北京的风,像刀子 ——关于杨千的新作

作者:冯博一 | 来源:中诗网 | 2017-12-30 | 阅读: 次    

  导读:杨千不仅简单地记录了一次社会事件,而且通过与事件直接关联的现成品,经过思考、转化和处理为现实境遇中的直觉感受,尤其是提示出具有现实观照,乃至揭露、批判的立场与态度。

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杨千这次在白盒子艺术馆展示的作品是从他新创作的《北京弃物》、《切口》、《梯子》、《钟》等给予展开的。《北京弃物》将黑桥艺术区和其它拆迁区域的弃物封存在树脂的柱础中,直接象征于所谓“低端人口”,包括艺术家的生存危机;《梯子》关乎于我们未来的虚望;《钟》则是一次“丧钟为谁而鸣”的警醒;而展览题目“风从北京刮过”及地图的霓虹灯,隐喻地描述出我们的日常生活随时都在承受着这种突如其来的被拆迁的处境,如同他的《切口》一般,齐刷刷地裸露于光天化日之下。于是生活在强权之下的低端群体,被驱赶的“逃离”和“无家可归”便成为当下北京冬季最凛砺的景观。北京亦如一座坚冷的围城,实施了都市与乡村的分野,及人与人之间的等级隔膜。由此构成了展览及作品本身的一种潜在的矛盾冲突,意味着我们的正常生存,都处于难以把握的不确定之中。我们的生活本该是有意义的,然而我们找不到生活的意义,或者说,生活的意义被越来越严酷的权力和资本给暴力地抽空了。从而形成了杨千这次展览在特定时期、特定地域的具有现实针对性的明确指向。
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白盒子艺术馆馆长孙永增现场为嘉宾讲解
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 展览现场
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作品《北京弃物》现场作品展示.jpg
 
世事变迁总是快于时序的更替,今日中国永远不会是你昨天所想象的模样,生存的境遇往往就在一刹那间遭摧毁。不用说未来尚在不确定性中摇晃,即便“此在”也处于不可把握的变故里。“黄钟毁弃,瓦釜雷鸣”式的危机,使得真正具有价值的生活方式越来越边缘化。权势主导的价值判断模式加上市场经济的争夺,在缺乏任何带有超越性的道义矫正机制的情况下,必然使世人缺乏最基本的公正和正常生存的合法性。这种情形,带来的只能是普遍的社会耻辱,让所有人蒙羞,并无时无刻地存在于我们的现实之中,无可逃遁。在过去,你可以为自己的不幸找到一个承担者,现在则越来越多地要由你自己来承担了。而人的族群或之间的关系,只是中国社会现实这个复杂方程式中的一个变数而以,就像杨千的新作——物是,人亦是,但时局的风声却是愈来萧瑟地紧张了。北京的风,像刀子一样。
 
杨千的新作基本上都是利用拆迁的废弃物,既具有朴素的直接性,又通过这些垃圾的现成品重新建构了另一种真实的存在,混杂的沉重蕴藏着悲剧的色彩,同时又表现出杨千强烈的忿懑和鄙夷。即把社会事件与社会现象转化为纯粹的视觉形式,并将这种形式感发辉到令人惊悚的程度,凸显出中国现实荒诞、残酷的处境。杨千对现实生活的变形认识,艺术地转换为装置作品形态的变形,隐喻、暗示出社会转型期在人性、心理以及潜意识层面的异化,尤其是权力腐蚀下扭曲的人性。这些作品可以看出杨千的用意是把装置中的一些关键的现成品同时赋予了内容和形式方面的视觉效果。于是视觉语言从非现实的层面进入到一个现实的层面,以此来表达杨千对自我存在境遇的思索与追问,以及对中国当下现实社会出现的诸多危机的深刻关注与忧患意识,并在真实与虚构的作用下,构成的真实朴素的力量。正是因为他敏锐地感受和意识到了这种变动不居的公用空间,才在他的这些新作中显示出几分幽暗的狰狞。这与其说是杨千内心深处强烈的人文关怀,不如说是他作为艺术家的品格与情结。因而,在解读这些作品的过程中,我们可以深刻地感知到杨千的破碎激情,不仅值得尊敬,或许也是每一位当代艺术家不可或缺的社会责任。或者说,杨千以虚置的方式营造了一个彼此不分的情景,似真似幻地呈现了帝都的妖魔化戏剧舞台,并无言地告诉我们,我们生活中的一切都不在我们的把握之中,我们总是被一只看不见的强权般的隐形之手控制着,而我们的栖居与行旅又显得多么的无奈与脆弱。这也无情地粉碎了官方宣喻的关于“现代化”的种种神话,以及在人们意识当中对乌托邦的期待与虚妄。需要特别强调的是,杨千在把帝都生活的场景加以夸张、歪曲的时候,并没有把它变成完全脱离我们日常都市生活经验的一个可怕的梦魇,而是借此来强化他所营造的视域来达到警世与反省现代化过程中的种种弊端的作用之上,从而在批判的背后表达出对适宜人类栖居地的美好想往,以及人类绝不是在物质发达之后,裹挟的是精神的堕落和道德的普遍沦丧。
 
