Refining of the Heart | Yang Xianping

Exhibition duration: 2019.5.25(Sat.) - 2019.7.5(Fri.)
Opening reception: 2019.5.25(Sat.) 3-6pm

The works in this exhibition present a synthesis of the materials and practices of the artist Yang Xianping in his ongoing formal investigations of the past few years. Through a process of drawing, engraving, rubbing, and polishing, faint images of human forms slowly emerged. These human forms appear Buddhist in character; viewed as a whole, they could be taken as rubbings of Han Dynasty stone tablets. Following the natural passing of time, and transmitted from the heart by the hands of the artist, these works present a total, all-encompassing world. The visual symbolism they present appears to have emerged through the hardships and vicissitudes of time, and reflect both the artist’s essential existence and the totality of nature itself. On closer examination, these human or Buddhist forms hint at the life energy all living forms possess, with all the joys and sorrows of existence enveloped in an all- encompassing view of nature and transformed into a tangible form. Our spirit and emotions are embodied in the faint images of these densely mottled tablets, allowing us to perceive their underlying spiritual power.

Fragments of time | Gao Xiyue

Exhibition duration: 2019.4.13(Sat.) - 2019.5.13(Mon.)

Anything that can record the natural traces of the elapse of time could be my creative resources. For example, such things like the formation of rocks, the growth of moss, and the rise of icebergs can all be seen as long and slow record of the changes of environment and time. Such kind of trace doesn’t describe a certain event like words do, but it is a reminder and restoration of the memory of time and the objects, a visualized reinvention of time.

Nowadays, we can be the God of our own bodies, editing our genes, designing the traces we left on the earth, or even choosing the look of the world presenting in front of us. We clip, paste and move the fragments of the picture like editors. All the past traces make up who we are now. We discreetly select the fragments of our memory out of complex personalities. A fragment is revealed… the smell, light, touch, sound and taste of it pervades the space, and we fall deep into it, waiting for the next fragment.

Rose from Luo Ma Lake|Wong Rose

Exhibition duration: 2018.11.18(Sun.) - 2018.12.18(Tue.)

Ying Gallery is excited to announce our new exhibition, Rose from Luo Ma Lake 罗马湖一枝花, featuring Wong Rose for the second time. The exhibition opens on November 18, 2018, Saturday, with opening reception from 3PM to 6PM, at Ying Gallery, Cao Chang Di, Beijing. The exhibit features a new series of works by Wong, who moved to Luo Ma Lake since 2017.
Regarding the development and growth of lives at any level, it all hinges on the adaptability of living organism to external environments, at either psychological or social dimensions, Such adaptability also morphs with shocks from constant external forces, and the changes from environments they ultimately find themselves in.
From 2014, the artist Wong Rose has traversed through multiple artist regions within the metropolis of Beijing, which has undergone many phases of city development. Continuing to seek environments for her creations, Wong Rose kept up with her very own adaptability. Such enhancement and transformation of her adaptability also changed her creations, shifting from a mode of introspection of the self to a mode of observation towards the world, with herself at the centre of scrutiny.
She employs her own corporeal self as the center of a circle, observing the group of idealists who she surrounds herself with, in defence against changes and uncertainties. Together, she and they would be akin to shards of bodies, scattered and collaged into a myriad of unsettling landscapes, amidst changes that shift and rise. Sometimes frustrated, otherwise powerless, they nevertheless demonstrate life-forces blossoming with truth.
Luo Ma Lake (a bilingual pun that also suggests Lake of Rome) is not as romantic as it sounds. The lake is located between two villages, namely Luo Ge Village and Ma You Village. Here in the exhibition, Luo Ma Lake does not refer to a specific location. It is a metaphor for the living environments of Chinese artists as a collective, a testament to their way of living.
Wong Rose is a visual artist and scholar of educational research for art institutions. She graduated in 2011 from University of Hong Kong with a Bachelor of Arts (Hon), double majoring in Comparative Literature and Fine Art, earning herself the prestigious Professor So Man Jock Prizes. In 2013, Wong graduated with a Master’s degree in MAAT & Contemporary Art Practice from Goldsmiths, achieving Distinction for her dissertation and graduation exhibition. Since 2012, Rose Wang has appeared in many group exhibitions in Hong Kong and mainland China, London and Brussels, as well as international artist residency programs. She now works and lives in Beijing.

SILENT LETTER|Johannes Nielsen

Exhibition duration: 2018.10.06(Sat.) - 2018.11.04(Sun.)

Ying Gallery is proud to announce the new exhibition, Silent Letter 沉默的字符, featuring Johannes Nielsen. The exhibition opens on October 6, 2018, Saturday, with opening reception from 3PM to 6PM, at Ying Gallery, Cao Chang Di, Beijing. This marks the occasion of his first solo exhibition in China, showcasing his recent sculptural and drawing works.

