- Feb 28

“气场！2024” 女性艺术家年度展(下)

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

徐丹 (Dan Xu)

徐丹，河声，中国水墨，宣纸，234cmX398cm。 2018

Dan Xu, River Songs, Chinese Ink-wash, Xuan paper, 234cmX398cm. 2018

徐丹，河声（局部），中国水墨，宣纸，234cmX398cm。 2018

Dan Xu, River Songs (detail), Chinese Ink-wash, Xuan paper, 234cmX398cm. 2018

漫长的冬季透过窗户我看到了河流与我的邻居们，于是我用画笔记录祂的咏唱。

这二十年我以水墨方式纪录我眼中的加拿大。

The River songs

The River sings to me. I hear the stories, I see the river, and I paint as I look out my window. My art is a fusion of the ancient Chinese brushwork technique and the inspiration I get from the beautiful landscapes of New Brunswick Canada

我相信自己的艺术使命是在中国古典艺术与加拿大文化间架起可沟通的桥，我作品大多以加拿大真实自然为蓝本，坚持户外水墨写生30年，这有助于我创作出诚实而有意义的绘画。

作为一名专业艺术家，我相信自己已经为构成加拿大马赛克增添了色彩。2012-2016 我获得加拿大新布朗瑞克省政府的系列艺术创作基金并成为该组织官方评委之一，多幅作品被政府永久收藏，最近三年，一直进行“美丽加拿大““系列创作，并获得两项加拿大艺术委员会的“创作与探索”国家艺术基金，现在所展现的“加拿大国家公园库特内大理石峡谷”就是其中一幅。-丹树

I have immersed myself in Canadian culture and believe my artistic calling is to create a cultural bridge between the Chinese ancient arts and the people and culture of Canada. My favourite technique is the traditional Chinese ink-wash method. Most of my works are painted in nature, plein-air style which helps me create honest and meaningful paintings.

As a professional artist, I have called Canada home for over twenty years and have embraced our communities.I have received several grants including an “explore and create” grant in 2020 and 2022 from the Canada Council for the Arts for my project titled: “The Beauty of Canada. From 2012 to 2016, I received three lever B artsNB grants for visual arts projects, I believe I have added to the diverse cultural mosaic that makes up New Brunswick. My works have been featured in Atlantic Canada. two of my artworks were selected for The National Exhibition of Fine Arts in China in 2014 and 2019. Also, the NB Art Bank collected three of my paintings.

张容 (Rong Zhang)

维纳斯女神，布面油画，90x60 cm，2021，张容

Venus goddess, Oil on canvas, 90x60 cm, 2021, ZhangRong

维纳斯女神 (局部)，布面油画，90x60 cm，2021，张容

Venus goddess (detail), Oil on canvas, 90x60 cm, 2021, ZhangRong

这两年的创作基本上是围绕着女神这个系列为主的。仅以维纳斯为题目的作品，我大约就有五六幅之多吧。美与真是我们共同追求的，维纳斯身上除了这些特质以外，更有一种对自由的追求，以及对真爱的勇往直前！女性自古被束缚和附加的东西太多了，我们要突破这重重的障碍，找到自己的一片天地。正如像维纳斯女神一样，要有勇往直前，冲破枷锁的勇气与力量。新的世界有更为广阔的天地，我们在关注人类共同命运的同时，也更为关注女性在这片天地中的表演。作为女性艺术家，我的作品中自然的流露出了女性特有的细腻与敏感，沉静与执着，那是自然天成的。每天在画布上反复推敲琢磨，去尝试各种的可能性，画面也会同时做出反馈，启发我重新审视自己，发现新的契机。面对画布需要耐心的等待，静观每一次的变化，做出相应的调整与取舍。图层的反复叠加延长了时间的概念，也让画面的空间发生了变化，生成了沉静、纯粹的气质……

In the past two years, the creative work has mainly revolved around the Goddess series.I have about five or six works based solely on Venus as the title.Beauty and truth are what we all pursue together. In addition to these traits, Venus also has a pursuit of freedom and the courage to move forward with true love! Women have been bound and attached too many things since ancient times. We need to break through these numerous obstacles and find our own world. Just like the goddess Venus, one must have the courage and strength to move forward and break free from shackles.The new world has a broader world, and while we are concerned about the common destiny of humanity, we are also more concerned about the performance of women in this world. As a female artist, my works naturally reveal the delicate and sensitive, calm and persistent qualities unique to women, which are naturally created. Every day, I ponder and explore various possibilities on the canvas, and the visuals also provide feedback, inspiring me to re-examine myself and discover new opportunities. Facing the canvas requires patient waiting, observing every change, and making corresponding adjustments and choices. The repeated stacking of layers prolongs the concept of time and also changes the space of the image, generating a calm and pure temperament……

