艺术家/Artist

策展人/Curatn

王友江 / Wang Youjiang

艺术的发展史是人类文明共同交融发展而成，不可能是一枝独秀，当代艺术家应该站在人类文明的视野去思考问题，才能知道本国的文明高度。对生命的悲悯与尊重是现代文明社会的基本内核，也是艺术家的基本心质。艺术家的作品体现了对生命的关爱，对社会的体验，对世界的认知。在疫情不便之际我通过线上交流展的方式，以“各境与相望”作为展览的主题，让艺术家用艺术作品来沟通彼此、传递关爱、融合文明，让艺术拥抱世界。

The development history of art is the integration and development of human civilization, which can not stand alone. Contemporary artists should think from the perspective of human civilization in order to know the height of their own civilization. Compassion and respect for life is not only the basic core of modern civilized society, but also the basic essence of artists. The artist's works embody the love for life, the experience of society and the cognition of the world. At a time when the epidemic situation is inconvenient, I use the online exchange exhibition to take "all environments and facing each other" as the theme of the exhibition, so that artists can use their works of art to communicate with each other, convey love, integrate civilization, and let art embrace the world.

艺术家简介

金日龙/ Jin Rilong

中国艺术家

1962年出生于吉林省

中央美术学院油画系、教授、博士生导师

教育部高等学校教学指导委员会(动画、数字媒体专业)副主任

中国美术家协会动漫艺术委员会副主任

全国美展评申委员会委员

学历：

2001-2005就读于韩国弘益大学校博士生院美术学

获博士学位

1996-2000就读于韩国国立首尔大学校研究生院

获硕士学位

1982-1986就读于中央美术学院油画系

获学士学位

1978-1981就读于吉林省延边艺术学校(中专)美术班毕业

个人展览：

2020年10月山东美术馆

“自约视界——金日龙抽象艺术廿十年”[济南]

2019年7月魏画廊[香港]

2018年12月恭王府博物馆嘉乐堂[北京]

联合展览：

1982年开始参加全国美展及国内国际双年等重要群展。

策展：

2013——韩国“第五届光州国际设计双年展”中国馆策展人

获奖：

1992年9月作品“肖像”第4届神剑美术作品展金奖

1982年1月作品“奶奶”第一届全国少数民族美术作品展金奖

ChineseArtist

Born in Jilin Province in 1962

Professor and doctoral supervisor of Oil Painting Department of Central Academy of Fine Arts

Deputy director of Higher Education Steering Committee (animation and digital media) of the Ministry of Education

Deputy director of Animation Art Committee of China Artists Association

Member of national art exhibition evaluation and application Committee

Education:

From 2001 to 2005, he studied fine arts in the doctoral school of Hongyi University in Korea

Doctor's degree

1996 - 2000 studied at the Graduate School of Seoul National University, Korea

Master's degree

1982-1986 studied in the oil painting department of the Central Academy of fine arts

Bachelor's degree

1978-1981 studied in Jilin Yanbian art school (technical secondary school) and graduated from the art class

Personal exhibition:

October 2020 Shandong Art Museum

"From the perspective of agreement -- twenty years of Jin rilong's abstract art" [Jinan]

July 2019 Wei Gallery [Hong Kong]

December 2018 Jiale Hall of Prince Gong's mansion Museum [Beijing]

Joint exhibition:

In 1982, he began to participate in national art exhibition, domestic and International Biennale and other important group exhibitions.

Curator:

2013 —— curator of the China Pavilion of the fifth Gwangju international design Biennale in South Korea

Award:

In September 1992, the work "portrait" won the gold medal in the 4th divine sword art exhibition

In January 1982, the work "grandma" won the gold medal in the first national minority art exhibition

金日龙《恒1》布面丙烯 / Jin Rilong - Constant1 . 600cm×225cm. Acrylic on canvas  . 2021

金日龙《恒2》布面丙烯 / Jin Rilong - Constant2. 600cm×225cm. Acrylic on canvas . .2021

艺术思考：

《2020年金日龙作品学术研讨会上的发言》

一个是视觉的质感。质感非常重要，一个作品的呈现的质感，尤其是抽象的质感非常重要。从作品里看到了冲突和对立，我觉得情绪还是非常重要的，无论是冷的还是热的，金先生非常有他的张力。这个张力厚和薄、匀变和匀化（音）、单独和叠压，都是通过质感来表达的。

第二个方面是他的规则，他有自己的规则，而且规则越来越清楚，现在从最新的作品来看，规则性还有几个可以去用他自己的方式去自立的方式。比如组合，组合不够，两个四个，我也不知道为什么要两个四个，组合还是很有力量，而且这个组合还能系列化，系列化会强化和用重复的方式去强调，这种强调是强调规则，强调自己的自立的过程，

