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International Virtual Exhibition

Curatorial Statement

Bie-Modernism is a developing theory of contemporary China, and a declaration that the same strategies used in the West to navigate social, cultural and aesthetic concerns, might not be entirely suitable for China and its unique history. By definition, “Bie,” is borrowed from the ancient oracle bone script, where the symbol literally means to incise and separate the meat from the bone. As with any developing theory, the distance between the ideas contained within, and the practice of the theory itself, is a difficult but fruitful path to navigate. This distance between practice and theory ranges in degrees of self-awareness.

In this collection of works there are a variety of artists some more or less aware of this developing theory. The artists represented in this exhibition therefor are making use of this fruitful space, with works ranging from neo formalism to collage to video. Art as an arena for aesthetic experience and discourse provides an effective point of engagement with these ideas. It is the broadness of the theory, coupled with the practice of separating the meaningful from the inconsequential, that this exhibition explores.

Chris Revelle

Chris Revelle
Phoenix, Arizona U.S.A.

BFA. Savannah College of Art and Design (SCAD)
MFA. School of Art at CalArts (California Institute of the Arts)
Artist Statement


Civil unrest had reached critical mass. It was the first night of the 2016 Chinese New Year, but a riot had broken out on the streets of Mong Kok. Bricks ripped from the pavement in addition to broken bottles, trash cans, shipping palettes, and even police barricades bombarded Hong Kong police officers. As the chaos erupted, a Hong Kong police officer pointed his pistol at the unyielding crowd of protesters in self-defense. The show of force and locked aim did nothing to subdue the approaching swarm or their projectiles. The officer quickly fired two shots in the air as another officer laid on the ground unconscious. By the end of night, 61 citizens had been arrested, scores injured, at least 22 fires had been set, and over 2,000 bricks had been dug up.
Since the start of the Umbrella Revolution in 2014, political tension between Hong Kong and China has been palpable. Pro-democracy forces remain resistant to Beijing as it pulls Hong Kong further under its political influence. Hong Kong, a semiautonomous city with an open press and freedom of speech, continues to be scrutinized by China since its handover from the British in 1997. Hong Kong has long been a global trading post, and even with the rise of a capitalist China the city remains Asia’s financial center. Hong Kong has a unique position as a bridge between the mainland and global economy, providing a transparent justice system with secure investment conditions.
As citizens remain defiant, the Hong Kong government has banned protests during visits from top Chinese officials and continues to glue bricks down to the pavement throughout the city to prevent a repeat of the 2016 riots. The pro-Beijing government demonstrates its authority and commitment to China by gluing the bricks into place; uprooting the bricks, contests sovereignty, place, locality, and the forfeiture of culture.
A suppressed subject under British and Chinese rule, Hong Kong’s independence has become a mainstream conversation as more people consider themselves Hongkongers rather than Chinese. Growing fears of the loss of identity and culture are embedded in their democratic values and judicial transparency that protects freedom of speech and assembly.
In Equivalent, the struggle for Hong Kong’s political, social, and economic freedom has come down to control of the ground beneath their feet.

Tea Money 茶錢:
Within Hong Kong and China there are a few ways of providing bribes, known as tea money or in Cantonese, chaqian茶錢. In China, tea money is widespread, where it is needed for almost every transaction and service. In recent Hong Kong history, tea money was required at public hospitals or even to have a residential telephone line installed. Tea money is usually provided as a monetary gift within red envelopes, used at times of celebration such as Chinese New Year or weddings, or lining a box of moon cakes, a local delicacy.
The Hong Kong dollar notes, with the exception of the 10 dollar note, are all printed by three commercial banks instead of a central bank such as the Federal Reserve Bank in the United States. Under license from the Hong Kong Monetary Authority (HKMA), the Bank of China, Hongkong and Shanghai Bank or HSBC, and Standard Chartered Bank issue their own bank notes for circulation. All three banks have been involved in money laundering, or indicted and/or settled laundering charges out of court. HSBC was a source for funding the opium trade in China during the 19th century and has continued in this line with the recent revelation that the bank was laundering billions of dollars for Mexican drug cartels.
Tea Money uses appropriated red envelopes that read fortune (福) to deliver the artwork, three moon cake designs that incorporate the logos of the banks. The prints are made from a custom chop, a traditional stamp or seal, which in China and its territories is seen as providing authority and authentication. The work utilizes many cultural aspects that symbolize luck and good fortune while also discussing the corruption and the flaws in the Chinese and Hong Kong capitalist economy.