快乐的感受未必能推己及人,但痛楚的、忿懑的感受是可以推己及人的。痛苦和快乐的这种区别,决定了纯粹意义上的艺术家的关注方向和文化职责。因此,与其说这是杨千在白盒子艺术馆中营造的一种视觉场域,不如说是一种对中国现实景观的记录和隐喻,并恰逢其时地为“他们”和自身的存在进行了艺术的表现。也使我们在自以为是的状态中,突然发现残酷是多么近距离地逼仄着我们的存在,如电击一般,刺激着我们面对现实中不堪言说的部分。实际上,杨千不仅简单地记录了一次社会事件,而且通过与事件直接关联的现成品,经过思考、转化和处理为现实境遇中的直觉感受,尤其是提示出具有现实观照,乃至揭露、批判的立场与态度。这些作品告诉了人们发生了怎样的事实,也勾勒出事件背后的因果关系。而且,我们还可以强烈地感受到那些令人心颤的,极度失望的事件仍在持续不断发生着。那些逃离或消失的人群,其实离你并不遥远!
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 到场嘉宾现场合影
 
 
 
 
 
The Wind in Beijing, is Sharp as a Knife: About Yang Qian’s New Works
By Feng Boyi
 
The works on display for the present exhibition at the Whitebox Art Center are all based on his recent artistic creations including “Beijing Discard”, “Cut”, “Ladder”, and “Bell”. In the “Beijing Discard”, the artist brought together the discarded articles from the demolished Heiqiao art district and other residential areas and assembled them inresin-cast piers, symbolizing the “underclass” in addition to the artists’ surviving circumstances straightforwardly. The “Ladder” directs toward our illusion of future, while the “Bell” functions as a warning like “for whom the bell tolls”. Meanwhile, the exhibition title “A Gust of Wind through Beijing” together with the neon lights on the maps, in a metaphorical way, indicate that our everyday life is in all likelihood about to be affected by unexpected demolishment at any time, just as the “Cut” demonstrates that everything is unexceptionally exposed in direct sunlight. Consequently, controlled over by power politics, “escape” of the underclass and their “being homeless” have illustrated the most wintery scene of this winter in Beijing. Beijing, like a besieged fortress, has distinguished between urban and rural areas, and established a standard set for social stratum of people. All of this demonstrates that there appears to be a potential conflict among the exhibition as a whole and the works in display, that is to say, all of the realistic survival simply indicates a sense of uncontrollable uncertainty. Our lives are supposed to be significant, however, we fail to find out the meaning of life. In other words, the significance of life has been eroded by the powerful and capital forces more and more brutally. Thus, all of this helps locate the specific objective of this exhibition of Yang Qian in a specified time and place.
 
Things invariably change faster than time goes by, China today is definitely not what you imaged yesterday, and lives could be devastated without lapse of time. Needlessly, the future is still suspending in uncertainties, meanwhile, even the “moment” is subject to unpredictable changes. Just like Qu Yuan depicted, “The keynote bell they break and discard, but make a thunderous noise beating clay pots”, such a crisis allows the most valuable way of living to get marginalized. The value view dominated by power in addition to the competitiveness of market economy, in the absence of an exceeding scheme of moral rectification, will inevitably result in lack of legitimacy of the fundamental justice and right of existence for human beings. This situation triggers nothing but a kind of universal humiliation to the society, which puts to shame and lingers in reality constantly and eternally. In the past, anyone else could possibly be responsible for your misfortunes, however, now you are getting more accustomed to admitting responsibilities for yourselves. The ethnic groups and the inter-ethnic relations, however, are nothing more than a variable in the complex equation indicating China’s social realities, just like what Yang Qian’s recent works indicate, things remain, people remain as ever too, however, the current political situation has been worsening sternly just as the wind blows in gusts. The wind in Beijing, in this sense, is as sharp as a knife.  
 
