Ren han, male, was born in Tianjin, China in February 1984. He is currently living in Tianjin, a contemporary artist.
Ren han the definition of art
Ren han said: “the definition of art has been changing, such as the one of painting. The interpretation of Mona Lisa in different eras and topics, is different”
“Mirror” by Ren Yi
He graduated from the National Institute of Fine Arts of Vera Arson, France in 2011. As an artist, he has participated in exhibitions around the world, including the Paris 104 Art Center, the Moscow Museum of Modern Art, the Berlin Chinese Cultural Center, the Nice Asian Art Museum, the Beijing Today Art Museum, the Times Art Museum, and Taikang Space. He has also held solo exhibitions at the Less Is More Projects Gallery in Paris, C-Space, LAB47 and Qimu Space in Beijing. He is also the co-founder of the Renewable Space Program, which asks artists to organise and to expose in non-display spaces such as ruins.
he ambiguous nature of human nature
Ren han used pencil as the main material to carry out an orderly study in the field of plastic arts. Using graphite’s essence to present reflection and texture, and through the outline of his painting, we see a two-dimensional plane, but the artist’s special treatment of the picture makes us feel a sense of volume, as it happens with sculptures. His works often use mirrors, labyrinths, water, and virtual landscapes to reveal the ambiguous nature of human nature, explore the boundaries of sketches and sculptures, and the possibilities.
“Maze” by Ren han
The power of art is to wake up the soul. The reason why art can support us to seek truth is that art can play down the self-center. It requires us to observe and understand, and to do our best to express and gain valuable experience.
Untitled Work
Untitled Work
In “Mirror” series, he said that he chose it because the mirror will have a reflection when it is photographed, it is visually similar to the graphite texture. With white as the base, the relationship between black and white is more confusing in the Mirror.The line gathered in the center is like a road to the exotic world. Infiltrating, hitting the wall, and reflecting, lead the viewer into a spiritual space of meditation.
“Mirror Seires” by Ren han
“I don’t have rules in the form of works. I set myself the rule of not creating new images, but reducing, reorganizing, and copying ready-made images and ready-made products. Because it is realistic or abstract, as long as it is hand-made.. I choose to be a developer and implementer of ideas.” He said
“Mirror Seires” by Ren han
Side view of “Skull”
In the world we live in, every item is unique. They have different self-expressions and they hold different emotions and hopes. Only by doing everything possible to faithfully restore every seemingly ordinary item will people see the purest beauty in the world. That kind of beauty will lead people and be brave in themselves.
Situated in the northeast of the state-protected Sanxingdui Site by the bank of the Yazi River in Guanghana, Sanxingdui Museum is a modern museum which is 40 kilometers to the north of Chengdu. Covering a total area of 530 yields, in which 11000 square meters serve as the main tableaus for the exhibits, Sanxingdui Museum had its foundation laid in August 1992, and opened to the public in October 1997. Integrating collection, preservation, academic research and social education all in one, the museum showcases kinds of precious cultural relics unearthed at Sanxingdui Site.
The cultural relics at Sanxingdui are a valuable cultural heritage of humanity, which contains a rich historical, cultural and scientific value, and are considered the most attractive among the multitude of spectacular relics in China. The main building of the museum stands in an attempt to adapt to its profile with the shape of the land, the historical site and the forms of the relics, mixing primitivism with modernism; the surroundings of the museum are arranged in an ingenious layout: a lake and a large lush garden are located in a unique environment with flora in all seasons.
The Sanxingdui site is an ancient city, an ancient state and an ancient Shu culture site in southwest China, which is the largest in the area, the longest in time and the richest cultural connotation. The total area covers 12 square kilometers with a city of 4 square kilometers in the center. Dozens of cultural relics were found in the city, such as the city walls, two sacrificial tombs, foundations of buildings, jade pits and burial grounds, as well as several thousand artifacts. The Sanxingdui site was the capital of the state of Shu about 3,000 years ago. In January 1988, the Council of State designated the Sanxingdui site as one of the most important cultural heritage units under national protection.