Feng Nan

Lanzhou, China

Prof. of Sculpture: School of Art and Design, Lanzhou City University

2005 BFA, Xi'an Academy of Fine Arts, Sculpture
2009 MFA, Xi'an Academy of Fine Arts, Sculpture

Artist Statement


The prototype of this work is the twelve zodiac figures in traditional Chinese culture. The original work is a ceramic with twelve animal heads and human bodies. In this piece, I replace the figure’s heads with the mouth and lids of disposable plastic or glass bottles. This work mainly discusses the value of historical relics stretching back thousands of years and the value of disposable products today. We only live once and we only have one planet, how can we make this limited life more meaningful and valuable.

Guo Canyuan

Beijing, China

BA. Royal Melbourne Institute of Technology, Architectural Design

Artist Statement

The epidemic is horrific, merciless, with the dark color of disaster. It reminds me of the Black Death, war and the suffering of history. Skeletons can symbolize death and reminds us of death but there is a more terrible death, a mental death. If the epidemic takes a lot of people, then today’s view is to let the next generation experience a spiritual death. I am not here to judge anyone, maybe I should change my mind. But I still believe that sooner or later this situation will change and I may die of my own mental death dying to get out.

Hao Ruichang

Tianjin, China

MFA Tianjin Academy of Fine Arts

Artist Statement


After 1000 years due to the impact of human excess the earth renewed itself and all the animal species disappeared, earth was no longer suitable for human survival. Human beings rely on science and technology to travel to distant planets. “Mask” successfully lead humans to inhabit alien worlds. In 3020, earth where human beings have lived for tens of thousands of years, humans have now become aliens.

“Now, can you see the earth weeping and the coast crying?”

1000 years later, the earth renewed itself again, and all species disappeared and the ancient and modern civilizations no longer exist. Will human civilization continue to change in 3020?

“Now, can you see the earth weeping and the coast crying?”

Jieyuan Wong

Berlin, Germany

BA. Xian Academy of Fine Arts, Xian, China
MFA. Candidate University of the Arts Berlin, Germany

Artist Statement

This project is the result of cross-disciplinary research by artists in the fields of painting and technology. This work uses 3D scenes generated by CG to construct a virtual ruin scene. The artist deconstructs many painting-related elements and presents them in a dramatic way.
The artist places the painting in the post-hu¬man context, combined with the visual technology system of the post-human society, the painting elements are reshaped, the painting object is reconstructed into a digital visual element at this time, and the entire visual system is constructed in virtual In the 3D world. The intervention of the painting context makes the work not only confined to virtual vision. Different images in the video broaden the extended meaning of the picture. The work also refers to the authority of art, the global impact of the Internet, image archiving, and mysticism in technology.

The structure of the video represents the artist's Image Field concept to create an open image viewing field in the image. The image and image form an organic connection, and the historical material in the painting context is placed in the strong tension between virtual and reality. Based on this concept, the artist created a dual-screen version for this project. Multiple screens don't just mean more pixels. It's an expendable field. In order to hold more images, it can even become endless.

8k video, 32:9, color, sound, 00:04:13, 2019

Jing Zhou

New Jersey, U.S.A.

Associate Professor Department of Art and Design Monmouth University

Artist Statement

The Jiang Jian website is the first visual presentation of a growing project that touches on multiple fields of studies such as history, women’s movement, storytelling, information design, visual narrative, interaction design, and web development. This project unveils the forgotten story of an extraordinary woman Jiang Jian (蒋鉴)—the “Chinese Nightingale,” “Mother of Wounded Warriors,” and “Mother of Refugee Children”—who passed away at age 38 during the Second Sino-Japanese War (1937-1945). Through her evocative story, the project sheds light upon the Mothers’ Movement in China, a major achievement of the Chinese Feminism Movement in the first half of the 20th century.
Ms. Jiang was from an affluent family. Instead of living a comfortable life, she became a nurse, educator, activist, and philanthropist during the war. She volunteered to serve the wounded warriors in military hospitals and established a refugee school for children. In addition to actively engaging in community development and charity programs, she set up a local Women’s Association. After years of assiduous work, she dedicated her life entirely for the wounded warriors and refugee children in wartime. Meanwhile, from 1938 to 1946, 30,000 refugee children were saved and educated in over 60 Relief Schools throughout China, Hong Kong, and Southeast Asia organized by the Chinese Wartime Refugee Children’s Relief and Education Association (中国战时儿童保育会) supported mainly by donations. After WWII, unfortunately, the Chinese Mothers’ Movement has been overlooked and their voices attenuated due to the Chinese Civil War followed by decades of political turmoil and unrest. As of today, no studies in English are hitherto available. This project was initiated to share the story of Jiang Jian—a heroine of the Chinese Mothers’ Movement, which would deepen our understanding of common human experiences and stimulate social change for generations to come.