The exhibition presents ten recent sculptures and five drawing pieces from the tireless labor of Johannes. Titled Silent Letter, it borrows meaning from the alphabetic writing system where certain letters do not correspond to any sound in the word's pronunciation, and draws on the parallel between what is immediately apparent, i.e. the sculptural forms, and what is hidden behind the objective forms, i.e. the visceral experiences. Reflecting on his own growth as a young children and development as an artist, Johannes made the following comments:

"I remember when I was a young boy around 8 years old. Lying in my bed before falling asleep, a feeling often came to me that my body parts were not the same in size and shape as I saw them during the day. Sometimes, my thumb would turn into the size of a house and my hips became slim like a needle. This fantasy became so vivid that at times I had to open my eyes just to confirm that it was not real."

It was at this stage that Johannes started to become aware of the different kinds of worlds in life - one you can see, one you cannot; a rational objective reality and an inner reality in which we experience and exist, both equally true. His sculptures are his suggestion for this internal space.

“Less acquainted with languages as expression, I use shapes to express my feelings,” says Johannes in an interview. “My worldview and my perception of life are expressed through my hands, using wood, copper or other materials. Some I would sculpt, and others knead. The perception expressed through my body may transcend languages, and everyone can be present in the space. This is the greatest strength about mankind. ”

A Swedish artist, Johannes Nielsen was born in 1979 in Falkenberg, Sweden. He graduated in 2003 in Fine Arts from the Lunds Art School. Between 2003 and 2005, he worked in Dublin as an artistic assistant the famous sculptor Patrick O'Reilly, where he honed his sculptural practice. Johannes had participated in numerous international fairs and exhibitions in Europe, US and Asia. Most recently, he will be showing in Punto Sull Arte in Varese and in Contemporary Collective at the New Wing, Somerset House, London. He has been living and working in Beijing since 2007.

A MILLION LINES|Perez Reiter Solo Exhibition

Exhibition duration: 2018.08.04(Sat.) - 2018.09.04(Tue.)

This exhibition will showcase selected works by the artist group Perez Reiter. This is also their first solo show in China.

The exhibition will based on two series of their recent works RE-WRITTEN:MUSIC and RE-WRITTEN: QUAKES

In this pieces, the wind introduction from the third movement of Beethoven’s 9th Symphony has been analyzed and encoded into an algorithm. By a system of rules, we draw music. Perez Reiter’s algorithm transforms the continuity of a parallel arrangement of lines into a complex topography of sensations based on the peak frequency and melodic range of the piece, creating a sonic landscape through a joyful play between music, writing and computation.

These pieces are titled Quakes, where the locations of tectonic plates’ movements that took place in the pacific coast of the Americas, from 2008 to 2013, have been encoded into an algorithm written by Perez Reiter. With the help of the rigorous administration of data provided by the algorithm, they draw thousands of lines that depict how the weave of the everyday is torn apart by violent bursts of energy. Massive forces played out along those 8 tectonic plates become subtleties on canvas, their interactions transformed into thin lines on a white background as sequential change interrupts the steady, homogenous weave of the everyday. The continuous fabric of time and space is transformed by progressive intensities, coupled with violent disturbances. At some moments, it stretches, rips, compresses and folds into itself. This series takes heavy influence from the work of German artist Günther Uecker, where the field takes on a greater role than the individual parts that constitute it.

Some of the qualities of seismograms remain in these drawings, bringing a dose of rigour and a scientific feel to it. At the same time, strong unpredictability is achieved: meticulous, precise, sharp charts are filtered by a stochastic approach, allowing the depiction of encoded data to acquire a new dimension. As is the case in hand drawing, the richness of the stroke of the line that comes into being by the act of holding a pen, is now addressed by the particularities of a machinic process, both in the writing of the algorithm mentioned above and in the modulated control of the process to burns the canvas. These are not unprepossessing lines, they are full of subtle nuances.

Light •Shadow|Katsutoshi Yuasa Solo Exhibition

Exhibition duration: 2018.06.17(Sun.) -­‐ 2018.07.24(Tue.)
Opening reception: 2018.06.17(Sun.) 2-­‐6pm

Ying Gallery cordially invites you to attend the opening reception of solo exhibition “Light •Shadow ” by Katsutoshi Yuasa on 06.17 (Sun.) 2018 from 2 to 6pm.
This exhibition will showcase selected works by the artist produced after his first show “Memory of the past and present” at YING.

Woodblock prints, namely the ukiyo-­‐e, are recognized as one of the traditional arts of Japan. But the artwork by the woodblock print artist Katsutoshi Yuasa are an absolute, clear departure from conventional prints. Using photography and cutting-­‐edge digital technology, he inserts the carving process of printmaking in the final stage of his work before completing his pieces. His work expresses “the signs left by time spent in thought,” seemingly running counter to time and era, and conveys the gravity of what is being lost today with a visceral impact similar to pain.

The shadows and light are expressed by the depth and width of the carving, and this outstanding skill allows viewers to even feel the actual atmosphere of the subject matter, with images similar to an intimate memory or an afterimage. His constant pursuit of ways to gain a contemporary view into Japanese woodblock prints, starting from the ukiyo-­‐e, and to take them into the future is reflected in his work.