张容：四川省绵阳市人，2003年本科毕业于四川美术学院；2015年至2018年就读于首都师范大学美术学院表现性工作室，获艺术硕士学位；参展经历：2023年8月 “原色”当代艺术展天津品所中心；2023年3月 “有风自南”当代艺术作品展广东现代国际展览中心；2021年12月 “2021：时间的突围”20位艺术家作品展千年时间画廊北京；2021年11月 “她力量”天趣全球女性当代艺术线上展；2019年9月“视觉进行时”2019北京国际设计周设计之旅专题邀请展千年时间画廊北京；2018年7月 “开敞”表现性绘画作品展北京798艺术区悦美术馆；2018年2月大连中山美术馆年度馆藏油画作品展大连中山美术馆；2017年4月 “沧海迷境” 三人作品展共同艺术中心北京

Rong Zhang, born in Mianyang City, Sichuan Province, graduated from Sichuan Academy of Fine Arts in 2003; from 2015 to 2018, She studied in Expressive Oil Painting at Duan Zhengqu Studio of Academy of Fine Arts of Capital Normal University and got MFA. Exhibitions include: 2023.8 Original Color Contemporary Art Exhibition Tianjin Pinsuo Center；2023.3 "Wind from the South" Contemporary Art Exhibition Guangdong Modern International Exhibition Center；December 2021 "2021: Breakthrough of Time" Exhibition of 20 Artists Works of Millennium Time Gallery Beijing; November 2021 "Her Power" Tianqu Global Women's Contemporary Art Online Exhibition; September 2019 "Visual Progressive Time" "2019 Beijing International Design Week Design Tour Thematic Invitational Exhibition Millennium Time Gallery Beijing; July 2018 "Open" Expressive Painting Exhibition Beijing 798 Art District Yue Art Museum; February 2018 Dalian Zhongshan Art Museum Annual Collection Oil Paintings Exhibition in Zhongshan Art Museum, Dalian; April 2017 "The Lost Land of the Sea" three-person work exhibition, Common Art Center, Beijing

张晓丽长治 (Xiaoli Zhang)

装置作品，《她们的营生》，木柱、木条、铁链、铁钉、拨调儿（劳动工具），总高 164厘米，长 60厘米，宽 70厘米，柱高 94厘米，直径 15厘米， 2024年，张晓丽长治(xiaoli Zhang)

Installation work，"Their livelihood"，Wooden pillars, wooden strips, iron chains, iron nails and pliers (instruments of labor)， Total height 164 cm，Length 60 cm， Width 70 cm，Column height 94 cm，Diameter 15 cm，2024，Xiaoli Zhang from Changzhi

装置作品（局部），《她们的营生》，木柱、木条、铁链、铁钉、拨调儿（劳动工具），总高 164厘米，长 60厘米，宽 70厘米，柱高 94厘米，直径 15厘米， 2024年，张晓丽长治(xiaoli Zhang)

Installation work（detail），"Their livelihood"，Wooden pillars, wooden strips, iron chains, iron nails and pliers (instruments of labor)， Total height 164 cm，Length 60 cm， Width 70 cm，Column height 94 cm，Diameter 15 cm，2024，Xiaoli Zhang from Changzhi

在我成长的记忆中，拨调儿是我周围每个女人的重要劳动工具之一，每有闲暇时间女人们便会聚在一起用拨调儿拧线绳，她们称之为“做营生”。在男性眼里女人“营生”做的咋样是定位一个好女人的重要指标之一，也因此女人们自己也按照这种规则自觉分类自己。时至今日我亦或是我们仍在被这种规则评判着规训着…

In my recollection of my upbringing, the pliers are one of the important instruments of labor for every woman on my side. Every time the women had spare time, they stayed together and used the pliers to twist the rope, which was called "making a living." In the eyes of males, how a woman "makes a living" is one of the important indicators for positioning a good woman, and therefore women themselves also consciously classify themselves on the basis of this rule. Even to this day, I am probably still judged and disciplined by this rule...

张晓丽长治(xiaoli Zhang) 女，1969年生于山西。2000年在中央美术学院进修油画。2019年参加《库艺术》第二期工作坊。2021年装置作品《摆布》参加｛元典美术馆.北京｝接力（第十辑鳌虾）展。2022年装置作品《洞见》参加“我们在一起”华人女性艺术家线上作品展。2023年装置作品《摆布》参加跬步元典美术馆（武清）三年展

Xiaoli Zhang, a female from Changzhi, was born in 1969 in Shanxi. In 2000, she engaged in advanced studies of oil paintings at the Central Academy of Fine Art (CAFA). In 2019, she took part in the workshop on Phase II of "Ku Art". The 2021 installation work "At the Mercy of" was involved in the {Yuan Art Museum . Beijing} relaying (10th series lobster) exhibition. The 2022 installation work"Insight" was involved in the "We Are Together" online exhibition of works by Chinese female artists. The 2023 installation work "At the Mercy of" was involved in the "One Step" and "Yuan Art Museum (Wuqing District) triennial exhibitions".

