone in the Jade Palace”.

Traditionally, jade has been prized for its durability and its subtle, varied and translucent greens, greens that induce a state of serenity so deep that you merge with your immortal soul. My painting has surrendered to the deepest greens.

Anna May Wong was an American actress and the daughter of a Chinese laundry worker. She came to be known as Hollywood's first Chinese-American film star and the first Chinese-American actress to gain international recognition. She began her career in the silent film era and went on to a heroic movie and theatrical career.

Due to the racial biases of her time, she found herself, playing characters such as "Dragon Lady", "Madame Butterfly", and "China Doll”, roles that were imbued with racial stereotypes. She changed the characters as much as possible to transcend the limitations of these stereotypes.

Despite the many obstacles faced by discrimination, Anna Wong went on to appear in more than sixty films and many memorable television and theater shows, showcasing her natural talents in acting, singing and speaking.

I wanted to express Anna May’s jade-like freshness, her jade-like elegance and mystery, and her jade-like strength and persistence.

Through Alone in the Jade Palace I regenerate the aura of Anna May Wong. Caught up in this complicated world, we can still find room for artistic freedom and continued creation... Our aura inspires us to never give up on the things that we hold dear in our hearts.

魏琳美籍华人艺术家，1958年生于山东潍坊。魏琳先后在曲阜师范大学、首都师范大学、中央美术学院学习油画。并曾任教于曲阜师范大学，山东艺术学院。之后她应邀在美国奥克兰米尔斯女子学院、加州大学戴维斯分校、旧金山市立大学、旧金山州立大学、中美国际学校等院校客座讲学，魏琳现在负责旧金山亚洲美术学校的教学。她曾多次举办个人画展和联展，代表作品有《作者作品》、《旅程》、《时代美》、《伟大后》等系列等。

Lin Wei, a Chinese-American artist, was born in Weifang, Shandong in 1958. She is currently the head teacher at Asian Arts School in San Francisco, USA. She studied oil painting at Qufu Normal University, Capital Normal University, and the Central Academy of Fine Arts. She also taught at Qufu Normal University and Shandong Art Institute. In 1993, she was invited to give guest lectures on various aspects of Chinese art at Mills Women's College in Oakland, California, The University of California, Davis, City College of San Francisco, San Francisco State University, and the China-American International School. Since then, Lin Wei has held many solo and joint exhibitions. Her major works include the “Author’s Works”, “Journey”, “Ages of Beauty”, “After Greatness” and other series.

谢雯 (Wen Xie)

浮世绘仕女与阿布，纸上设色，34.2X33.6cm，谢雯

Ukiyo-e Lady and Abu, Color on paper, 34.2X33.6cm, Wen Xie

浮世绘仕女与阿布（局部），纸上设色，34.2X33.6cm，谢雯

Ukiyo-e Lady and Abu (detail), Color on paper, 34.2X33.6cm, Wen Xie

猫，独立，冷漠，喜独行，不喜欢群居，不讨好人类，和人类像朋友一样平起平坐。坚决不会做自己不想做的事情，比如：强行把它抱在怀里，它分分秒秒会找机会逃脱，它总处于自己的世界里，在一边静静地趴着，静静地想着，静静地陪着，不远，也不近。不让别人有负担，也不成为别人的负担。有时泰然自若，有时神经兮兮，有时逆鳞反骨，有时暖如太阳，全凭它自己的心情…..

猫很自我，时刻冷着脸，小小的身体，有着强大的气场，时刻提醒着你，它和老虎一样是猫科动物。我想，猫如果是一个人，它肯定是无政府主义者和自由主义者，肯定会被别人PUA得一无是处。人类社会太喜欢规训别人如何变得“有用”、“好吃”、“好看”、“忠诚”、“听话”、“合群”、“牺牲”和“奉献”……却把“自私”、“自我”、“冷酷”、“叛逆”、“个性”、“内向”、“木讷”、“独特”和“古怪”等等批得一无是处。充满了威权思维和工具人心理。爱猫其实不需要任何理由，我想像猫一样活着……

I Want to Live Like a Cat

Cats are independent, indifferent, like to be alone, do not like to live in groups, do not please humans, and treat humans as equals as friends. I will never do anything I don’t want to do, such as forcefully holding it in my arms. It will look for opportunities to escape every second. It is always in its own world, lying quietly on the side, thinking quietly. Stay, stay with me quietly, neither far nor near. Don’t burden others, and don’t become a burden to others. Sometimes it is calm and composed, sometimes it is nervous, sometimes it is rebellious, sometimes it is as warm as the sun, it all depends on its own mood...

The cat is very self-centered, always has a cold face, has a small body, and has a strong aura, always reminding you that it is a feline like a tiger. I think that if a cat were a person, it would definitely be an anarchist and a liberal, and it would definitely be rendered useless by others. Human society too likes to discipline others on how to become "useful", "delicious", "good-looking", "loyal", "obedient", "gregarious", "sacrifice" and "dedication"... but puts "selfishness", "Self", "coldness", "rebellion", "individuality", "introversion", "stupid", "unique" and "eccentric" etc. were criticized without merit. Full of authoritarian thinking and tool mentality. There is no need for any reason to love cats. I want to live like a cat...