Project Title: Jiang Jian: Mother of Wounded Warriors and Refugee Children

English -
Chinese -

John Harlan Norris

Lexington, Kentucky. U.S.A.
Assistant Professor of Art, University of Kentucky

BA. Centre College
MFA. Louisiana State University

Artist Statement

I am engaged in an ongoing project that reinterprets the genre of portrait painting in order to speak about ideas of personhood in our current moment. By stretching the parameters of the genre and magnifying certain elements beyond their typical roles, I make portraits that investigate our rapidly changing sense of ourselves as forces such as technology, media, capitalism, and globalization present new challenges and possibilities. My current series, titled Interpolators, focuses on the process of constructing public persona at a time in which our likenesses have become increasingly malleable, fraught, and self-searching. In these works, signifying objects collide and disperse to build portrait subjects which appear hyper-performative yet exist in a constant state of flux. These objects, symbols, and patterns both attach and remove themselves from the human form at such a dizzying pace that they often seem to evoke unpredictable weather patterns to which the subjects must adapt. This dizzying interaction seeks to investigate the inherent contradiction between the increasing pressure for self-branding and presentation with the fluid and ever-changing experience of being a person. Ultimately, I view these works as a depiction of a moment in which the construction of public persona, once a phenomenon only engaged by a select few, is now as ubiquitous, relentless, and mercurial as the weather itself.

Juliann Wang

Chicago, Illinois U.S.A.

M.F.A. School of the Art Institute of Chicago, Chicago, IL,
Post-Baccalaureate Certificate. School of the Art Institute of Chicago, Chicago, IL
B.F.A. The Art Institute of Boston at Lesley University, Boston, MA


Artist Statement

Description of A Slow Rush
Hanging Sculpture; 16’x60”, 180 different vehicles that were each designed and hand-crafted, made from re-purposed material (American and Chinese packaging, magazines, newspapers etc.), CNC board and structural wire, 2012.

In Summer 2011 I traveled in China, during which time I visited my home town in AnHui province. Prior to my visit, I was interested in the dramatic increase in car ownership over the last few years. This trip has continued to change me and make me reflect on my position as both an insider and outsider. In particular I was captivated by the pulse and movement. The rhythms of the people and movement of the cities were at once so familiar and yet altered… different because of time and change, not to mention my own growth from experiences abroad.

Through more than a year of personal research, interviews, documentation, and development I created A slow rush, examining how we represent ourselves through our vehicles. The piece captures a frozen moment, existing at the historical transition in China between past and present, traditional and modern.


Description of On a Spring Day
Interactive project and sound installation, with 30 participants, 2017
I was invited for 春“春春Wiosna” Group Exhibition, that was Poland International Contemporary Art Culture Exchange Project, hosted by the Consulate General of the Republic of Poland in Guangzhou at 33 Space in Shen Zheng.

This is a process piece created throughout the duration of the exhibition, using “Spring” as an topic. I invited and recorded 30 participants through Wechat platform during the exhibition opening, then within a week produced a finished audio composition to send back to the gallery, so all participants could hear themselves, as well as visitors. The work sought to utilize technology to engage strangers in a simple and interactive dialog on the change in seasons to make us take a moment to reconnect with people, memories, nature, appreciate beauty and our environment. We rely so much on technology today, and it has given us so many marvelous abilities. People can meet across the planet through virtual presences. Though I worder if in gaining accessibility, are we now missing something more fundamentally important?

Lijie Yang

Artist Statement

《2020 Epidemic》
Device (Banknotes of various countries affected by the new coronavirus epidemic + fire)-28X30cm-2020
During 2020, affected by covid-19, the price humans have paid is immeasurable. The most direct impact is economic. The works directly use the banknotes of the countries affected by covid-19, and burn the shape of covid-19 by fire. In this way, we express the change to reality and think about the direction of humanity after this.
There are already four countries, and more banknotes from other countries are needed to complete this plan.