周平 (Ping Zhou)

《食・刀、勺、叉、筷》，圆形布面油画，直径50cm，2024年作

“Food・Knife,Spoon,Fork,Chopsticks”, oil painting on round canvas, 50cm,2024

《食・刀、勺、叉、筷》（局部），圆形布面油画，直径50cm，2024年作

“Food・Knife,Spoon,Fork,Chopsticks” (detail), oil painting on round canvas, 50cm, 2024

时至2024，平的《食》系列仍在继续……除了餐桌上的幻梦般的食世界以外，《食・刀、勺、叉、筷》开始叙述她身边关于“食”的故事。

《食・刀、勺、叉、筷》

亲爱的黑猫女儿

普瑞希藞

请告诉我

以你那能穿透黑暗的

敏锐而诚挚的目光

告诉我

是谁在用刀切割她自由的神经

又是谁用叉戳起她抗斗的思想

是谁用勺舀出她的幻梦

又是谁用筷夹着她永不放弃的信念

亲爱的普瑞西藞

不要悲伤

无论她如何被

切割

戳伤

哽咽

咀嚼

吞噬

即便只剩下

她倔强的影子

总会有再生的翅膀

插在她自由灵魂的背上

飞向永恒

飞向光茫

By 2024, Ping's "Food" series is still continuing... In addition to the dreamlike Food World on the dining table, "Food, Knife, Spoon, Fork, Chopsticks" began to tell the story of "Food" around her.

Food・Knife, Spoon, Fork, Chopsticks

Dear black cat daughter

Priscilla

Please tell me

With your ability to penetrate the darkness

Sharp and sincere eyes

Tell me

Who is cutting her free nerves with a knife?

Who poked her idea of resisting with a fork?

Who scooped out her dream with a spoon?

Who holds her faith that she will never give up with chopsticks?

Dear Priscilla

Don't be sad

No matter how she is

Cut

Poked the wound

Choked with sobs

Chewed

Swallowed

Even if there is only one left

Her stubborn shadow

There will always be regenerated wings

On the back of her free soul

Flying to eternity

Flying to the vast light

周平1973年生于四川。98 年毕业于西南师范大学美术学院油画硕士、97年赴荷兰阿姆斯特丹Rietveld Art Academy访学。99年始生活工作于日本横浜。先后被推荐为日本亚西亚美术协会会员、日本近代美术协会会员、国际美术评论家选考委员会A.M.S.C认定艺术家。2004年获東京銀座SUDOH美術館举办的“青年艺术家传言展”最優秀奖。2006年获日本《美術之窗》杂志評为当代倍受瞩目藝術家之一。2008年荣获日本世界堂Think Global Art Japan 絵画展缪斯奖。2017年荣获日本近代美術公募展库萨卡贝奖。作品为日本、德国、西班牙、比利时等国美术馆、私人收藏。

Ping Zhou was born in Sichuan, China in 1973.She graduated with a master's degree in oil painting from Fine Art Academy of Southwest Normal University in 1998 and visited Rietveld Art Academy in Amsterdam, the Netherlands in 1997. She has been working and living in Yokohama, Japan since 1999. She has been specially recommended as a member of the Asia-Asian Art Association of Japan and a member of the Modern Art Association of Japan. An artist recognized by the International Art Critics Selection Committee A.M.S.C. In 2004, won the Best Award and the Planning Solo Exhibition Award in the "Young Artist Rumor Exhibition" held by the SUDOH Art Museum in Ginza, Tokyo. In 2006, was named one of the most high-profile contemporary artists by Japan's "Window of Fine Arts" magazine. In 2008, won the Muse Award for the Goncourt Exhibition of Think Global Art Japan. In 2017, won the Kusakabe Prize for the Public Exhibition of Japanese Modern Art. Works are collected by art museums and private collections in Japan, Germany, Spain, Belgium and other countries.

赵梦歌 (Mengge Zhao)

竹林漫步，150X200 cm，亚麻布油画，2023

Strolling in the bamboo forest,150X200 cm, oil on linen, 2023

竹林漫步（局部），150X200 cm，亚麻布油画，2023

Strolling in the bamboo forest（detail）,150X200 cm, oil on linen, 2023

灵感源于魏晋时期的竹林七贤，是中国传统隐士精神的当代表达。在纷繁复杂的当今世界，每个人都应该有一处自己内心的“竹林”，一块静土，让自己时常在里面漫步，可以和自己的心和灵魂对话的一块静土。

所谓气场，就是能量场域，是意志力，也就是生命力！守住这片“竹林”，就是守护自身的能量场。

Inspired by the Seven Sages of the Bamboo Forest in the Wei and Jin Dynasties, it is a contemporary expression of the traditional Chinese hermit spirit. In today's complicated world, everyone should have a "bamboo forest" in their own heart, a piece of quiet land, so that they can often walk in it and talk to their heart and soul.