Yang Qian’s new works are unexceptionally based on the wastes as a result of demolishment. Featuring a simplistic sense of direct use, the artist has reconstructed another sort of reality out of these unwanted ready-mades, which suggests a combined sense of severity and tragedy and utterly demonstrates Yang Qian’s furious intensity and contempt. By transforming social affairs and phenomena into a thorough visual form and making the most of it in a shocking way, the grotesque and ruthless situations in China are prominently reflected. Yang Qian integrates his transformational understanding of life into the formal transformation of the installation in an artistic way, all of which metaphorically implies the alienation in terms of human nature, psychology andsub-consciousness especially the distorted human nature under the circumstances of erosion of power. Through these works, Yang Qian’s objective is to endow the primal ready-mades in the installation with a visual effect in view of content and form at meantime. Henceforth, the visual language happens to shift from surrealistic to realistic level as a way of expressing Yang Qian’s contemplating and questioning of the surviving circumstance of his own. Besides, the idea is to pay attention and raise awareness of the currently difficult situations in the society of China, and to endow with realistic, fundamental power in a comprehensively realistic and virtual way. It is precisely because he is keenly aware of such an unstable public space, throughout his new works there is indistinctly a sense of struggle. This is all about Yang Qian’s character and obsession as an artist rather than a kind of humane care in the bottom of his heart. In the process of interpreting these works, therefore, we could profoundly perceive that Yang Qian’s fragments of passion are supposed to be worthy of respect, which also indicate a sort of necessarily social responsibility that everycontemporary artist should possibly take. In other words, Yang Qian has created an indistinguishing scene in a virtual manner, presenting a demonized Beijing theatrical stage in a dreamlike yet realistic way. The idea, in a nonverbal way, suggests that our lives are by no means in our hands, being controlled by an invisible power, in this sense, our dwelling and travelling seem to be frustrating and fragile. All of this has also mercilessly broken the myths of the officially-advocated “modernization” into fragments, fragmentizing people’s expectations and illusions of the Utopia in their mind. What is worth emphasizing is that, by exaggerating and distorting the everyday lives in the capital city namely Beijing, Yang Qian didn’t convert it to a terrifying nightmare thoroughly separated from our daily living experiences in the city, in effect, he attempted to warn and reflect on the various drawbacks in the process of modernization by enhancing the scene he created. In this way, apart from the criticism, the artist was to express his good wishes for a most suitable place for human habitation as well as the fact that human beings shouldn’t be coerced into the spiritual depravity and moral decline as a result of material development.  
 
Delightful feelings may not be devolved to others, however, painful and resentful emotions can be passed on to others. The difference between sadness and happiness determines the artist’s attention and cultural responsibility in a pure sense. What is on view is a record or metaphor of realistic situationsin China rather than a visual field created by Yang Qian at the Whitebox Art Center, in addition, it happens to artistically advocate for “them” and the surviving of themselves at an opportune time. Again, it allows us in a self-righteous sate to suddenly realize that our lives are closely confined within cruel limits, like an electric shock, all is stimulating the unspeakable side of the reality. In fact, apart from simply recording such an occurrence in the society, through the ready-mades related to the incident, Yang Qian also considered and transformed them into intuition of realistic situations, demonstrating a sense of consideration of reality as well as an uncovering, critical viewpoint. These works reveal what occurred, outlining the cause and effectbehind. We clearly perceive that the extremely heartbreaking and literally disappointing incidents are still going on. The fleeing and vanishing of those people, in effect, are right around us.
 