第三个方面叫情绪的空间。刚才很多的老师提到空间问题，我觉得这是非常重要的，因为从抽象角度来讲你靠什么感知？观众的感知，刚才双喜老师提到了，我个人认为金老师画的方法是非常单纯的，刚刚子康也提到，这个单纯性就是用方式还是绘画的方式去解决，解决的过程里面有加法的，也有减法的，也有提到厚的，堆积的部分，尤其是减法方向上非常有意思，他是空间性的，还有块面的方式形成空白，我个人认为是挤出来的，有意设计，形成了一个反结构，这样一种方式。我觉得这种方式很有东方性，这种东方性就是画的部分单纯和反向方式的复杂性，这个关系是值得我们去讨论的一个话题。这个讨论的话题里面可以看到的东西和我们感知的东西，就是质感，这个方向又形成一个非常好的结构，我觉得可以再深入去做。

情绪的空间对我们来说非常重要，尤其对观众来说，我觉得有直达性，这个直达性形成了一个无论是金老师原来画的比较奔放，比较甩点的，外化的情绪，现在有点收敛，相对的情绪有沉浸性。(赵力，中央美术学院艺术管理学院副院长)

Artistic thinking:

Zhao Li (vice president of Art Management School of Central Academy of Fine Arts)

"Speech at the Academic Symposium on Jin rilong's works in 2020"

One is the visual texture. Texture is very important. The texture of a work, especially the abstract texture, is very important. Seeing the conflict and opposition in his works, I think emotion is very important. Whether it is cold or hot, Mr. Kim has his tension. This tension is thick and thin, uniform and homogenized (sound), separate and superimposed, which are expressed through texture. The second direction is his rules. He has his own rules, and the rules are becoming more and more clear. Now from the latest works, there are several ways for regularity to be independent in his own way. For example, the combination is not enough. There are two and four. I don't know why there are two and four. The combination is still very powerful, and the combination can be serialized. Serialization will strengthen and emphasize in a repeated way. This emphasis is the process of emphasizing rules and self-reliance,

The third aspect is called emotional space. Many teachers mentioned the problem of space just now. I think it is very important, because from an abstract point of view, how do you perceive it? The perception of the audience was mentioned by Shuangxi teacher just now. I personally think Mr. Jin's painting method is very simple. Just zikang also mentioned that this simplicity is solved by way of painting. In the process of solving, there are addition, subtraction, thick and accumulated parts, especially in the direction of subtraction. He is spatial, and the way of block surface forms a blank, I personally think it is squeezed out and deliberately designed to form an anti structure in such a way. I think this way is very Oriental, which is the complexity of the simplicity and reverse way of painting. This relationship is a topic worthy of discussion. What we can see and perceive in this topic of discussion is texture. This direction forms a very good structure, which I think can be done further.

Emotional space is very important for us, especially for the audience. I think it has directness. This directness has formed an external emotion, which is a little convergent and relatively immersive.

金日龙《回响2》布面丙烯 / Jin Rilong - Echo 2 . 160cm×160cm .  Acrylic on canvas . 2020

金日龙《回响3》布面丙烯 / Jin Rilong - Echo 3 . 160cm×160cm .   Acrylic on canvas . 2020

金日龙《回响5》布面丙烯 / Jin Rilong - Echo 5 . 60cm×60cm . Acrylic on canvas . 2020

艺术家简介

罗纳德·帕雷德斯/ Ronald Paredes 

委瑞内拉艺术家

罗纳德·帕雷德斯（蒙多桑托饰），来自委内瑞拉加拉加斯的拉丁美洲视觉艺术家。他出生并成长于画家和设计师的家庭，一直接触平面艺术和视觉艺术表达受父母双方的影响，他发现自己的职业生涯在艺术、平面设计和心理学三大爱好之间发生了转变。拥有超过20年的创意产业经验，他不断平衡自己作为视觉艺术家的个人项目与广告业的工作。在从事平面设计师工作和艺术活动的同时，他开始对创造力进行研究