The so-called aura field is the energy field, the willpower, that is, the vitality! To guard this "bamboo forest" is to protect your own energy field.

生于河南，现工作生活于北京，职业艺术家，曾就读于中央美术学院附中、中央美术学院油画系，美国乔治城大学访问学者，中国传媒大学艺术创作院客座教授，亚洲女性发展协会理事。机构收藏：法国达索家族艺术馆、法国女性主义联盟，北京今日美术馆，山东美术馆，意大利贝纳通文化艺术基金会，河南博物院，河南美术馆，河南大学美术馆，广东美林美术馆，美国乔治城大学，北京大都美术馆，台湾观想美术馆，西班牙马努埃尔艺术基金会等。

Born in Henan and now living in Beijing,Professional artist. She studied in the Affiliated Middle School of the Central Academy of Fine Arts and the Oil Painting Department of the Central Academy of Fine Arts.She was a visiting scholar at Georgetown University in the United States, a member of the Chinese Artists Association, a visiting professor of Communication University of China, and a director of the Asian Women's Development Association. Collections: The Dassault Family Art Museum in French , French Feminist Alliance, Today Art Museum in Beijing , Shandong Art Museum, Italian Benetton Culture and Art Foundation, Henan Museum, Henan Art Museum ，Henan University Art Museum，Meilin Art Museum in Guangdong, Georgetown University in the United States, Beijing Dadu Art Museum, Taiwan Guan Xiang Art Museum ,Manuel Art Foundation in Spain etc.

周巧云 (Qiaoyun Zhou)

《浓雾230301》，纸本水墨，87x73厘米，2023年周巧云

Thick Fog， 230301 Ink on Rice Paper，87cmX73cm，2023，Qiaoyun Zhou

《浓雾230301》（局部），纸本水墨 87cmX73cm 2023年周巧云

Thick Fog 230301(detail), Ink on Rice Paper,87cmX73cm，2023，Qiaoyun Zhou

作品中有一股力量在画面空间游走，是一种与外界能量碰撞的共振。《浓雾》系列正在逐步演化成自我感知的精神容器。

In the work, there is a force wandering in the picture space, which is a resonance of collision with external energy. The Thick Fog series is gradually evolving into a spiritual vessel for self-perception.

周巧云

出生于湖南。中南大学建筑与艺术学院副教授，硕士研究生导师；

她的作品在美国、日本、泰国和中国等多个画廊和博物馆展出，以及获得多个美术馆和私人的收藏。曾策划过两次国际女性艺术展，2018年受邀作为参展艺术家在第八届富山国际当代艺术展期间驻留于日本，2019年驻留于北京上苑艺术馆，2021-2023年访学于美国纽约州立大学

Qiaoyun Zhou

Born in Hunan, China.

she has been teaching in the College of Architecture and Art of Central South University as an associate professor and master tutor.

Her works have been exhibited in many galleries and museums in China, the United States, Japan, Thailand, etc, as well as the collection of several art galleries and numerous private collections.Qiaoyun Zhou has curated international Women's art Exhibition. She spent half a month in Japan during the 8th Toyama International Contemporary Art Exhibition in 2018 and half a year in Beijing Shangyuan Art Museum in 2019 as an artist in residence. From December 2021 to January 2023, she worked as a visiting scholar at Oneonta College, State University of New York.

蓝镜(Jiny Lan)

千年谦逊1-3，280x600厘米，综合材料，2020-2023，蓝镜

Millennium Humility 1-3, 280x600 cm, Mixed media, 2020-2023, Jiny Lan

千年谦逊1-3 (局部)，280x600厘米，综合材料，2020-2023，蓝镜

Millennium Humility 1-3 （detail）, 280x600 cm, Mixed media, 2020-2023, Jiny Lan

从远古到今天，艺术在人类发展史中无论从形式还是内容上都发生了一代颠覆一代的变化。艺术的本质越来越模糊，定义越来越宽泛。但自父系社会以来直到今天，对艺术优劣评判标准从来没有发生变化的是：以男性视角为准则。整个艺术史其实就是一部男权社会的缩影：男性制造游戏规则，男性为主要参与者，女性不允许参与或有限制地参与，即便是在性别平等的理念已经在一部分社会中成为共识的今天，几千年来积累成的固性认知仍然在潜意识中影响人们对艺术优劣的评判。