杨 千
杨千.jpg
 
        生于四川成都  
现居住和工作于北京
 
1978-1982 四川美术学院油画系,获学士学位
1985-1988 美国佛罗里达大学,获艺术硕士学位
 
个展(部分)
2017        白盒子艺术馆   “风从北京刮过”   北京
三亚当代艺术馆 “迹象-杨千个展”  三亚
2016        成都当代美术馆“行走-曾家寨子”   成都
2014        天仁合艺美术馆 “行走-杨千个展”  杭州
2012        菲籽画廊  “碎片” 布鲁塞尔  比利时
天仁合艺.艺术中心 “再生—杨千个展”    杭州
            新加坡艺术博览会/芳画廊 “碎片与幻境”  新加坡
2010       艺莱-克莱恩画廊 “杨千-个展”  纽约
            白盒子艺术馆 “艺术有毒-杨千装置作品展”北京
            苏州美术馆    “纸碎今迷-杨千个展”    苏州
2009 上海张江当代艺术馆  “媒体制造-杨千个展”  上海  
今日美术馆  “超常-杨千新作展”  北京                          
2008 英国红楼基金会  “绘画之后的绘画-杨千新作展”  伦敦 英国
2007 上海证大现代美术馆  “重叠-杨千新作品展”  上海
2006 今日美术馆  “新绘画-杨千作品展”  北京
 
联展 (部分)
2017        中国美术馆 “时代质感”-四川美院作品展     北京
      海事博物馆  “鲨鱼与人类-当代艺术展”      香港
德国达姆斯塔特美术馆“从西部出发-中国新现实艺术欧洲巡展” 德国
四川大学美术馆 “悬而未决-当代艺术展”  成都  
山水美术馆“扫一扫-当代艺术展”(北京站)   北京
            江虹艺术馆 “混合的世界”-当代艺术展       杭州
 
2016        上海喜玛拉雅美术馆“山水社会--测绘未来”   上海
            今日美术馆“假园”  北京
            昌源国际雕塑双年展    韩国  昌源
            韩国顺天市SEEAF国际艺术节  顺天   韩国
            南京百家湖美术馆  第三届南京国际艺术大展“历史编码-萧条与供给” 南京
            第四届中国-意大利当代艺术双年展 “锐变” 北京
2015        中国国家博物馆 “保护鲨鱼-艺术巡回展” 北京
            上海明圆当代美术馆 “虚薄之境--对画:山水与风景”  上海
安基勒纳美术馆 “无常之常-东方经验与当代艺术” 威尔士 奥地利
            莎拉贡美术馆 “无常之常-东方经验与当代艺术” 福尔卡基耶 法国
波恩当代艺术馆 “中国式书写的维度” 波恩 德国
2014        今日美术馆 “异象天开-中国新绘画” 北京
合美术馆“西云东语:当代艺术研究展” 合美术馆开馆展  武汉
德国北方艺术中心“无常之常-东方经验与当代艺术”彼得斯多夫 德国
LOOP画廊 “数字三角”当代媒体艺术在中-日-韩  首尔  韩国
天仁合艺美术馆 “融-汇 天仁合艺美术馆开馆展”    杭州
OCA展览中心 “中国艺术在巴西”  圣保罗 巴西
波恩当代艺术中心 “无常之常-东方经验与当代艺术”波恩 德国
台北国立历史博物馆  “乡土 伤痕 西南魂 ”四川美院作品展 台北
2013        东盟文化中心 “交流与融合一中国-东盟艺术双年展”  南宁
匈牙利德布勒森现代艺术馆  “景观再造-中国当代艺术”  德布勒森匈牙利
            上海当代艺术博物馆  “时代的肖像-中国当代艺术30年” 上海
            上海喜马拉雅美术馆新馆开馆展  “意象”   上海   
            第55届威尼斯双年展平行展“未曾呈现的声音—中国独立艺术展”威尼斯意大利
            圣坦莫妮卡艺术中心“溪山清远—中国新绘画”巴塞罗那 西班牙    
2012        第九届上海双年展“明园.中山公园计划”回家的路-上海浦东国际机场特展 上海
            伊比利亚艺术中心 “偏看”—中国当代艺术邀请展   北京
            汉诺威会展中心   “时差-中德当代艺术邀请展”   汉诺威  德国
第四届广州三年展项目展 广东美术馆“去魅中国想象—中国当代艺术展” 广州
中国美术馆 “山川蒙养20年”艺术收藏展    北京
2011        亚洲艺术博物馆 “溪山清远”—中国当代新绘画  旧金山.美国
            西安美术馆 “首届中国美术创作研讨会二十周年回顾与展览” 西安
 成都双年展特别邀请展-当代艺术文献展“川流不息”,成都蓝顶美术馆  成都
上湖流动美术馆开放展“归去来兮”   北京
2010        江苏省美术馆  首届南京双年展-“书写”    南京
今日美术馆  第二届今日文献展-“调节器”, 北京
  国家会议中心 “改造历史-2000-2009年的中国新艺术   北京
  证大当代艺术陈列馆开幕展 “三生万物” 上海
            今日美术馆    “中国当代艺术馆藏展”   北京
2009       捷克国家美术馆  “开放的视域——中国当代艺术选展”  布拉格 捷克
古巴国家美术馆  “新艺术革命——中国当代艺术在古巴”  哈瓦那 古巴 
苏州博物馆  “相嵌苏州-2009当代艺术邀请展”  苏州
台湾国立美术馆  “讲述”-海峡两岸当代艺术展  台中 
中国美术馆  “讲述”-海峡两岸当代艺术展  北京
台北当代艺术馆  “各搞各的——歧观当代”  台北 台湾
2008        北京今日美术馆  “艺术的魅力”——中国的当代艺术收藏  北京
第三届西班牙塞维利亚双年展  “你的宇宙”  塞维利亚 西班牙 
韩国釜山双年展  “消耗”  釜山现代艺术馆  釜山 韩国
第三届南京三年展  “亚洲方位”  南京博物院 南京 
首届波兹南双年展  “调解”  波兹南国家博物馆  波兹南 波兰
            新加坡艺术馆  “向上—中国当代艺术展”  新加坡
上海证大现代美术馆  “介入项目”  上海
布鲁塞尔贝尔维美术馆  “今日中国”  布鲁塞尔 比利时
印尼国家美术馆  “川流-四川当代绘画展”  雅加达 印尼
2007 德国ZKM 当代美术馆  “潜流-亚洲当代艺术展”  卡什卢尔 德国
北京今日美术馆  “2007年首届今日文献展—能量”  北京
国家当代美术馆  “浮游-中国艺术新一代”  首尔 韩国
广东美术馆  “从西南出发-西南当代艺术展”  广州
那波利美术馆  “La Cina e’ vicina”  那波利 意大利
韩国光州市立美术馆  中国当代美术展“北京的新风” 韩国
2006 上海双年展  “超设计”  上海美术馆  上海  
台北市立美术馆  “展开的现实主义-1978年以来中国大陆油画”  台北
何香凝美术馆-当代艺术中心  “一次性消费”  深圳
中国美术馆  “穿越文化-四人联展”  北京
中华世纪坛美术馆  “第一届中国当代艺术年鉴展”  北京
2005 第二届布拉格双年展  “绘画的延续”  布拉格 捷克
成都双年展  “景观-世纪与天堂”  成都
收藏(部分)
 