我把一些简单而基本的东西作为一句台词，并将其转化为一个复杂的叙事，这将挑战你，邀请你与作品发展关系。

展览

2021集体展览，第一届。委内瑞拉艺术展，一个艺术空间，美国纽约

2020集体展览，第二届。南京和平城国际邮票展，南京大屠杀遇难者纪念馆，中国南京

2020集体展览，123我们不是木头人，中国上海

2019集体展览，一点勇敢，勇敢的艺术空间，悉尼-澳大利亚

2019集体展览，南京和平城国际邮票展，南京大屠杀遇难者纪念馆，中国南京

2019第六届丝绸之路国际艺术展集体展，中国西安

2019个展，办公室艺术——OfficeStar成立9周年，中国苏州

2019集体展览，连接点，1929年艺术空间，中国上海√

2018Art Battle International，上海版，中国上海M50艺术区

2018第五届丝绸之路国际艺术展集体展，中国西安

2018集体展览，人民艺术节/批判，M50-上海-中国

2017集体展览，松阳国际当代艺术展，松阳-镇江-中国

2017集体展览，《克莱因瓶中的螺旋叙事》，松江大学图书馆，中国上海

2017集体展览，生-死-过渡，同济大学博物馆，中国上海

2016集体展览，Miles Closer，马赛克艺术工作室，中国南京

2016个展，自我反思，林荫道博物馆，中国南京

2016集体展览，酷词展览，南京艺术大学安努阿美术馆，中国南京

2016关系神学个展，KIC画廊购物中心，中国南京

2015集体展览，第二届。南京国际艺术节——中国南京NJIAF

Venezuelan Artist

Visual artist

Bio

Ronald Paredes (mundosanto), is a Latin-American visual artist from Caracas, Venezuela. Born and raised in a family of painters and designers, he has always been in contact with graphic arts and visual

communication. Influenced by both parents, he found himself shifting his professional life between his three passions: art, graphic design, and psychology.  With over 20 of experience in the creative industry,

he continually balances his personal projects as a visual artist with his work in the advertising industry.

Parallel to his work as a graphic designer and his artistic activities he started conducting studies and research on the subject of creativity

Statement

I take something as simple and basic as a single line and transform it into a complex narrative that will

challenge you, and invite you to develop a relationship with the composition.

Exhibitions

2021

Collective exhibition, 1st. Venezuela Art Fair, One Art Space, New York – USA

2020

Collective exhibition, 2nd. Nanjing City of Peace International Stamp Exhibition, Hall of The Victims of the Nanjing Massacre, Nanjing – China

Collective exhibition, 1 2 3 We Are Not Wooden People, Shanghai – China

2019

Collective exhibition, A Little Brave, Be Brave Art Space, Sydney – Australia

Collective exhibition, Nanjing City of Peace International Stamp Exhibition, Hall of The Victims of the Nanjing Massacre, Nanjing – China

Collective exhibition, 6th Silk Road International Art Exhibition, Xian – China

Solo exhibition, Art in Office – OfficeStar’s 9th Anniversary, Suzhou – China

Collective exhibition, Connecting Dots, 1929 Art Space, Shanghai – China √

2018

Art Battle International, Shanghai Edition, M50 Art District, Shanghai – China

Collective exhibition, 5th Silk Road International Art Exhibition, Xian – China

Collective exhibition,  Arts for People Festival / Critica, M50 – Shanghai – China

2017

Collective exhibition, SongYang Int’l Contemporary Art Exhibiton, SongYang – Zhenjiang – China

Collective exhibition, The Spiral Narrative in a Klein Bottle, SongJiang Univ. Library, Shanghai – China 

Collective exhibition, Life – Death – Transition, Tongji University Museum, Shanghai – China 

2016

Collective exhibition, Miles Closer, Mosaic Art Studio, Nanjing – China 

Solo exhibition,  Reflexions of The Self, Forest Mall Museum, Nanjing – China

Collective exhibition, Cool Words Exhibition, AMNUA Art Museum of the Nanjing University of Art, Nanjing – China

Solo exhibition, Theology of Relationship, KIC Gallery Mall, Nanjing – China

2015

Collective exhibition, 2nd. Nanjing International Art Festival – NJIAF, Nanjing – China

罗纳德·帕雷德斯《花丛中的沃蒂恩》木刻普林 / Ronald Paredes - Vautirn Among Flowers . 24x30cm .Woodcut Prin . 2015

罗纳德·帕雷德斯《侵略者的行军》木刻普林 / Ronald Paredes - The March of the Invaders . 24x30cm .Woodcut Prin . 2015

艺术思考：

我很好奇我们与生活的关系。

原则上我相信，我们与自己以及周围的一切有着神学和精神上的关系。

我发现自己从未停止过对宗教活动的探索。不是因为宗教信仰，实际上恰恰相反，我一直认为宗教，至少传统意义上的宗教，会限制甚至是损害或扭曲人的本性。

通过这种个人探索和实践，我认为我得到了一种表达自己的关切的方式，而且在某种程度上，帮助我重新发现最纯粹的宗教信仰表达形式。

我试着把这些探索以视觉方式表达出来，因为我想要把人们从残酷的宗教活动中解放出来，这些宗教活动往往会通过更加残酷的实体强加给我们。为了这一目标，我们必须找到追溯本源的方式，追寻最纯粹且最实际的灵性形式。

我们必须回到崇拜维系我们的饱暖和生命的自然的状态。回到那原始未腐化的，最初使我们进化和发展的灵性本真。（罗纳德·帕雷德斯）

Artistic thinking:

I'm curious about our relationship with life.