蓝镜在她的巨型作品《千年谦虚》中列举了一系列艺术史中代表性的事件和人物：杜尚的小便池，勃洛克的泼墨，艾未未的裸体……这些在某种程度上改变了一代人对艺术概念认知的作品和人物都明显带有男权权威的痕迹：倘若做这些作品的艺术家处于弱势的性别，这些作品是否会被赋予同样的历史价值非常值得怀疑。事实上，近年来有越来越多的学者在对杜尚小便池作品的研究中对其真正作者发现了疑点，它的真正所有者极有可能是一个生前穷困潦倒至今仍然籍籍无名的德国籍女性艺术家。蓝镜以略带幽默的叙事风格揭示和嘲讽了这一事实，并用明显带有个人幻想的方式寻求一个也许并不会生效的解决方案。

From ancient times to today, art has undergone generation-defying changes in both form and content throughout human history. The essence of art is becoming increasingly blurred, and the definition is becoming broader. However, since the patrilineal society up to the present day, there has been no change in the criteria for judging the quality of art: it is based on a male perspective. The entire history of art is, in fact, a microcosm of a patriarchal society: men create the rules of the game, men are the main participants, and women are either not allowed to participate or are limited in their participation. Even though the idea of gender equality has become a consensus in some societies today, the ingrained perceptions accumulated over thousands of years still subconsciously influence people's judgments of the quality of art.

In her monumental work "Millennium Humility," Blue Mirror enumerates a series of representative events and figures in art history: Duchamp's urinal, Pollock's dripping, Ai Weiwei's nudity... These works and figures that, to some extent, changed the understanding of artistic concepts in a generation, are evidently marked by male authority. It is worth doubting whether these works would be endowed with the same historical value if the artists creating them belonged to a disadvantaged gender. In fact, in recent years, more and more scholars have discovered doubts about the true author of Duchamp's urinal, and its real owner is highly likely to be a German female artist who lived in poverty and obscurity until today. Jiny Lan reveals and satirizes this fact in a slightly humorous narrative style, using a distinctly personal fantasy to seek a solution that may not be effective.

蓝镜1970年出生于辽宁省岫岩县，1994年从中国美术学院毕业以后曾短暂任职于人民日报社，1995年移居德国。

2005至2009年任职于拥有最大规模博伊斯文献资料的莫伊郎德美术馆，在2013年中央美术学院美术馆举办的《社会雕塑-博伊斯在中国》的展览中担任联合策展人。蓝镜2012年与肖鲁李心沫一起成立女性主义艺术团体“秃头戈女”，在北京举办首次展览之后又先后在德国波恩，威斯巴登，杜塞尔多夫，以及法国首都巴黎，哥伦比亚首都波哥大，奥地利首都维也纳，意大利威尼斯等城市举办系列展览，成为中国女性主义艺术代表人物之一。蓝镜的作品包括绘画，装置，影像和行为艺术。因综合性展览“天问”荣获德国威尔堡金狮奖，展出作品被罗森翰阁美术馆收藏并长期对公众开放，另外有作品被德国国会收藏并长期对外展出。

Jiny Lan, born in 1970 in Xiuyan County, Liaoning Province, graduated from the China Academy of Art in 1994, briefly worked at the People's Daily after graduation, and then moved to Germany in 1995.

From 2005 to 2009, Jiny Lan worked at the Moirangde Art Museum, which houses the largest collection of Boyce literature. In 2013, she served as a co-curator for the exhibition "Social Sculpture - Boyce in China" held at the Central Academy of Fine Arts Museum.

In 2012, Jiny Lan, together with Xiao Lu and Li Xinmo, co-founded the feminist art group "Bald Girls." After the first exhibition in Beijing, the group held a series of exhibitions in cities such as Bonn, Wiesbaden, Dusseldorf in Germany, Paris in France, Bogotá in Colombia, Vienna in Austria, and Venice in Italy, establishing Lan Jing as one of the representatives of Chinese feminist art. Jiny Lan 's works encompass painting, installation, video, and performance art. Her comprehensive exhibition "Inquiry" was honored with the Golden Lion Award in Germany. The exhibited works are collected by the Rosenhang Gallery and are on permanent public display. Additionally, some of her works are part of the collection of the German Parliament and are exhibited internationally on a long-term basis.