The structure of the Sanxingdui museum consists of two galleries. Gallery one represents an arc-sloped ecological building, emphasizing the theme that human world and nature are in perfect harmony. Gallery two is spiral architecture, symbolizing both Three-star Mounds and the course of human history development. In gallery one comprehensively displays gold, bronze, jade and pottery artifacts and great achievement in every aspect. In gallery two, specialized bronze gallery, through successively combination of scenes introduce group of bronze images and mysterious sculptures.
Sanxingdui Museum – Exhibition hall
The first gallery is divided into six sections to show the precious items of gold, bronze, jade, stone, ceramics, ivory, shells, excavated from the Sanxingdui site to introduce remarkable success in each domain, the outline of the story and the vital state of ancient Shu. For example, you can admire the oldest golden rod in the world dating back to 4000 BC and the 396 cm tall bronze tree which is the largest bronze tree found so far in China. The second section, large collections of bronze objects are exhibited, such as bronze works in the shape of the sun, snakes, altars, a group of small figures who make sacrifices and some plausible figures such as the bronze figure with a human head wearing a mask. gold, one of the “not to be lost” relics.
VISIT
Address: Sanxingdui Historic Relics 618300,Guanghan Sichuan China
Opening Hours: 8:30 – 18:00 (Exhibition Hall I); 8:30 – 18:30 (Exhibition Hall II). Ticket time: 8:30 – 17:00
Pan xi is a Chinese artist born in Wenzhou, China, in November 1971. Since childhood, has developed a strong artistic and aesthetic sense because, every week, with her sister, she went to the art institute directed by her father to visit the workshops of the artists at work.
She is so passionate about drawing and painting, she starts taking lessons at the age of ten, from an artist friend of her father.
She began her fine arts studies, after finishing high school, in 1989 at the National Academy of Fine arts in Hangzhou, China, and a year later she received a scholarship and moved to the Academy of Fine Arts in Moscow where he earned a Master in Fine Art.
Lunch break
She is so passionate about drawing and painting, she starts taking lessons at the age of ten, from an artist friend of her father.
She began her fine arts studies, after finishing high school, in 1989 at the National Academy of Fine arts in Hangzhou, China, and a year later she received a scholarship and moved to the Academy of Fine Arts in Moscow where he earned a Master in Fine Art.
Pan Xi 2
In 1999 he obtained a master's degree in oil painting and with the work "Seven Beauties" he won the gold medal of the University.
Since then he has lived in Europe, between Germany, Austria, Holland and France, and in the United States working as a professional artist.
He currently lives in Hangzhou, China, where he opens his personal studios on the Jade Mountain Emperor's Hill on the outskirts.
In 1999 he obtained a master's degree in oil painting and with the work "Seven Beauties" he won the gold medal of the University.
Seven Beauty
Mother and son
From her works shines through the modernity and power of the early twentieth century artists such as Klimt, especially for the use of colors, Modigliani, as regards the idea of dreams and reality that floats in an unreal time, and Schiele in reference to the yield of the bodies and the positions they assume.
Paris in the spring
Although her works are very twentieth-century they maintain a very powerful bond with the ancient Chinese art that makes the works are fascinating, overwhelming but at the same time extremely delicate and poetic.
Siesta
In her works the female subject is undoubtedly predominant. The women of are rendered in all their femininity and sensuality, dormant and dreamy but at the same time so determined and sure to be able to show their body with total ease, seducing the viewer and taking him to another dimension where everything is always immobile and eternal.
spring
Exhibitions: 2003 Veronica, Gallery “de Arte”, Nantes, France 2005 Girl in a Black dress, Gallery “de Arte”, Nantes, France 2008 Body temperature present, Gallery Zhongdao, Suzhou, China 2009 Mother and Child, Gallery “de Arte”, Nantes, France 2010 Carmine, Art scene Warehouse 2011 In my secret garden, M Art Center, Shanghai, China
Dai Guangyu is a self-taught artist born and raised in 1955 in a family of scholars in Chengdu, Sichuan Province, China.
Since childhood Dai Guangyu has studied calligraphy, painting and literature and his career as a contemporary artist includes his long experience as a visual and performative artist, curator and cultural critic, and poet.
Dai GuanYu
His work involves the history of Chinese art, the culture of ink painting, as well as Chinese poetry and politics.