《Disease》installatuion art(Dirt, blood transfusion bags, racks)2020
This is a very peculiar installation concept that has an overwhelming emotions vibrating from it. I think it's a very unique concept that can pay tribute to those who have died from this virus in such a simple yet creative way. The installation doesn't say who is receiving the IV drip or is buried below so it can connect with anyone around the world as the virus continues to spread.(BrittniYoung)
Will this world be good? Is this society sick? Do we all need infusion and treatment. The philosopher Liang Shuming mentioned this problem many times in his later years' oral narration, which is precisely the focus of social progress and sustainable development today. Looking back at the past, progress at the cost of depleting resources, destroying the environment, and corroding social values has already punished humanity, hoping that the future world can be better. (Zhao Yichen)
This is a smart work. Ideas and symbols are easily combined without any flaws in language expression. I don't know this artist. Intuitively this is a mature artist. (Gu Yaofeng)
The epidemic is a test of all aspects of society, and the author's concept of blood transfusion in 34 provinces is a good topic. The development of the epidemic is changing rapidly, and I look forward to further development when the author realizes it on the spot. (Wang Meng)

Performance Record (Photography/Art Micro-jet) / Variable size / 2019

The works of Hangzhou artist Yang Lijie were implemented in Xiangma Reservoir. The overall part is the same as the different presentation of the live works. Artist Yang Lijie purchased truck tires, cut off the center part of the wheel hub, and left a "tire ring", putting a steel-cut embryo into the tire ring. The transformed ready-made products are integrated with the steel plate cutting shape. Because of the overall artistic grasp, it avoids falling into the material trap.
On October 23, 2019, a group of artists came to Xiangma Reservoir to collaborate with Yang Lijie to complete the action work of "Release Life". The artist skillfully uses the properties of paper to perfectly explain a complex human problem with the simplest floating surface.
An installation work and an action work are using different media to convey the same thinking in different contexts. Comprehensive overall is the core content of contemporary art experiments. Yang Lijie, a designer, is accurate and effective in understanding and implementing concepts. At the same time, he has a clear understanding of the relationship between materials and materials and the main body of communication. (Text: Wu Yiqiang)

Shasha Wang

Xian, China

Professor of Art Huaqing College of Xi'an University of Architecture and Technology (China)

BFA. Xian University of Architecture and Technology (XUAT)
MFA. Xian University of Architecture and Technology (XUAT)


Artist Statement

“Trace” 2020

The world has lost a lot of lives due to COVID-19. The loss of these lives does not seem to attract much attention. The artist scratched the death toll on a black acrylic panel that looked like a tombstone, a record that continues to develop.

Si Yuanqi

Artist Statement

Ceramic Installation 2018

Nowadays, more and more people are flocking to the city, which makes the city overburdened and the air is getting worse and worse. Have you ever thought about the impact of air pollution on global human health? What is PM2.5? When I first heard about it, I knew nothing about it. What was it like? This is my original intention to do this work of art.

Artist Statement

Ceramic 2019

Destruction? Protection?

Yinglin Zhou

Berlin, Germany

BFA. Sichuan Fine Arts Institute
MFA Candidate Berlin University of the Arts

6. Square Deception 00:03:59
Password: "Square Deception 2020"

Zhang Min

Lanzhou, China

Professor of Art School of Art and Desing, Lanzhou City University

BFA. Northwest Normal University, Lanzhou China
MFA. Middlesex University UK


Artist Statement

Dream Series

This series explores the connection between dream and reality, the connection between reality and illusion, the yearning of subconscious mind, doubts and worries about fate. The collapse of time and space into the dream state where past present and future collide.

Genhe Ding

Beijing, China
BFA. Central Academy of Art, Beijing, China


Artist Statement

"Once Upon a Time"

(Small graphic booklets) are something that I experienced as a child in the past, and I often think of it. Especially comics are the favorite of children of that era. The comic strips of that era had the characteristics of the Cultural Revolution……….

"Facing a Different Virus World" 2020

The Spring Festival are unforgettable memories during one’s lifetime. Couplets are posted every Spring Festival in China. As a good year of hope and good wishes (for the future). But this year I encountered a virus, so I used couplets and New Year picture door gods as the medium to create this work.

Guan Yu

Beijing, China
Ph.D Shanghai Normal University
Postdoctoral studies Renmin University

Artist Statement

In my artistic practice I seek a unique space and language of painting in a modern approach somewhere between the destruction of the individual and the creation of individuality. Through rejecting the traditions of image and its boundaries I hope to get closer to individual experience, which is sensitive, changeable and transient.

Alan Miknis


Artist Statement

This series of work is about historical storytelling through the lens of contemporary Reenactment culture. I am interested in how the role of these storytellers can create bias and how presenting just parts of the histories can lead to misunderstandings of our collective realities.