雅良⻜⻜ (Yaliangfeifei)

《华尔兹之舞》,2024年，雅良⻜⻜

The Waltz Dance， 2024，Yaliangfeifei

《华尔兹之舞》,2024年，雅良⻜⻜

The Waltz Dance， 2024，Yaliangfeifei

《华尔兹之舞》

运用AI新媒介进行绘画创作对我而言，既感觉有趣，又颇具挑战性。因为这种媒介是运用文学语言的描述生成图像，完全不同于传统手工绘画方式，因此，创作的过程也是一个学习研究的过程。和不断试错的过程。自去年开始运用AI人工智能媒介进行绘画创作以来，从生成的大量图像中选择出了十余个序列作品，作为这一时期新媒介创作的成果。希望通过展出与同样对此新媒介创作的感兴趣的朋友进行交流。

"The Waltz Dance"

The use of new AI media for painting creation is both interesting and challenging for me. Because this medium uses the description of literary language to generate images, which is completely different from the traditional manual painting method, the process of creation is also a process of learning and research. And the process of continuous trial and error. Since the use of AI artificial intelligence media for painting creation last year, more than ten sequence works have been selected from a large number of generated images as the result of new media creation in this period. I hope to communicate with friends who are also interested in this new media creation through the exhibition.

雅良菲菲

1980生，现居北京和纽约

独立作家、艺术家，曾出版长篇小说《欲望的青苹果》，著有长篇小说《占卜的季节》、《2080年水城之恋》，曾于《大家》、《中国前卫艺术状况》、《艺术世界》等书刊杂志发表作品。作品曾在意大利罗马马克罗博物馆、加拿大蒙特利尔博物馆、广东美术馆等中外艺术博物馆、美术馆展出。并被中外美术馆、画廊于私人收藏家收藏。

Yaliangfeifei Born in 1980. live in Beijing and New York

Independent writer and artist, she has published the novel "Green Apple of Desire", written the novel "The Season of Divination", "The Love of the Water City in 2080", and has published works in books and magazines such as "Everyone", "The State of China's avant-garde Art", "Art World" and so on. Her works have been exhibited in Chinese and foreign art museums and art galleries such as the Macro Museum in Rome, Italy, the Montreal Museum in Canada, and the Guangdong Art Museum. And it is collected by private collectors by Chinese and foreign art galleries and galleries.

高音符 (Yinfu)

《木兰们》, 剧场表演摄影， 2022，高音符(概念/表演)Talisa Frenschkowski (DE, 摄影)

“Mulans”, Performance Photography, 2022, Yinfu (Concept/Performer) Talisa Frenschkowski (DE, Photographer)

《木兰们》（局部）, 剧场表演摄影， 2022，高音符(概念/表演)Talisa Frenschkowski (DE, 摄影)

“Mulans” (detail), Performance Photography, 2022, Yinfu (Concept/Performer) Talisa Frenschkowski (DE, Photographer)

2022 年我在德国演出了个人剧场作品《木兰们》，这张剧照是我的海报。

我在德国大学听课时，教授们总是在讲白人的女性主义，我感到很压抑，反问道:那中国的女性主义呢?于是我下决心，要在德国创作一个关于女性主义在中国语境下的毕业作品。受到王政的《五四女性:口述与文本的历史》启发，我找到了“木兰”——曾经启蒙五四女性投入自身解放和争取女权的形象。我发现，木兰不止一个，而是很多个被抹去了的争取女权与解放的女性们。合上书后我问自己:一百多年前的女性们为我们争取到了法律上的男女平等，那我们这代人怎么继续?

在这本书里我读到陆礼华的自述，她“很羡慕木兰，扮男装去从军”，自幼对于裹脚的反抗促进了她女性独立意识的觉醒。我也跟观众分享了另一个故事--我外婆的母亲自幼裹上了三寸金莲，战乱中拖着儿女走了很远逃难。她的小脚怎么走路的?她怎么走这么远的?我查阅了好些裹脚相关的研究。而她的经历启发我的是:那个时代的女性也许没法逃离裹脚的命运，但是她们选择用自己的双脚站立和行走。

于是我在台上跟观众说:重要的是，她活下来了!而且很长寿!不然就没有我外婆和我妈，我也不能在剧场里跟你们讲这些故事了!

Intro :

I created my solo performance “Mulans” in 2022 in Germany, this photo is the poster.

When I went to university in Germany, the professors always talked about white Feminism. I felt so depressed as a minority in this society and wondered : What about feminism in China ? Therefore I determined the topic of my master's graduation performance to be Feminism in Chinese context. Inspired by Wang Zheng’s book “Women in the Chinese Enlightenment Movement : Oral and Textual Histories”, I found “Mulan”-- the icon who inspired women’s self emancipation in the May Fourth Movement. I recognised, there is not only one Mulan, but many Mulans. They are women who fought for gender equality but were erased from history. I ask myself : 100 years ago, those Mulans gained gender equality for us, how do we continue to pursue it ?