In 1985, Dai Guangyu became part of the revolutionary movement New Wave, soon becoming the leader of what develops in Southwest China, after becoming a leader of the Sichuan artistic avant-garde scene, which proves to be very stimulating and perfect for the development of its creative purpose.
Dai Guangyu – White is not necessarily good
During this period he took part in several exhibitions including, in 1986, “Red Yellow Blue – Young Artists of Sichuan”, the first modern art exhibition in the Sichuan province, at the Sichuan Art Gallery.
In 1989 he participated in the historic China Avant-Garde exhibition at the National Art Museum of China in Beijing and after the end of the 1989 student movement protests, when Chinese art entered a depressed and withdrawn state, Dai Guangyu continued his active interventionist work, curating exhibitions and public performance interventions far from the capital.
Dai Guangyu – Untitled
In the 1990s, Dai Guangyu discovered artistic performance, which employs the body as a key artistic medium. The artist has found this artistic medium very interesting and very suitable for expressing himself, artistically speaking, as it allows him to be powerful in movement, incisive in meaning, radical and transitory.
Dai Guangyu – Absorbing – being absorbed
With Dai Guangyu, performance and artistic activities such as conceptual art had found their mentor. In 2003, the artist moved permanently to Beijing where, during these years, he developed a body of art and a strong conceptual approach in cultural references, rich in poetry and symbolism, and beautiful in form, which has aroused continuous criticism.
Dai Guangyu – To identify a chicken artistic image of a dead rabbit is difficult
Dai Guangyu, he has created a system of codes and symbols that has intensified along with the progress of his installations and performances. For example, it uses black Chinese ink pots or porcelain, symbols of the complexity of Chinese culture, flour to evoke the basic food of the community and finally also men with faces painted in white and gold as metaphors of Westernization or the pursuit of wealth.
Dai Guangyu – Auction
He argues that through the act of performance, a temporary action that passes from one state to another, all solid forms belong to a single moment and that all circumstances are in the process of transformation. His installations and his photographs maintain a trace of this “state of procreation” which is the essence of the performance and gives a poetic intonation to the forms.
Dai Guangyu – Shooting at myself
In 2017 the artist realizes the performance The Failure of Defense-America, 2017.
During the performance he expresses his personal struggles against having to live under a repressive political regime. Dai Guangyu through the performance of the performance wants to move the focus, which originally is based on the ideological and class division in China, to the forces that threaten the American nation.
Dai Guangyu – “The Failure of Defense America 2017”
By painting the seemingly empty white paper that covered the stage with black and red ink, the outlines of a series of critical and consequential relationships emerged, asking questions about where we are all in relation to the character and inclusiveness of today’s nation.
Dai Guangyu – “The Failure of Defense America 2017”
Dai Guangyu is now recognized as an important and original figure in the Chinese art scene. His interdisciplinary practice is written within a socially engaged trajectory.
Through his performances, photographs, paintings or calligraphy, he stages his body and the symbolism of Chinese society until the end of their resistance or their disappearance.
Dai Guangyu – Untitled
Exhibitions: 2005 Artists in Action – Performance Art Project, HongKong, China 2005 Inward Gazes – Performance Art in China Exhibition by Invitation, Macau Art Museum, Macau 2005 In Honour of ‘85, Duolun Modern Art Museum, Shanghai, China 2005 Transborder Language: Performance Art /Language Art, Tokyo Art Projects, 798 Factory, Beijing, China 2004 Double Happiness Festival, Tokyo Art Projects, 798 Factory, Beijing, China 2004 Matchmaking, Eastlink Gallery, Shanghai, China 2003 NIPAF: Asia Central Europe, Performance Art Meeting 2003, Slovakia, Hungary, Poland 2003 Chinese Ink in Contemporary Art, National Gallery, Kualalumpur, Malaysia 2003 China – Japan Performance Art Exchange Project / 2003, Chengdu, Xian, Chongqing, China 2002 Fruitfulness – Contemporary Art Exhibition, Beijing Agriculture Hall, Beijing, China 2002 Food and Words, Performance, Chengdu, China (solo) 2002 