Re-enactors orchestrate the retelling of history in terms of personal interest, and most re-enactors want to be something else, something better than themselves. Often times re-enactors choose to play roles of generals, leaving a battlefield comprised mostly of high-ranking officers and little infantry. The authenticity of the reenactments is solely up to the people who participate, and no one dies for the first 30 minutes. Historical Reenactment culture overwhelmingly is made up of older white men.

The series depict events in U.S. history over the last four centuries. Scourges, inventions, scientific breakthroughs, and classic moments in sports are all part of this series. As in contemporary reenactment events, these images depict performances of historical significance, however, are warped by inaccuracies such as location, dress and period authenticity, class, and racial representation. I present these stories in a view of one who would not go all the way with research and means to create an authentic representation. I am interested in history, whom has the authority to write or tell history, and how its perspective can change the way we think about storytelling.

"Reenactment of Emperor Norton and the "Frisco" Decree, 1872"
11" x 14" Gouache on Paper 2018

"Reenactment of Robert Johnson and the Tomato, 1820"
16" x 20"
Gouache on Paper

Cao Ling

Shanghai, China Member of the Shanghai Artists Association Shanghai Aesthetics Society.

Artist Statement

Atmosphere Series

The beauty in nature is ultimate. The brush and ink of Chinese painting are like my mother tongue. I draw the nature with my brush and ink, through which I express my profound inner self shaped by my life experience and perception. My paintings, named as the Series of Atmosphere, are the reflection of my inner world.

Dan Jian

Fort Worth, Texas, U.S.A.

Assistant Professor of Art at Texas Christian University

BFA. Tyler School of Art
MFA. Ohio State University


Artist Statement

This body of work draws pictorial references from Buddhist mural painting in Tang dynasty caves, China (Mogao Caves at Dunhuang), in which stories and narratives are constantly shifting due to the flattened and sometimes ambiguous background. Integrated with Tibetan, Indian, and Chinese culture, the pictorial openness in Dunhuang art conveys cultural inclusiveness and internationalism that is deeply relevant to the globalizing field of cultural production today.
A comparative study in Chinese and American painting traditions serves as a framework for this body of work, specifically in terms of the connection and difference between traditional Chinese painting motifs and gestural abstraction represented in American Expressionism.
Working with oil on paper, I explore shifts in meaning by re-contextualizing familiar traditional painting motifs and making new points of connection between people, objects and places, in an effort to capture a narrative that remains mysterious enough to invite personal associations and imaginings.

Guan Yu

Beijing, China
Ph.D Shanghai Normal University
Postdoctoral studies Renmin University

Artist Statement

In my artistic practice I seek a unique space and language of painting in a modern approach somewhere between the destruction of the individual and the creation of individuality. Through rejecting the traditions of image and its boundaries I hope to get closer to individual experience, which is sensitive, changeable and transient.

JiaYing Pan

BFA, Guangzhou Academy of Fine Arts
MFA, Candidate Guangzhou Academy of Fine Arts

Artist Statement

Guang-Fo Line, 2019

For a long time, no matter what public places, it is uncomfortable to be looked at by strangers, especially in the bright subway cars. Maybe it was an experience in high school that made me more afraid of the subway environment: met a exhibitionist in the subway. I have formed a habit unconsciously: When taking the subway alone, I often choose to stand in front of the door and let the LED advertising light outside the car shine on my face. Now many people look at their mobile phones when they are on the subway. It's all about watching electronic screens. I watch advertisements in subway tunnels. So I wanted to film it. I deleted the content of the train stop in the image, leaving only the endless flow of LED advertising to enlarge the sense of the passage of time.


John Chang

Southern California, U.S.A.

BA School of Art and Design, Shanghai Institute of Technology
MFA College of Art and Design Lesley University

Artist Statement

Light, Shadow and Space-Human Portrait

I am working on this quarantine project during COVID-19. And at the same time, I have struggled this moment to find the appropriate words to express to the events pouring across our nation. As a contemporary artist, I believe in inclusion and a multiplicity of voices. The arts are a place where we can come together as one people. I put through my own lens of the camera and the narration of the art project at this uncertain moment; the light, shadow, space, and the object, which looks anxiety, helpless, small, and desire in such an easy and the most basic human life.