In principle, I believe that we have a theological and spiritual relationship with ourselves and everything around us.

I found that I had never stopped exploring religious activities. It is not because of religious belief. In fact, on the contrary, I have always believed that religion, at least in the traditional sense, will limit or even damage or distort human nature.

Through this personal exploration and practice, I think I got a way to express my concerns, and to some extent, it helped me rediscover the purest form of religious belief expression.

I try to express these explorations visually, because I want to liberate people from cruel religious activities, which are often imposed on us through more cruel entities. For this purpose, we must find a way to trace the origin and pursue the purest and most practical spiritual form.

We must return to the state of worshipping the nature that sustains our fullness and life. Go back to the original, non corrupt spiritual truth that first made us evolve and develop.

罗纳德·帕雷德斯《和平重生》木刻普林 / Ronald Paredes -  Peace Rebirth . 24x30cm .Woodcut Prin . 2015

罗纳德·帕雷德斯《约翰拉贝和他的日记》木刻普林 / Ronald Paredes -  John Rabe and His Diary. 24x30cm .Woodcut Prin . 2015MUNDOSANTO.ART

艺术家简介

林洪钱/ Lin Hungchien

中国台湾艺术家

现任广西艺术学院中国画学院副教授硕士生导师基础部副主任

台湾师范大学艺术学博士

北京中央美院博士交换生唐勇力教授工作室

艺林文教艺术机构高研班美术教师、艺林儿童美术执行总监。

担任台湾心斋艺术协会、中华两岸文化教育美术协会、清流美术协会、国际彩墨艺术协会、中华将军文化交流协会等职务。

参与新竹政府写生美术比赛、南瀛艺术奖视觉艺术类新秀奖、新竹义民文化季创意彩绘比赛、新竹文化局年度美术馆申请展评审委员。

个展11次、国内外联展百余次，出版专着6册、论文数十余篇，获第13届全国美术奖入选，台湾美术类比赛金奖11次、银奖3次、铜奖2次。

美术比赛：

2019年第13届全国美展入展

大专青年书画水墨类第一名『净心』

第一届台南美展水墨类第一名『期待的心』

第十四届台湾美展水墨类第三名『期待希望升华』

第四十三届南美奖水墨类第一名柏川奖『诉语』

第二届台南美展水墨类第一名『关怀古迹系列1』

台南县第十届南瀛美展水墨类第一名南瀛奖『关怀古迹系列2』

教育部文艺创作奖水墨类第一名『关怀古迹系列4』

台中市第二届大墩美展水墨类第二名『民以食为天』

第五十九届高雄美展水墨类第二名『关怀古迹系列5』

2001第五十四届台湾省美展水墨类第二名『养儿防老？』

2002新竹美展水墨类第二名特优奖『养儿防老系列－国宝』

2005苗栗美展水墨类第一名『客家』

台中市第十届国际大墩美展彩墨类第一名大墩奖『养儿防老系

列－老有所终？』

2006新竹美展彩墨类第一名竹堑奖『原˙生之美』

2009新竹竹堑美展第二名『起落静思』

彰化县政府磺溪美展第一名『装与装』

2010新竹竹堑美展第二名『清心静性』

彰化县政府磺溪美展第一名『隔代教养－阿嬷的孩子』

桃源美展第一名『MIT台湾志－罗雀』

2011彰化县帝宝美展第一名『MIT台湾志－保育类』

chinese taiwan Artist

He is now an associate professor, master supervisor and deputy director of the Foundation Department of the school of Chinese painting of Guangxi Academy of art

Learning experience

Doctor of Arts, Taiwan Normal University

Professor Tang Yongli studio, doctoral exchange student of Beijing Central Academy of Fine Arts

Art teacher of senior research class of Yilin culture, education and art institution and executive director of Yilin children's art.

Served as Taiwan Xinzhai Art Association, cross-strait culture, education and Art Association, Qingliu Art Association, international color ink art association, Chinese General Cultural Exchange Association, etc.

Participated in the Hsinchu government sketch art competition, the Nanying Art Award visual art Rookie Award, the Hsinchu Yimin culture season creative painting competition, and the jury of the annual Art Museum Application Exhibition of the Hsinchu Cultural Bureau.

11 solo exhibitions, more than 100 joint exhibitions at home and abroad, published 6 monographs and more than dozens of papers, won the 13th National Art Award, 11 gold awards, 3 silver awards and 2 bronze awards in Taiwan art competition.