Shooting at Myself, Installation and Performance, Duisburg University, Germany (solo) 2001 Physical Resources and Objects, Hong Kong, China 2001 Dialogo – Other, Chinese Contemporary Art Exhibition, Chiesa Santa Teresa dei Maschi, Bari, Italy 2001 Chinese Festival – Touring Art Exhibition, Faust Museum, Hannover, Germany 2001 First Chengdu Biennale, Chengdu Museum of Modern Art, Chengdu, China 2000 Heaven Stonehenge, Hannover, Duisburg, Düsseldorf, Germany 2000 Turn of the Century – 1979-1999 – Chinese Contemporary Art, Museum of Modern Art Chengdu, China 2000 Chinese Glamours – Conceptual Images, East Link Gallery, Shanghai, China 1997 How a Frog in a Well Sees the Sky, Open Exhibit, 152B Studio, Chengdu, China (solo) 1996 Resurrection in Chengdu ‘96, Installation, Sichuan University, China (solo) 1995 Scenery Inside and Outside a Red Room, Installation, Chengdu, China (solo) 1994 Chinese Landscape, Installation, Chengdu, China (solo) 1993 Dai GuangYu – Exhibition of Paintings, Lallouzet Waterson, Montreal, Canada
Xia Yan, born in 1975 in Guizhou, is a famous contemporary artist. He graduated from the Fine Arts Department of Guizhou Normal University in 1998 and is now an associate professor at the Fine Arts College of Guizhou Normal University. In recent years, his works have gradually been recognized by collectors at home and abroad. K11 Art Space, Chengdu Contemporary Art Museum, Chengdu Blue Top Art Museum, Singapore Simin Art Garden and other important institutions have exhibited and collected their works. Xia Yan’s works revolve around the relationship between human beings, nature and festivals. His painting style has some fairy tales, giving a sense of dreams and innocence, but also revealing reflections on the environment.
Artistic introduction Born in Guizhou in 1975. In 1998, he graduated from the Fine Arts Department of Guizhou Normal University (now the Academy of Fine Arts) and stayed at the school until now. In 2005, he graduated from the Department of Painting, Department of Painting, Central Academy of Fine Arts. 2006 Entered Guiyang “Urban Parts” Contemporary Art Studio 2012 Graduated from the Digital Media Department of Xiamen University Software College with a master’s degree
Afforestation 150x250cm oil on canvas 2012
ARTbaiguan: How do you balance teaching work and personal artistic creation with so many years of coaching career? Xia Yan: Teaching and creation seem to conflict with working time and space, but in fact, the two are complementary to each other. Teaching and creative practice are the best knowledge-transforming relationship;
In the same festival 60x60cm oil on canvas 2014
ARTbaiguan: We see some characters appear on your screen. Does this have anything to do with your life or your relationships? Xia Yan: Some are related, some are fragments of images I downloaded from the web. The current works pay more attention to things in the public environment, and all the roles are almost irrelevant to their own life circle;
Mr. Pushing Stone 90x90cm 2016
ARTbaiguan: There are many people who like your Soshan series. What is your creative inspiration? Xia Yan: Childhood memories, it is a nostalgic homesickness.
Four or five white stone 100x150cm cloth oil paint 2013
ARTbaiguan: Which period of art or artistic activity has the most influence on you? What is reflected in your work? Xia Yan: After the Second World War in Europe, I really liked the works of art with realistic criticism. The forms and language of the works of artists such as Kiefer, Richter, and Tuymans have influenced the establishment of my value judgment and creation system.
Obedient 90x60cm 2016
ARTbaiguan: How do you choose new ideas derived from the creative process? Xia Yan: The new idea is more to take, not to be…
ARTbaiguan: Do you think that a work that combines traditional culture is more meaningful than a purely contemporary work? Xia Yan: It depends on the context in which the works are displayed. Some people use a good license to play the game. The works must not be simple binary opposition. The problems of tradition and contemporary, conservative and open, black and white are not directly comparable to right and wrong, good and bad. They are a rich complex of dimensions that are interpenetrated;
Support wall 90x90cm cloth oil color 2016
ARTbaiguan: Many people now believe that painting on the shelf is bound to die, and that installation art and new media art are the future development trends. What do you think of their views? Xia Yan: This is the law of development. As for the assumptions about the future, I can’t play the role of the prophet.