        
        中国美术馆
        韩国昌源国际艺术基金会
德国K21当代美术馆
广东美术馆
北京今日美术馆
上海证大美术馆
        苏州美术馆
四川美术学院艺术馆
        美国富兰克.科恩当代美术馆
        新加坡好藏之美术馆
        英国红楼艺术基金
意大利Cassa di Risparmio 基金会  
乌里 • 希克基金会
        明天艺术基金会
        梁洁华艺术基金会
        余德耀基金会
 
个人文献画册出版
 
2012   《杨千-碎片与幻境》    FANG GALLERY
2012   《杨千-再生 》         浙江天仁合艺文化艺术股份有限公司
2010   《杨千-今日中国艺术家》 四川出版集团 四川美术出版社
2009   《杨千-媒体制造 》      张江当代艺术馆
2009   《杨千-超常 》          今日美术馆 Timezone8
2008   《杨千 YANGQIAN-绘画之后的绘画》  红楼基金会
2007   《杨千新作品》     上海证大现代馆艺术&当代唐人艺术中心出版
2006   《杨千YANGQIAN -illusion of reflection 》  MARELLA GALLERY
2006   《杨千-镜中之像》        曼谷艺术国际有限公司
2006   《杨千-新绘画 》        视界艺术出版社
2005   《杨千YANGQIAN》    Michael Berger Gallery
1998   《名家精品-杨千油画人体》  四川美术出版社
1993   《QIAN YANG -Reality and Illusion 》   JAMAICA ARTS CENTER
 
 
 
YANG QIAN
 
        Born in Chengdu, China.
Currently lives and works in Beijing.
 