Art Competition:

The 13th National Art Exhibition in 2019

Junior College Youth Calligraphy and painting ink class first "pure heart"

"The heart of expectation" won the first place in ink painting at the first Tainan Art Exhibition

Third place in the ink category of the 14th Taiwan Art Exhibition "looking forward to the sublimation of hope"

The first prize in ink painting of the 43rd South American award, Baichuan Award

"Caring for historic sites Series 1" won the first place in the ink painting category of the second Tainan Art Exhibition

"Caring for historic sites Series 2" won the first prize in the ink and wash category of the 10th Nanying art exhibition in Tainan County

The first place in the ink painting category of the literary and Artistic Creation Award of the Ministry of education "caring for historic sites series 4"

Second place in ink and wash at the second Dadun art exhibition in Taichung, "food is the most important thing for the people"

The 59th Kaohsiung art exhibition won the second place in ink painting "caring for historic sites Series 5"

The second place of the 50th Taiwan ink prevention and nursing Exhibition

2002 Hsinchu art exhibition ink painting category second prize "raising children and preventing old age series - national treasure"

"Hakka" won the first place in ink painting at the 2005 Miaoli Art Exhibition

The first prize of color ink in the 10th International Dadun art exhibition of Taichung City, "Department of raising children and preventing old age"

"The end of old age?"

two thousand and six First prize in color ink category of Hsinchu Art Exhibition ˙ The beauty of life

Second place in 2009 Hsinchu bamboo cutting art exhibition "meditation on rising and falling"

No. 1 "costume and costume" in the Songxi art exhibition of Changhua County Government

Second place in 2010 Hsinchu bamboo cutting art exhibition "peace of mind"

First place in the Songxi art exhibition of Changhua County Government

First place in Taoyuan Art Exhibition "MIT Taiwan Chronicle - luoque"

"MIT Taiwan Chronicles - conservation" won the first place in the 2011 Zhanghua Dibao Art Exhibition

林洪钱 《交流道之東風》绢本、岩绘具、金箔 / Lin Hungchien -  East wind of communication Road . 100x100cm . Silk Edition . Rock drawing tool . Gold foil . 2013

林洪钱 《交流道之迎客松》绢本、岩绘具、金箔 /  Lin Hungchien - Welcoming song of communication Road . 100x100cm . Silk Edition . Rock drawing tool .  Gold foil . 2013

艺术思考：

艺术的特点就是将自己在生活当中所触发的观点，藉由感性的可见形式来展现所知，体证生命之义、寻找主体之性、认识自身之能。艺术品都是艺术家的「内在心境」或「内心情绪」的表现，是「自由的精神创造」，艺术是心灵意识的镜射。所以回归最直接的创作思绪，在「可见」与「不可见」之间剖析自身的思维状态与潜意识的运作，知其然而知其所以然，从对内在的意识界与记忆场去认知与理解，进而接近自我的「实相」。

当代艺术的创作者应该与当代人的「生存感觉」和「文化情境」有关，并且与在这块土地产生影响和发生作用。那么重新审视存在于我们生活中的曾在之物，思考物质与自身的内在关系成为创作重要的课题之一。对于喜爱收藏的我，收藏之物是如何影响与自身的内在世界，这些陌生而熟悉之物作为作品的素材时，如何产生一种逃逸的运动，对于熟悉之物我们难以看清它们，因为我们对它的「习以为常」、「司空见惯」的观点而形成了一个盲点，但平庸无奇之物一旦开始关注、思考，它们就会便得陌生、让人迷惑。以「静观」、「凝视」的格物观，让平凡的日常生活作为一种揭露，并呈现我们可能忽略的「超凡性」的方式。如果我们想要它们便得真正孰悉，那表面上熟悉的事情首先以凝视静观后让它变得陌生。（林洪钱）

Artistic thinking:

The characteristic of art is to show what we know through the perceptual visible form of the views triggered by ourselves in life, to prove the meaning of life, to find subjectivity and to know our own ability. Works of art are the expression of the artist's "inner state of mind" or "inner emotion". They are "free spiritual creation". Art is the mirror of spiritual consciousness. Therefore, return to the most direct creative thoughts, analyze their own thinking state and subconscious operation between "visible" and "invisible", know it but know why, recognize and understand the internal consciousness and memory field, and then approach the "reality" of themselves.

 The creator of contemporary art should be related to the "survival feeling" and "cultural situation" of contemporary people, and have an impact and effect on this land. So re examining the things that existed in our life and thinking about the internal relationship between matter and itself has become one of the important topics of creation. As for me who likes collecting, how do the things in my collection affect my inner world and how do these strange and familiar things produce an escape movement when they are used as the material of my works? It is difficult for us to see the familiar things, because we have formed a blind spot due to our "habitual" and "common" views on them, but once ordinary things begin to pay attention to and think, they will become strange It's confusing. With the view of "observing" and "gazing", let the ordinary daily life be a kind of disclosure, and present the way of "transcendence" that we may ignore. If we want them, we have to really know them. The seemingly familiar things become strange after staring at them first.