I read the self-narration from Lu Lihua in this book. She said that she “admired Mulan, who crossdressed as a man and went to the army”. The continuous fight against feet-binding has awakened her independent thinking too. I also shared a story with my audience : My great grandmother had bound feet, she took her children and walked for a long journey during the war. How did she walk on these small bound feet and so far? I read many books and what inspired me from her experience is : Chinese women from her generation may have not escaped from the feet-binding tradition but they could take the self-decision that they stand on their own feet and walk !

On the theater stage, I told my audience : “But, she survived ! And lived a long life ! Otherwise, my grandma would not have survived and I won’t be here to talk to you !”

高音符，导演，舞者，身体剧构作和剧场评论，常驻德国黑森州的自由职业艺术家。毕业于中央戏剧学院和德国吉森应用剧场艺术学院。艺术的研究和实践关于中国语境下的女性身体&身份&女性主义。其创作多为舞蹈剧场作品，并在德国法兰克福等城市开设身体工作坊。舞蹈剧场作品和电影短片多次受邀参加国际艺术节，剧场作品《木兰们》将在2024年德国黑森州 “MADE”艺术节再次演出。曾多次在《戏剧影视评论》《新剧本》《舞蹈学》杂志发表剧评。艺术家个人官网:https://www.gaoyinfu.com/

Yinfu Gao, performing artist, director, dramaturg, from China and based in Germany. MA Theater Studies in Central Academy of Drama Beijing + Angewandte Theaterwissenschaft Gießen. Her artistic practices are based on the research of women's body & identity & feminism, especially in the Chinese context. She makes dance performances and offers body & movement

workshops in Frankfurt and other cities. Her performances and short films have been invited to international festivals many times. The piece “Mulans” will be shown again in MADE Art Festival Hessen in 2024. She published academic articles/ theater criticism in magazines such as “Screen and Stage Criticism” “New Drama” and “Dance Studies”. Artist Website : https://www.gaoyinfu.com/

行者阿真 (Chaorong Zeng)

眼睛里飞出一只蝴蝶，丙烯布面，60x60mm

Butterfly Takes Flight from the Eyes, Acrylic on canvas, 60x60mm

眼睛里飞出一只蝴蝶（细节），丙烯布面，60x60mm

Butterfly Takes Flight from the Eyes (detail), Acrylic on canvas, 60x60mm

眼睛里飞出一只蝴蝶

当睁只眼闭只眼

成为流行的表情

通假字一波又一波

推陈出新

那些鸣叫的鸟儿

在隐蔽的射程中

纷纷中弹失踪

却有一只蝴蝶

从半梦半醒的眼里飞出来

延续她传播花粉的使命

Butterfly Takes Flight from the Eyes

When opening one eye and closing the other

Becomes a trendy expression

Homophones wave after wave

Innovating and refreshing

Those chirping birds

Within a concealed range

One by one, they get hit and disappear

Yet, there is a butterfly

Flying out from half-dream, half-awake eyes

Continuing its mission to spread pollen

阿真,诗人，资深媒体人，非主流艺术家，世界边缘旅行家。

阿真出生在山城重庆，自幼行于山水城郭之间，深得大自然的涵养润泽；少年时向往成为一名旅行家和法拉奇那样的记者。大学毕业后，阿真选择传媒业前往北京发展，历任报社记者，杂志主编，专栏作家，先后游历过60多个国家和地区，致力于世界自然与文化遗产的研究和推介，并成为多个世遗项目的高级顾问。

阿真素以行者自居，自称是“资深北漂+媒体下岗女工”。圆融天人合一，出入大千世界，旅行之于阿真，是她生命体验和观照世界的最佳方式。追求自由之思想，独立之人格；诗歌与艺术，是她表达自己所见所闻、所思所感的精神领地。

A Zhen, poet, seasoned media professional, non-mainstream artist, and world-edge traveler.

A Zhen was born in the mountainous city of Chongqing, wandering among mountains, rivers, and city walls from a young age, deeply nurtured by nature. In his youth, he aspired to become a traveler and a journalist like Farāhī. After graduating from university, A Zhen chose to enter the media industry in Beijing, serving as a newspaper reporter, magazine editor, and columnist. He has traveled to over 60 countries and regions, dedicating himself to the study and promotion of global natural and cultural heritage. He has also become a senior consultant for several World Heritage projects.

A Zhen sees himself as a wanderer, dubbing himself a "senior migrant + media laid-off female worker." Harmonizing with the universe, traversing the world, travel, for A Zhen, is the best way to experience life and observe the world. Pursuing thoughts of freedom and an independent personality; poetry and art are her spiritual territory for expressing what she sees, hears, thinks, and feels.