1978 -1982 Bachelor’s Degree of Arts, Sichuan Fine Arts  Institute, Chongqing, P.R. China.
1985 -1988 Master’s Degree of Fine Arts, University of Florida, USA.
 
SOLO EXHIBITION (Selected)
 
2017  Sanya Museum of Contemporary Art  “Trace”   Sanya
        White Box Art Center  “The Wind through Beijing”   Beijing
2016    Museum of Contemporary Art Chengdu “Walking-Village of Zeng  Family”  Chengdu
2014    T Museum “Walking-Yang Qian ” Hang Zhou
2012    Feizi Gallery “Fragment” Brussels  Belgium
Tianren Heyi Art Center “Rebirth-Yang Qian” Hang Zhou
        Art Stage-Singapore/Fang Gallery,  Fragment and Illusion   Singapore
2010    Eli Klein Fine Art,Yang Qian Paintings   New York
        White Box Museum of Art,Art is Poison-Yang Qian’s Installation Work  Beijing
Suzhou Art Museum, Shredded Maze-Yang Qian’s New Painting  Suzhou
2009 Shanghai Z Art Center ,Media  Made-Yang Qian's New Works, Shanghai
Today Art Museum, Transmundane-Yang Qian’s New Paintings and Installations, Beijing
2008 Red Mansion Foundation, Painting After Painting-Yang Qian’s New works, London  UK
2007 Zengdai Museum of Modern Art ,Overlaping-New works by Yang Qian, Shanghai
2006 Today Art Museum, Neo-Painting by Yang Qian, Beijing
 
GROUP EXHIBITION (Selected )
2017    China Fine Art Museum “Time Texture- Sichuan Art Institute     Beijing 
Kunsthalle Darmstadt “Zoom-in Chongqing Malerei und Video” Germany
        Art Museum of Sichuan University “Uncertain-Contemporary Art  Exhibition”Chengdu
Maritime Museum  “Sharks and Humanity”    Hang Kong
        Shanshui Art Museum  “Scanning-Exhibition of Contemporary Art”  Beijing
        Jiang Hong Art Museum “Mixture World - Exhibition of Contemporary Art  Hangzhou
 
 
2016    Shanghai Himalayas Museum “Humanistic Nature And Society (Shan-Shui,)-An Insight  
        Into The Future”   Shanghai
        Today Art Museum “False Garden”     Beijing
        Changwon International Sculpture Biennale  Changwon  Korea
        Suncheong Bay Eco- Environmental Art Festival   Suncheong   Korea
2015    National Museum of China “On Sharks & Humanity”,   Beijing
        Shanghai Mingyuan Art Museum “Inframince Mindscape” Shanghai
    Museum Angerlehner, “Confronting Anitya - Oriental Experience in Contemporary Art”,
    Wels  Austria
Bonn Center for Contemporary Art “Post-Calligraphy in Chinese Contemporary Art ”
2014    Today Art Museum “ Yixiang Tiankai - The New Chinese Paintings”  Beijing
  United Art Museum “Chinese Contemporary Art Research Exhibition ”  Wuhan
        Carlshuette Art Center “Confronting Anitya- Oriental Experience in Contemporary Art”, Buedelsdorf Germany
        Gallery Loop “Digital Tri-angle”, Seoul  South Korea
        T Museum “Fusion Convergence” the Official Opening Exhibition of T Museum    HangZhou
OCA Exhibition Center“ China Art e Brazil” St .Paul Brazil
        Bonn Center for Contemporary Art “Confronting Anitya-Oriental Experience in Contemporary Art”
        National  Museum of  History “Rural, Scar, and Southwestern Soul- Works of Sichuan Fine Arts Institute”   Taipei
2013    The First China-Asian Biennale“Exchange and Integration” ,Nanning
Debrecen MODEM Art Center“Spectacle Reconstruction- Chinese Contemporary Art” Hungry
        Shanghai Contemporary Art Museum,“Portrait of the Time- 30 years in contemporary art”
        Shanghai Himalaya Art Museum,“Imagery” Shanghai
        55 Venice Biennale /International Art Exhibition“Collateral Event Voice of the Unseen”  
        Venice  Italy                          
        Art Santa Monica “Pure Views - Chinese New Painting” Barcelona, Spain
2012 9th Shanghai Biennale Zhongshan Park Project “On the Way Home”- Exhibition at Pudong International Airport, Shanghai
        Iberia Art Center “Looking Awry”- Invitational Contemporary Art Exhibition.  Beijing
Hannover Messe, Jet-lag-Invitational Exhibition of Contemporary Art from China and
Germany. Hannover, Germany.
The lst project Exhibition of the 4th Guangzhou Triennial De-Fascinating the China Imagination   Guangzhou
        China National Art Museum,20 Years in Sichuan- Art Collection Exhibition, Beijing
2011    Asia Art Museum, Pure Views-Contemporary Chinese New Paintings, San Francisco  
        Xi An Art Museum,First Chinese Contemporary Art Seminar and Exihibition  Xi An
  Chengdu Biennale Special Exhibition,The Continuate Flow,Chengdu Blueroof Museum of Art, Chengdu
Up-Lake Art Museum in Move,Come and Go,   Beijing
 