林洪钱《凝視的風景 馬戲》绢本、岩绘具 / Lin Hungchien - Staring landscape Circus . 33x128cm . Silk Edition . Rock drawing tool . 2017

林洪钱《凝視的風景 . 駯儸記》绢本、岩绘具 / Lin Hungchien - Gazing at the scenery Luoji . 89x79cm . Silk Edition . Rock drawing tool . 2017

林洪钱《后花园》绢本、标本、亚克力 /  Lin Hungchien -  Back garden . 10cm . Silk Edition . specimen . Acrylic . 2016

艺术家简介

刘毅/ Liu Yi

中国艺术家

1963年生于兰州市，祖籍北京。1980年入伍，在部队放过电影，当过美术编辑。1986年工作于兰州市文联，期间多次深入藏区，创作了许多反映藏人生活的作品，同时长期研习唐卡艺术。1998年到北京从事当代艺术，主要作品有《止观》系列、《藏人碑》系列和《大地》系列。现生活、工作于北京宋庄。

展览：

2000年“上海艺博会精品展”，上海

2001年“相聚德胜门艺术展”，艺森画廊，北京

2001年“新状态当代艺术邀请展”，佛罗伦萨画廊，北京

2001年“红门画廊十周年作品展”，红门画廊，北京

2002年“十位抽象艺术家作品展”，广州艺博会，广州

2002年“当代二十一位艺术家作品展”，观景廊画廊，北京

2003年“念珠与笔触”，东京画廊，北京

2003年“四人油画联展”，可创艺苑，北京

2005年“刘毅作品展”，探岭画廊，北京

2005年“文化立场”，艺森画廊，上海

2006年“首届职业艺术家作品展”，仁画廊雨画廊，北京

2006年“黑白新趋势”，皇城艺术馆，北京

2006年“宋庄油画”，北京东区艺术中心，北京

2007年“中坚力量”，艺公馆，北京

2007年“黑白现实主义文献展”，环铁时代美术馆，北京

2007年“宋庄当代艺术巡回展”，北京，上海，沈阳，济南

2007年“物波798文字艺术”，物波空间，北京

2008年“中国情境”，北京

2009年“兰州当代艺术的精神”，兰州创意文化产业园

2010年“中国当代艺术大展”，韩国碑林博物馆

2011年“宋庄绘画作品展示”，798梯艺术中心，北京

2013年受邀在台湾大学演讲

2014年“藏人碑”，台北中正纪念堂自由广场和龙山寺

2016年“宋庄十年”，宋庄美术馆

2017年“刘毅作品展”，北京晋商博物馆

2017年“布达拉巡展”，青海，西藏

2019年受邀在日本东京大学演讲

2019年“行动的艺术”，欧盟驻华使馆

2021年  “另一种修行”，ICI LABAS艺栈画廊，798艺术区，北京

ChineseArtist

Born in Lanzhou in 1963, he is originally from Beijing. Enenlisted in 1980, spared films in the army and became an art editor. In 1986, he worked in Lanzhou Literary Federation. During which period, he went into Tibetan areas for many times, created many works reflecting the Tibetan life, and studied the art of Thangka for a long time. In 1998 to Beijing to engage in contemporary art, the main works are "Samatha" series, "Tibetan monument" series and "Earth" series. Now he living and working in the Songzhuang Art Village Beijing.

Exhibition:

2000 “Shanghai Art Fair Fine Works . Exhibition”, Shanghai

2001 “Together Deshengmen Art. Exhibition”, isen Gallery, Beijing

2001 “New State Contemporary Art . Invitation Exhibition”, Florence . Gallery, Beijing

2001 “Red Gate Gallery 10th . Anniversary Works Exhibition”,Red Gate Gallery, Beijing

2002 “Ten Abstract Artists Works. Exhibition”, Guangzhou Art Fair, Guangzhou

2002 “Exhibition of Contemporary . Twenty 1st Artists”, View Gallery,  Beijing

2003 “Rosary and Brush strokes”,Tokyo Gallery, Beijing

2003 “Four-person Oil Painting Joint Exhibition”, Creative Art Garden, Beijing

2005 “Liu Yi Works Exhibition”,Tangling Gallery, Beijing

2005 “Cultural stance”, Eisen Gallery, Shanghai

2006 “The First Professional Artists Works Exhibition”, Ren Gallery Rain Gallery, Beijing

2006 “Black and White New Trends”, the Imperial City Art Museum, Beijing

2006 “Songzhuang Oil Painting”, Beijing East District Art Center,

2007 “Hard Core”, Art Mansion, Beijing

2007 “Black and White Realism Literature Exhibition”, Ring Iro  Times Art Museum, Beijing

2007 “Songzhuang Contemporary Art Tour Exhibition”, Beijing, Shanghai, Shenyang, Jinan