Liu Ziangua


Address: Academy of Fine Arts, Minzu University of China, 27 Zhongguancun South Street, Beijing, China. 100081
Mobile: 00 86 13261187722
Wechat: liuxiangsheji

Artist Statement

“Bie- Meaning” ink art

Liu Xianghua (Associate Professor, Minzu University of China)
The beauty of “Bimo” or formal language can't cover art. Even the Chinese freehand brushwork is not a slogan of stenciling the language, but rather on the "meaning" or thought. The meaning of modern art not only comes from the aesthetic taste judgment of the emotional level, but also from the conceptual expansion of the cognitive level. The expansion of the concept of "conventional shifts" is the source of Western modern and contemporary art meaning. The Bie- modern meaning of Chinese freehand brushwork is not only the expression of ideas, but also the achievement of life itself. Chinese pay attention to self-cultivation. At the same time as personal self-cultivation, the expansion of freehand brushwork needs to achieve more "meaningful life." The author's method is to take it out of the elegant study room to get involved in social problems, and to get involved in more people. The meaning of life can only be derived from life itself. Human nature has its own real power without performing. When the real and fierce power is shielded, humanity itself retreats into the most effective means of demonstrating truth. I's “Bie- Meaning”. The visually random toying of the human body, especially the sexual organs in Liu Xianghua's “Bie- Meaning” ink painting, is called “a style of kid’s toying his cock”. With no sense of mission, it can produce refusal, resistance and challenge to the existing norms-dogmas,restrictions-taboos, and potential ignorance-stiffness caused by capital or authoritarian, and immigration cultural barriers in social systems. From 2D brushwork to the “Bie- Meaning” ink performance and the site-specific public participation ink art installation exhibition and workshop series projects, thus to explore the realization of mutual understanding beyond restrictions via free extension and connection of human body, thereby expanding social justice and civilization, as well as achieving more "meaningful life."

Simon Benlulu

São Paulo, Brazil

Bachelor of Visual Arts at Centro Universitário Belas Artes in São Paulo, Brazil

Artist Statement


The present artistic work consists of a proposal for an interactive experiment and visual regarding the political and social problems related to mental health and the use of psychotropic medications today. The work consists of a simulation of a psychotropic medicine used to treat any mental disorders. The work consists of couche paper sculptures that simulate 200 boxes that will be divided into 5 shelves, 40 boxes in each one and a series of 10 frames between drawings, engravings and assemblies that illustrate the proposed theme of the work.

Siyi Lu

Tianjin, China

BFA, Tianjin Academy of Fine Arts
MFA, Tianjin Academy of Fine Arts

Artist Statement

Twin Sound, 2020

Size: 332cm×220cm (variable size)

Digital communication has been a popular era, in such groups, individuals are, as a "parts", but still maintained a personal identity, I am trying to find their own language with symbolic meaning and now recognized these surroundings have what kind of convergence between voice, the voice of my personal life are collected, the function model was established for real-time data into images, the formation of twin of I, digital images by running track and frequency variation is my life that day, and at the same time, the voice of the others can through real-time transmission to the voice of "I", As a way of individual participation, such participation also serves as a local perspective to provide a way of observation for individual participation in social life and construction under a digital media.

Siyi Lu

Tianjin, China

BFA, Tianjin Academy of Fine Arts
MFA, Tianjin Academy of Fine Arts

Artist Statement

Twin Sound, 2020

Size: 332cm×220cm (variable size)

Digital communication has been a popular era, in such groups, individuals are, as a "parts", but still maintained a personal identity, I am trying to find their own language with symbolic meaning and now recognized these surroundings have what kind of convergence between voice, the voice of my personal life are collected, the function model was established for real-time data into images, the formation of twin of I, digital images by running track and frequency variation is my life that day, and at the same time, the voice of the others can through real-time transmission to the voice of "I", As a way of individual participation, such participation also serves as a local perspective to provide a way of observation for individual participation in social life and construction under a digital media.

Tim Dechent

Mainz, Germany

MFA, Candidate Folkwang Universitat der Kunste, Essen
BA, University of Applied Sciences Bielefeld

Artist Statement


Football stadiums are places of turmoil, celebration, human ecstasy. Built for masses, a stadium is prepared and maintained for a number of games and events. Most of the time, however, it turns into a lonely, deserted entity. In "Noise" I examine what happens in the football temples without the teams and crowds. With a concentrated corner view, which consciously drifts away from commercial images. The focus here is on the architecture. The stadium characteristics are there, on point, all lines converge. Without the people, the arena degenerates into an orderly design. It is a strict building, and therefore interchangeable to a degree. Thought it seems, the myth of the venue is being captured. With an exaggeration of reality. It seems a little bit better than reality, but that's what football and in also architecture is all about.