2010 Today Art Museum, Today’s Documents-Negotiation  Beijing
First Nanjing International Biennale,And Writers  Jiangsu Art Museum Nanjing
National Conference Center, Reshaping History-Chinart from 2000-2009  Beijing
Zendai Contemporary Art Exhibition Hall, San Sheng Wan Wu    Shanghai  
        Today Art Museum, Museum Collection Exhibition    Beijing
2009 Czech National Art Museum, Open Vision-Contemporary Art from China, Prague  Czechoslovakia
Cuba National Museum of Fine Art   New Art Revolution-Chinese Contemporary Art in Cuba,
Havana  Cuba  
Suzhou Art Museum   Embracing Suzhou-Invitational Contemporary Art Exhibition, Suzhou
Taiwan National Museum of Art, Speak and Describing -Chinese Contemporary Art  Taizhong, Taiwan
( Travelling to National Art Museum of China,  Beijing )
Museum of Contemporary Art Taipei   Spectacle-To Each His Own, Taiwan
2008 Today Art Museum   The Love of Art-Collecting Contemporary Art in China, Beijing
Seville Biennale   Youniverse, Seville  Spain
Busan Biennale   Expenditure, Busan Museum of Modern Art  Busan  Korea
Nanjing Triennial   Reflexive Asia, Nanjing Museum  Nanjing   
Poznan Biennale   Mediations, Poznan  Poland
Singapore Art Museum   Accelerate-Chinese Contemporary Art Exhibition, Singapore
Zengdai Museum of Modern Art   Invalving Project, Shanghai
Belvue Museum   Today’s China, Brussels  Belgium
National Museum of Indonesia   Sichuan Painters, Jarkata  Indonesia
2007  Museum of Contemporary Art at ZKM Thermocline of Art-New Asian Waves, Karlsruhe Germany  
Beijing Today Art Museum   Today’s Documents 2007-Energy, Beijing
National Museum of Contemporary Art Floating-New Generation of Art in China, Seoul  Korea       
Guang Dong art Museum   Departure from Southwest-Contemporary Art from Southwest of China, Guangzhou
PAN-Palazzo delle Arti di Napoli   La Cina e’vicina, Napoli  Italy
Kwangju City Museum of Art New Style From Beijing-Chinese Contemporary Art, Korea
2006 6th Shanghai Biennale   Hyper Design, Shanghai Art Museum  Shanghai
Taibei Art Museum   The Expansion in Realism-Paintings in China since 1978, Taiwan
He Xiangning Art Museum-Contemporary Art Center   One Time Consumption, Shenzhen
China Art Museum   Cross Culture-Four Artists Show, Beijing
China Millennium Art Museum   First Chinese Contemporary Art Exhibition, Beijing
2005 Prague Biennale 2   Expanded Painting, Prague  Czech
Chengdu Biennale   Chengdu Museum of Modern Art, Chengdu
 
COLLECTION (Part )
 
National Museum of Art, Beijing  China
K21 Museum for Contemporary Art, Germany
Franck Cohn Museum of Contemporary Art, UK
Guang Dong Art Museum, Guangzhou  China
Beijing Today Art Museum, Beijing  China
Shanghai Zhengda Museum of Modern Art, Shanghai  China
Museum of Art-Sichuan Fine Arts Institute, Chongqing  China
Annie Wong Art Foundation, Hong Kong
Fondazione Cassa di Risparmio in Bologna, Italy
Uli Sigg Foundation
 
 
 

(Translated by MaZhengtang) 

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