2007 “Wubo 798 Word Art”, Wubo Space, Beijing

2008 “The Chinese Situation”, Beijing

2009 “The Spirit of Lanzhou Contemporary Art”, Lanzhou Creative and Culture Industrial Park

2010 “China Contemporary ArtExhibition”, the Korean Forest of Steles Museum

2011 “Songzhuang Painting Exhibition”798 Ladder Art Center,Beijing

2013  Invited to speak at Taiwan University

2014 “Tibetan Monument”, Taipei Zhongzheng Memorial Hall Freedom Square and Longsha Temple

2016 “Songzhuang Ten Years”Songzhuang Art Museum

2017 “Liu Yi Solo-Exhibition” Beijing Jin Merchants Museum

2017 “Potala Tour”, Qinghai, Tibet

2019  Invited to speak at the University of Tokyo, Japan

2019 “Art of Action” EU Embassy in China

2021 “Another Practice”, ICI LABAS Art Stack Gallery,798, Beijing

刘毅《神山1》布面丙烯 / Liu Yi - Kamiyama1 . 70x80cm . Cloth propylene . 2016

刘毅《神山2》布面丙烯 / Liu Yi - Kamiyama2 . 70x80cm . Cloth propylene . 2016

艺术思考：

我的绘画，就是坚定自己的立场，就是克制自己的欲望，就是自己教育自己。

对我来说：绘画就是一种自我救赎的方法。

视作品如一面镜子，不断地观照自己；寻找自己。

如果艺术是思想的表达，并且有助于贴近生活，那么它纯粹是作为个人的一种生存方式。如果不是思想对自己的批判工作，让自己模糊的想法更明确，形式更清晰。如果它不是致力于认识和在多大程度上，能够以不同的方式思考。而是证明已知的东西，那么它有什么意义呢？如果它不是对自己生活中道德困境的、警觉的感受力，由此通过自救的方式强化个人的生活品质，那又是什么呢？（刘毅）

Artistic thinking:

My painting, is to firm their own position, is to restrain their own desire, is to educate themselves.

For me: painting is a way to redeem myself.

Look at your work like a mirror, and constantly look at yourself; look for yourself.

If art is an expression of thought and helps to get close to life, then it is purely as a way of survival for an individual. If it is not for your own critical work, make your vague ideas more clear and clearer in form. If it is not committed to understanding and to how much it is able to think in different ways. But about proving what is known, so what does it mean? If it is not alert to the moral dilemma in its own life, and thus strengthens the personal quality of life through self-help, what is it?

刘毅《神山3》布面丙烯 / Liu Yi - Kamiyama3 . 70x80cm . Cloth propylene . 2016

刘毅《神山4》布面丙烯 / Liu Yi - Kamiyama4 . 70x80cm . Cloth propylene . 2016

刘毅《神山5》布面丙烯 / Liu Yi - Kamiyama5. 70x80cm . Cloth propylene . 2016

艺术家简介

申昊润/Shin,Hoyoon

韩国艺术家

1975出生于首尔市，2001朝鲜大学美术学院雕塑专业毕业，

个展-11回光州，首尔，北京，曼谷等，

主要群展

2020 L'archeologia D'arte，那不勒斯国立考古学博物馆，那不勒斯，意大利

2020 当代雕塑展，Shangfang Art Museum，北京，中国

2019 The Splendid Languages of Paper，浙江省博物馆，杭州，中国

2019纸之冲击，杨平郡立美术馆，杨平，韩国

2018 9th Lucca Paper Biennale, 卢卡, 意大利

2018 Paper Moon，克雷特当代美术馆，克雷特，希腊

2017 Salon Des Beaux Arts 2017，卡鲁泽·德·卢浮宫，巴黎，法国 2017 上海国际纸艺术节，上海，中国

2017 Revelations - International Fine Craft & Creation Biennial，大皇宫，巴黎，法国 

2011第11届河正雄青年艺术家邀请展"光2011"，光州市立美术馆，光州，韩国

《获奖及驻地项目》2018-2019上海斯沃琪艺术和平酒店驻地艺术家2018意大利卢卡纸双年展终身成就奖

2017 法国 Salon Des Beaux Arts 2017 银牌

2016上海国际印刷周金奖

2012大韩民国纸艺术作品征集大展大奖（文化体育观光部长官奖）2012光州市立美术馆北京创作中心驻地艺术家

2004-2005光州市立美术馆梁山洞创作工作室驻地艺术家.