韩佳希 (Jiaxi Han)

画蜡染的手，蜂蜡，棉布，蓝靛染色，67 厘米 x 67 厘米，韩佳希

The Batik Hands, Beeswax on cotton, indigo dyed, 26 inch x 26 inch, 2024, Jiaxi Han

画蜡染的手 (局部)，蜂蜡，棉布，蓝靛染色，67 厘米 x 67 厘米，韩佳希

The Batik Hands (detail), Beeswax on cotton, indigo dyed, 26 inch x 26 inch, 2024, Jiaxi Han

苗族妇女长期以来直到今天一直被刻板化看作会“放蛊”。这种观念往往源自外界的审视，对女性赋权的嫉妒，也反映了对少数民族的歧视性态度，在某些方面与中世纪欧洲的猎巫时代相似。

尽管在苗族家庭内做蜡染的传统正在消失，但在贵州的乡镇里有一种新的商业模式：经济困难、文盲或残障的苗族妇女从偏远村庄里被聚集起来组成蜡染工坊，完成服装或纺织公司的商业订单来获得收入。在过去的几年里，我走访了一些在贵州由苗族女性建立或组成的蜡染工坊。我在其中一个蜡染工坊学习了一段时间蜡染，与她们相处了一段时间。她们每天聚在一起画蜡、染布，有说有笑：她们是一个相互帮助紧密联系的社群。我想起了她们手持蜡刀画蜡的这个画面，于是把它做成图案画了一系列的蜡染。

这些画蜡染的手，也是染布的手、洗布的手，缝纫的手和在繁忙的农忙季节里农耕的手。我想通过作品展现在乡镇的苗族妇女生活的真实性 - 那些通过辛勤努力的双手赢得的简单朴素的生活。

Miao women have long been subjected to a pervasive stereotype of possessing the ability to ‘cast Gu (poisonous magic),’ a belief that persists even today. This perception of Miao individuals, particularly women, wielding such abilities, often stems from an outsider’s gaze, or rooted in envy of female empowerment, or reflects discriminatory attitudes against ethnic minorities. This parallels the witch-hunting era of medieval Europe in some aspects.

While the batik-making tradition is disappearing inside Miao families, a new business model has emerged, where economically disadvantaged, illiterate, or disabled Miao women who can make batik in remote villages are gathered to fulfill commercial orders of fashion brands or textile companies and earn money.

Over the past few years, I have visited batik workshops established or composed of Miao women in Guizhou. I learned the batik technique at one of these workshops and spent a lot of time with the Miao women. They gathered daily to draw wax and dye fabrics, sharing laughter, songs, and supporting each other - a community bonded by mutual assistance. I recall their hands holding the batik tool while drawing wax, thus becoming the patterns of this batik work.

Those same hands drawing batik patterns, are also hands used for dyeing, washing fabrics, sewing, and during busy farming seasons. Through my work, I aim to portray the authenticity of the lives of Miao women in the villages and towns – lives shaped by the simple, hardworking hands that have earned them a modest and genuine living.

韩佳希，布依族，出生并成长于中国西南部贵州。韩的艺术跨足纺织品、写作、艺术家书籍和摄影等多个领域。受到家乡风景和文化手工艺的深刻启发，她的作品体现了纯粹的本质，交织着时间、语言、诗和自然。

Jiaxi Han, of Buyi ethnicity, was born and grew up in Guizhou, southwest China. Han’s art spans textiles, writing, artist books, and photography. Inspired deeply by her home- town’s landscape and cultural crafts, her work embodies a pure essence, intertwining time, language, poetry, and nature.

庸现 (Xian Yong)

庸现出生于四川成都，毕业于德国图平根大学，为独立策展人和艺术批评人。她是中国女性艺术团体“秃头戈女”的创始人之一，特别关注中国女性艺术。自2012年起，她策划了引起争议的“秃头戈女”《一个门》、《时差》、《桃色策略》等系列展览，并于2013年与中央美术学院美术馆联合策划了《“社会雕塑” — 博伊斯在中国》展。此外，她还担任德国威斯巴登/法兰克福行为艺术节艺术总监和德国艺术联网协会（I O Cultural Network e. V.）主席，游走于德国与中国。

Juan Xu, born in Chengdu, has studied in both China and Germany and is currently an independent curator and art critic. She is one of the founders of the first Chinese feminist "Bald Girls" and "Performance Day Wiesbaden/Frankfurt", which has garnered significant attention in China and abroad in recent years. She has a special focus on Chinese feminist art and women's rights. Since 2012, she has curated controversial series of exhibitions like "Bald Girls - A Door","Time lag", and "Pink Solution". In 2013, she co-curated the exhibition "Social Sculpture - Joseph Beuys in China" with the Central Academy of Fine Arts Museum. Additionally, she holds the position of Chairman at Sino-German Art and Cultural Exchange Association IO Cultural Network e.V. She lives and works in Germany and China.

展览继续

点击 “气场！2024” 女性艺术家年度展(上)

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(下)

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