谢雯，独立艺术家，出生于1979年12月27日，字雨休，号未央斋主人，浙江杭州人，祖籍为黑龙江省。从事绘画创作、摄影以及先锋诗写作。主攻中国画工笔人物，兼画山水、花鸟、走兽等。现工作生活于杭州。

多篇学术论文和艺术作品发表于《美术报》《湖州日報》《理论学术研究》《青年文学家》《中国画画刊》等期刊杂志。其作品多次参加国内外展览，以及上拍于中国嘉德、西泠印社拍卖。

Wen Xie, an independent artist, was born on December 27, 1979, with the courtesy name Yuxiu and the nickname Weiyangzhai Master. She is a native of Hangzhou, Zhejiang, and her ancestral home is Heilongjiang Province. Engaged in painting, photography and avant-garde poetry writing. He specializes in traditional Chinese painting of meticulous figures, as well as landscapes, flowers, birds, animals, etc. Currently working and living in Hangzhou.

Many academic papers and artistic works have been published in journals such as "Art Newspaper", "Huzhou Daily", "Theoretical Academic Research", "Young Literary Writers", and "Chinese Painting Magazine". His works have participated in many domestic and foreign exhibitions, and have been auctioned at China Guardian and Xiling Seal Society.

徐冰 (Bing Xu)

红门，油画-数码，150X110cm，2007-2024

Red Gate, Oil Painting - Digital, 150x110cm, 2007-2024

红门（局部），油画-数码，150X110cm，2007-2024

Red Gate (detail), Oil Painting - Digital, 150x110cm, 2007-2024

作品杂记：

徐冰-2024-1月

油画“红门”作品

是我在2007年创作的，这几年对数码作品有兴趣，所以去年在作品内容方面又增加和丰富了一些。

我认为：我们潜意识中蕴藏和承载着自己在这个世界和时代中所有的记忆。我们经历过的那些事情事物是永远存在的，甚至那些曾经的模糊的甚至超越时间空间的记忆都深深地储存在我们记忆的深处……

所以我觉得偶然触碰到的所谓创作灵感就来源于我们对世界的认知和记忆。最接近我们的事物往往记忆尤其深刻，因为我们有当代的记忆体会。记得很年轻时看过一本小说，大意是：凡是经历过的事情都是美丽的，因为那乘载着自己的青春时光，无论是痛苦烦恼和忧伤爱恨情仇，站在自己历史角度看的确都不再痛彻，其实痛也是一种感觉，它会起到唤醒的作用。

我们这个时代的人对于红色有种莫名的敏感，红色的寓意也非常明确，这个作品展示的是作者内心的情感呼唤，这种纠缠和无尽的缠绕不断出现在我的脑海和画面里。

Xu Bing - January 2024

Oil painting "Red Gate"

This piece was created by me in 2007. In recent years, I have developed an interest in digital works, so last year, I added and enriched the content of the artwork.

I believe that our subconscious mind harbors and carries all our memories in this world and era. Everything we have experienced remains forever, and even those vague or transcendent memories from the past are deeply stored in the depths of our memory...

Therefore, I think that the so-called creative inspiration we occasionally encounter originates from our perception and memory of the world. The things closest to us are often the most memorable because we have contemporary memories. I remember reading a novel when I was very young. The gist was: everything we've experienced is beautiful because it carries our youth, whether it's pain, sorrow, love, or hate. From our historical perspective, it no longer hurts as much, but pain is also a feeling, and it can have an awakening effect.

People of our era have a kind of inexplicable sensitivity to the color red, and its symbolism is very clear. This artwork showcases the author's inner emotional callings. This entanglement and endless intertwining constantly appear in my mind and on the canvas.

徐冰, 藝術家 /藝術策展人,法國國際藝術家協會副主席, 世界华人女性主义艺术家联盟会员, 河北省油畫學會副主席兼, 女画家学会主席. 作品參加國際國內大型展覽數十次。参加文化部历史画创作并获奖。曾应邀赴香港德國日本法國美國藝術交流和參加展覽並有獲獎。曾被聘为日本香港某画廊特约画家。

獨立策划国内国际十數次大型女性藝術活動如：“绽放”“凝视”“春醒”“地缘”国际女性艺术展览，及“合相门”“品格”大型国内油画展览等。

作品重在探索和表达人性、人生和宗教及女性自我內在的情感和靈性。主要代表作：天使系列，浮世记系列，红潮系列，金瓶梅系列等。

作品收藏：德国，韩国，香港，台湾和中国艺术机构及个人。

Xu Bing is an artist and art curator. She serves as the Vice Chairman of the International Association of Artists in France and is a member of the World Chinese Feminist Artists Alliance. Additionally, she holds the position of Vice Chairman of the Hebei Oil Painting Association and is the Chairwoman of the Female Artists Association.

Her works have been showcased in numerous large-scale international and domestic exhibitions. Xu Bing has participated in historical painting creations organized by the Ministry of Culture and has received awards for her contributions. She has been invited to participate in art exchanges and exhibitions in Hong Kong, Germany, Japan, France, and the United States, earning recognition for her work. She has also been appointed as a special guest artist by a gallery in Japan and Hong Kong.

Xu Bing has independently curated several large-scale women's art events domestically and internationally, including exhibitions such as "Blossom," "Gaze," "Awakening in Spring," "Geography," and large-scale domestic oil painting exhibitions like "Harmony" and "Character."

Her artworks primarily focus on exploring and expressing human nature, life, religion, and the inner emotions and spirituality of women. Some of her major representative series include the Angel series, the Floating World series, the Red Tide series, and the Golden Lotus series.

Xu Bing's works are collected by art institutions and individuals in Germany, South Korea, Hong Kong, Taiwan, and China.

展览继续

点击 “气场！2024” 女性艺术家年度展(下)

展览编辑：陈琪欣 (Qixin Chen)

展览海报设计：王怡然 (Yiran Wang)

“气场！2024” 女性艺术家年度展(上)

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