Cai Wei’s beautiful scenery 90x90cm oil on canvas 2015
ARTbaiguan: Whether it is painting or other art media, you will face the problem of effective expression between language and thought. How do you think about solving these problems? Xia Yan: Thought is the first. Language is more of a service for the mind. Of course, the validity of the expression of the purely linguistic form cannot be ruled out. I think that the development of society needs more truth than beauty. Therefore, in the current works, I am more and more inclined to intervene in thoughts, rather than the shaping of pure form aesthetics;
“Yu Hang-1” Linseed Oil Color 150x150cm 2010
ARTbaiguan: How do you think about the impact of the social behavior of “circles” on artistic creation? Does the advantage outweigh the disadvantages or do more harm than good? Xia Yan:Many problems cannot be treated with advantages and disadvantages. The WeChat circle of friends is the most effective way to spread today. This is also a kind of “circle”. It is difficult for us to reject this highly efficient way of communication. As for the interpersonal circle of reality, what I want to say is that if we have no way to circumvent it, then we should use it well. After all, the circle is an effective way of communication.
ARTbaiguan: As an artist, what do you most want to tell the general public? Xia Yan: Hello! I am Xia Yan
Solo exhibition: Painted Visual Personal Works Exhibition (Guiyang) 2007 Unknown Mountain – Xia Yan Solo Exhibition (Jinse Gallery, Chongqing) Group exhibition: 2011 broke into Taiwan (An Desheng Art, Taipei) Suddenly (Wafu Gallery, Shanghai) Mixed-up image–China Contemporary Oil Painting Invitational Exhibition (Xi’an Art Museum, Shijiazhuang Museum of Contemporary Art, Hubei Art Museum) 2010 Field Spread (Celebrity Art Institute, Shanghai) Mixed-up image–China Contemporary Oil Painting Invitational Exhibition (Shenzhen Art Museum, Shenzhen) Field Spread (Blue Top Art Museum, Chengdu) Varied landscape (Moon Lake Art Museum, Shanghai) Vipassana (798 St. Space, Beijing) Leading in 2009–Nomination Exhibition of Chinese Art Critics (Beijing) The Theme Exhibition of the First Chongqing Young Artist Biennale “Cultural Imagination of Contemporary Art” (Chongqing Convention and Exhibition Center, Chongqing) Chinese Situation–Contemporary Art Exhibition (501 Art District, Chongqing) 2008 Desire Reality (Sin Yi Yuan, Singapore) Southwest Power – Contemporary Art Invitation (Roving) Exhibition (Shenzhen, Shanghai, Chengdu) The Waves Program – Sino-German Contemporary Art Exchange Exhibition (Sichuan University Art Museum, Chengdu) The 4th Youth Art Exhibition of Guizhou Province (Silver Award) (Guiyang Art Museum, Guiyang) Landscape – Seven People Exhibition, 800 Art Museum (Shanghai) Post-Pioneer China Contemporary Art Exhibition (Hong Kong) Shanghai Spring Art Salon (Shanghai) “Art is a kind of work” Southwestern Contemporary Art Studio Invitational Exhibition (Shanghai Mengnali Art Center) “Animal Carnival” Chinese Youth Artists Exhibition (Chengdu Sichuan University Art Museum) “The Quartet of the Oral Voice” The 3rd Guiyang Oil Painting Biennale Guiyang Art Museum) 2006 “New Power—China” Contemporary Art Biennale Beijing Invitational Exhibition (Beijing TS1 Contemporary Art Center) Urban Parts—Contemporary Art from the Summer Capital (Chongqing Jinser Gallery) “New Power—China” Biennale of Contemporary Art (Shanghai Yuangong Art Museum) Urban Parts Contemporary Art Studio Works Exhibition (Guiyang Taste Space) “Playing in the 60s and 70s” Art Exhibition (Guiyang) “Lan Yi” Oil Painting Exhibition (Guiyang) 2005 The “Baihong Imagery” Theme Exhibition of the Central Academy of Fine Arts Academy (Beijing) 2004 “China’s New Vision”—Chinese Youth Artists’ Works Exhibition (Shanghai) 2003 The First Shanghai Spring Art Salon Exhibition “Joint Exhibition of Young Artists” (Shanghai)
Sanxingdui Museum – Exhibition hall