Wang Haidong

Shanghai, China

Instructor of Art Department of Education (Art Education) East China Normal University

MFA, LuXun Academy of Fine Arts
BA, LuXun Academy of Fine Arts

Artist Statement

Dead Splendid

The theme of my works has always been industrial themes. In today's era, the objects in these works have passed away, and their space has also disappeared. However, it will still attract my attention and resonate with some people. The title of my works has always been the glory of the past

Wu Hao

Shanghai, China

PhD candidate of Art and Design (Glass), Fine Arts College Shanghai University
MFA, Art and Design (Glass) Fine Arts College Shanghai University
BFA, Sculpture Fine Arts College Shanghai University

Artist Statement


During the process of producing art, I gradually develop my own habits of thinking and patterns of creating--that is, I start from the conveyance of the concept and get inspiration from daily life. Some period, some moment, or even some specific mental state can arouse my doubts and thoughts, which will be used to express the future existential conditions of my life. As Marcel Duchamp once said, “My best work is my life itself.” Using glass as the material for my work makes the concept and form more vigorous and more dynamic, while the contrast and tension between specific material and free conveyance of my concept always exists, and difficult to attain equipoise. But it is this kind of tension that is the key point I want to explore. I wanted to bring more than just the presentation of glass art, but also resonate with the visitors and inspire deep feeling.

Xiang Chengmei

Perth, Australia

MFA, University of Western Australia
Ph.d. Visual Art University of Western Australia

Freelance artist and contemporary art researcher, born in Wanzhou, Chongqing, now lives in Perth, Australia. He received a master's degree in pure art from the University of Western Australia and a doctorate in art from the University of Western Australia. His works have participated in the 2019 Lianzhou Photography Festival theme Exhibition, Sydney HeadOn Photography Festival theme Exhibition and Chongqing Yangtze River Image Biennale, and have been reported in depth by the Los Angeles Times, the New York Times and ABC, Australia. Academic papers have been published in the New York Times, French Photography Eye, Pro Photo, Australia Asia Society, Australian artlink and other magazines.


2019 "happiness 88" Find the location of lei chi space shenzhen, China "Farmer Family Photo" Perth, Australia

2018 "Farmer Family Photo" Map and International Art Exhibition, Beijing, China

2018 "Peasant Zhi Family photo" wilderness contemporary art exhibition herbivorous hall China Shijiazhuang

2017 "lost two places" Abstract concrete Image International Art Exhibition Jinan 2017 "lost two places" China present International Art Exhibition China Sanya

2017 concrete/ Abstract International Art Exhibition Wuxi, China


Xue Fei

Chongqing, China

BFA, Sichuan Fine Arts Institute

Artist Statement

Patron Saint List

This series of works focuses on the traditional Chinese mythological story called "The Patron Saint List", which combines traditional mythological stories with modernity, and constructs a new visual perspective and experience through the imagination. The images are divided and connected through clouds, with magnificent colors and unique shapes, creating a new visual experience of classic characters like Xibohou, Nezha, and Jiang Ziya.

Yan Fengjun

BA, Bohai University
MFA, Bohai University

Artist Statement


This work uses common Tibetan themes based on traditional freehand brushwork, the use of contemporary ink approaches and new production techniques. The use of characteristic Tibetan clothing and houses in order to highlight the regional culture of Tibet. The goal was to create multi-time overlapping effect in order to show the Tibetan people in a grand scale on a pilgrimage.
My work expresses my state of mind and the struggle of being distracted by noisy environments and tedious issues which I have to fight against in order to complete my work. Painting can reflect these feeling and intentions. In this work I hope to bring attention to the medical workers who also struggle each day to fight against the COVID 19 epidemic

Zhang Wenzheng

Songzhuang, Beijing, China


Artist Statement


Once Chinese begins to speak, they begins to write. He asks to write his own name, even if it is crooked. However, writing his own name seems to be an absolute law and the beginning of a person to establish his own existence in the world. In the subsequent study, it is necessary to write strokes when looking at a dictionary. From pencil to pen and then to brush, different pens require different writing methods. Writing also opens up the experience of age. Graphology is a glimpse of one's fate. Writing, reading, a Chinese's visual experience, was guided by writing at the very beginning.

How can you look at words? This is the reading and writing experience of the Chinese people. Because of the relationship between words, reading is not only to see things, but to read the font and posture of the characters. It is not only cognition, but also writing the words in reading. Only by writing once again can the world become intimate and familiar, because the world has been written, has already been written It is a text (text or intertextual context).