Korean Artists

1975 Born in Seoul, Korea

2001 Graduated from Chosun University College of Fine Arts/  Gwangju, Seoul, Beijing, Bangkok, etc

2020 UP: 2020 contemporary Sculpture Exhibition (Shangfang art Museum, Beijing, China)

2019 L'archeologia D'arte (National Archaeological Museum of Naples, Naples, Italy)

2019 The Splendid Languages of Paper (Zhejiang Museum, Hangzhou, China)

2019 Paper Shock (Y Museum, Yangpyeong, Korea)

2018 9th Lucca Paper Biennale (Lucca, Italy)

2018 Paper Moon (Contemporary art museum of crete, Greece) 2017 Salon Des Beaux Arts 2017 (Carrousel du Louvre, France) 2017 Shanghai International Paper art Festival (Shanghai, China) 2017 CheongJu International Craft Biennale (Chengju, South Korea)

2017 Revelations - International Fine Craft & Creation Biennial (Grand Palais, Paris, France)

2017 NEW AXIS - Wuhan CBD Oceanwide International Sculpture Art Festival (Wuhan, China)

2016 Life in between delight and discomfort (GMA, Gwangju, South Korea)

2018 Lucca Paper Biennale‘Lifetime Achievement Award’ (Lucca, Italy)

2017 Silver medal of Salon Des Beaux Arts 2017 (Paris, France) 2017 Gwangju Art Awards (Gwangju, South Korea) 

2016 Gold prize of Shanghai International print week (Shanghai, China) 

2012 Grand Prize of Republic of Korea Paper Art Contest (Seoul, Korea)

2011 11th Ha Jung Woong’s Young Artist Invitation (Gwangju, South Korea)

申昊润 《面具001》纸、聚氨酯透明纸 / Shin, Hoyoon -  Mask 001 . 45x25x20cm. Paper, polyurethane transparent paper . 2021

申昊润《群岛 - 岛006-1 》纸 / Shin, Hoyoon -  Archipelago - Island 006-1. 1500x600x250cm . Paper . 2018

艺术思考：

《面具》作者通过纸的物理特性来表现人类，这存在者。作者表现多种人类群体的过程中认识到了人类的自我表现和习惯是由内在的孩子决定的。作者试图通过这一系列的作品，表露当代社会作为有机组成体的人类，但又否定被自己内心中的孩子操纵而运营的，这具有讽刺意味的事实。《可视化声音》作者把注意力集中在许多看不见的东西的"声音"上。声音就像空气一样，只要我们周围有空气，声音就会在我们周围发生和消失。当我们感知声音时，我们联想到的是物体的形象，而不是声音。作者集中精力塑造我们擦肩而过的声音形象。作者以两个方向:现场和历史，挖掘并成型为自己的作品。《群岛:寻找只属于自己享受孤独的方式吧。》个人在社会上已经变成了没有任何权限的消费者身份，大众媒体不允许这种消费者的孤独。还有，社会也有将这种孤独视为犯罪的开端的倾向。作者认为，把虚拟世界中的沟通，以为我们不是一个人是错觉。结果，我们只好再次在虚拟世界中发现像我这样孤独的人群中孤独的我、像漂浮在茫茫大海中的岛屿一样的我。但是，又努力将发现的孤独再次推到感情的尽头。当代社会人不能孤独吗？（申昊润）

Artistic thinking:

The artist has expressed human existence through the physical characteristics of the medium of paper. The artist focuses on the expression of various human groups, and realizes that human self-expression and habits are determined by the existence of the inner child. Through this series of works, the artist tries to show that modern society is operated ironically with a gesture that denies the fact that it is controlled by humans as organic constructs, but by the child within them.  The artist focuses on the 'sound' of many such invisible things. The sound is like air, so as long as there is air around us, the sound always occurs and disappears around us. But when we perceive sound, we associate images of objects, not sounds. The artist concentrates on the sound we pass by and tries to shape the image of the sound. The artist performs this work with two directions: the field and the historical.<archipelago< p="">；Let’s try enjoying loneliness …> Loneliness is the power of enjoying ‘by oneself’. Cherishing the time alone allows time to reflect on one’s own life. Sol-idarity is a state where one faces oneself. To make rich and mature relationships with others, one needs to keep enough distance and to not identify oneself with the others. No one can live our lives instead, love instead nor feel pain instead. What humans can do for others can’t be much more than showing support or sympathizing with their pain. Are you not lonely do you think you aren’t lonely.

申昊润《群岛 - 岛001-1》 纸，聚氨酯透明纸  /Shin, Hoyoon - Achipelago - Island001-1 . 450x36x40cm . Paper, urethane clear on paper . 2014 

申昊润《可视化声音 – 10分40秒》不锈钢 /  Shin, Hoyoon - Visualized Sound- 10Min 40sec .  40x40x500cm .stainless steel . 2019

申昊润《岛 - 忍耐》 纸、聚氨酯透明纸  /  Shin, Hoyoon - Island – Patience . 90x60x90(h)cm . paper, urethane clear on paper . 2012