Reading, writing, or drawing are all writing. What kind of picture and text is this work? Character painting? Image word? Pattern code? It seems that they can, but they are not accurate, because this is a "miscellaneous text" world! Yes, perhaps the "essay" in the sense of modern Chinese writing in the 20th century corresponds to the naming of "hybrid modernity"? Only by stimulating the full potential of writing can we respond to the pressure of modernity from the west? Such essay writing is also a style interwoven with words and images, which hides a unique experience of modern Chinese people getting along with the world.

Chinese contemporary art has always been anxious about creativity and has been trying to compete with Western masters. It seems that if we do not create new formal language, it is not art. However, the naturalness and indifference of Chinese cultural writing is similar to Duchamp's attitude of "breathing is more than work". Artists' breath is writing, and writing is breathing. Once writing and breathing are connected, art does not need to be deliberately innovative, but only needs to live naturally. Natural writing can be written from anywhere, so-called chance the meeting of harmony itself is art, writing anything is OK. As words have been given to us, it is not that we are using and inventing words, but words as language have been given to us. This is what philosophy says: it is not we who are thinking about language, but language is thinking about itself through us. Every writing is a manifestation of the writing nature of literature.

Zhang Wenzheng

Born in 1997 in Hebei Province, China, he is currently a freelance artist. His works are mainly presented in the form of art installations, video and performance art.

Exhibition experience in 2020:
Song of the Earth. The 1st ICQC International Youth Art Exhibition. Tianjin ASC Art Industry Park, Tianjin, China "Conscious Expression. Contemporary Art Exhibition Season 6" -Thorn Bird Expressionism Painting Society, China "?GALLERY Online Solo Exhibition", China "International Video Art Touring Exhibition." Tianjin, Milan, Florence
"Fantasy Kingdom. New artist nomination exhibition". Meisong Gallery, 798 Art District, Beijing, China "2020 Gallery Opening Video Exhibition". Nanning Jin Gallery, Nanning, China
"Parallel Epidemic Corner -Contemporary Art Invitational Exhibition", Tianjin ASC Art Industrial Park, Tianjin, China "NY20+ Epidemic See Coantivirus" " -Chengdu Nongyuan International Art Village, Sichuan, China
'"La Vita dell' Arte International Theme Exhibition" A60 Contemporary Art Milan Space, Milan, Italy

Zheng Yinchun

Nanjing China

BFA, Nanjing Art College of Art

Artist Statement

Fishing Series 4

Fishing in a field full of flowers, there is no fish you think. The beautiful natural scenery and the poetics of the characters are at once strangely detached.

Hello 2020 Series 1

In the year 2020, the virus is spreading. Helpless people, the future of the world is uncertain! Where is our Noahs Ark?

This is an ink painting I made during the worst of the epidemic. After the painting was finished, the art park where I was working was closed.

Zuo Yilin

Lanzhou, China

Dean of School of Art and Design, Lanzhou City University

BFA, Northwest Normal University, Lanzhou, China MFA Northwest Normal University, Lanzhou, China

Artist Statement

1) Suspended Red Fruits
I really like cats and I often rescue strays. A kitten I rescued last year Weiwei gave birth to three beautiful kittens on March 26th and I named them Huihui, Dangdang and Nana. The mother cat takes care of my wife and I and we of them. After the pandemic lockdown lifted Nana was found injured by the building maintenance staff. We took her to the animal hospital but she did not survive. After the lockdown lifted a friend invited me to travel to pick Qizi a red fruit used for good health. During this journey and picking the fruit I thought of our lost cat and a deep desire for healing.

2) Nothing (Light of Life) 100cmX80cm
The COVID 19 epidemic changed life and the direction we were going. My community closed the door restricting our ability to leave. I can only exercise in the building or in the yard. I suddenly realize that our flesh and blood is so weak and vulnerable. It seems that beauty, work and entertainment are not important, this may be the most important time to live!

3) Impermanence 100cmX80cm
At the beginning of the epidemic (Feb. 12) Yang Xiao a fiber artist and professor was suddenly hospitalized with a cerebral embolism in Shenyang in northeastern China. At that time we wanted to rush to see them but due to the epidemic the asked that we not go. A few days later our friend passed away. This was a great shock and in order remember them I began this work. The artist Zhao Ziaojun wrote a poem in her memory. In response to the poem I change the painting. Zhao Xiaojun had turned his heart into a piece of paper.