This exhibition “Light •Shadow” is a fine selection of the artist’s choice of his new works, one of which is exhibiting in the touring show Monet’s Legacy at Nagoya City Art Museum and Yokohama Art Museum. He is also being in a short-­‐term artist-­‐in-­‐residency program during the week in Beijing. We are warmly welcome your visit by reservation.

Mirror Error

On the unconventional art of Ryuta Suzuki, who challenges perceptions of printmaking in his eerie yet dynamic body of work.

As a Japanese-trained contemporary print artist, Suzuki ‘s conceptualization of print emanated instead from the specific relationship of the terms hanga (print), parsed literally as 'impression (han) and ‘picture’ (ga), in contradistinction to hangi (woodblock), or the impression (han) that appears on the wood (gi). Like broader notions of the print,the block is relegated to vehicle, an interface for the artist’s rendering of the image. In this interpretation, it is the paper print, of course, that constitutes the work of art — ‘the original’.

Yet Suzuki harboured, a nagging feeling that discarding the block after printing was wasteful. This practice moreover excised the original three-dimensional block, gi when the picture, ga, was only a copy of its surface. He began with the premise that the print and the block should be fairly treated as independent works. In another twist, he proposed that the dynamism of printmaking lies in the appreciation of block and print reunited in the final product. But Suzuki does not stop at printmaking. He cuts away both the borders of the block and the paper exposing the parameters that the block imposes on the print. He then mounts both pieces on crisscrossed wood, almost like scaffolding, that undoes perceptions of two-dimensionality and presents them as sculptural or architectural forms. Suzuki challenges the presumed symmetry of block and print to exploit each as art works. Destabilizing the ‘perfect copy’, he gradually builds distance between block and print enabling the block to liberate itself from its more celebrated companion. In so doing, he extricates the print from the edition too. Rather than multiples, his works become studies within the interior of the print itself - from its printedness back to its block.

-Claire Cuccio 顧嵐


Artist: Rose Wong
Opening reception: August 19, 2017, 3 p.m.
Duration: August 19, 2017—September 17, 2017
(11:00—18:00, Monday & Tuesday closed)

Location: Ying Gallery, No.258-2-1 Cao Chang Di Village, Cui Ge Zhuang, Chao Yang District, Beijing, China, 100015

Vine is a flexible climbing plant rooted in the soil. They have slender stems. Although they could not support themselves to stand straight, their climbing nature allows them to climb on different circumstances. The roots of these plants will plunge into the smallest gap on the wall and grow strongly. This kind of plant is similar to what Rose 's works have always conveyed to me. Both of them seem weak but tenacious with a great vitality spreads through her works.

Since 2014, I have been in touch with Rose and her works. For years, I have been feeling her clear self -consciousness of her identity as a female artist. Not only does she differentiate herself by fitting in the gender label of “a female artist”, but using her thinking and body as a tool to interprete, question and walk through what she (as a female) has encounter is her living condition as a female by painting, installation and performance. The solo exhibition of her is a narrative of her mental growth. After the education in University of Hong Kong, Goldsmith College in UK and finally the real living experience in this insecurity and unstable city Beijing, her powerful internal quality has been activated and refined. Rose’s works embodies a tension of contradictions. Rose’s work reminds me when a woman is ready to open the body for the “give and take. Under the perfectly crystalized and transparent appearance of her works, we can see the mixed substances of female nature: sensitivity, fragility, tolerance and bleeding wounds after cuts. Every breathe is taking in the pain breathing out with the self cure. Rose has made her body and thinking a tunnel to connect her introspect of herself and the expression of the reality. Therefore, her works are the authentic revealing herself as a female life.

you can’t live forever.

Artist: Lei Chak Man
Opening reception: July 15, 2017, 4 p.m.
Duration: July 15, 2017—August 14, 2017
(11:00—18:00, Monday & Tuesday closed)

Location: Ying Gallery, No.258-2-1 Cao Chang Di Village, Cui Ge Zhuang, Chao Yang District, Beijing, China, 100015

Ying Gallery is pleased to announce the upcoming exhibition “you can’t live forever.” by artist Lei Chak Man on July 15, 2017. Spanning over a period of one month, this exhibition will showcase a collection of selected works by the artist produced from 2015-2017. Showcasing a series of works made with a variety of different mediums, including stickers, mirrors, acrylics, smoke, marker pens and paper cutout, as well as excerpts, sound recordings, poetry and lyrics, this exhibition muses on the passage of time with an interspersing of words, sounds and images. The exhibition will last until August 14, 2017.

The exhibition title "you can’t live forever” refers to an excerpt from the chapter shuolinxun in the ancient Chinese text Huainanzi: "a mayfly completes the process from birth to death in a matter of one single day, exerting all of its happiness.” When a mayfly reaches maturity, it will only live as short as a single day. And during this 24-hour period (86400 seconds), it has to shed its skin twice, learn how to fly, find a spouse, copulate, lay eggs and die. In relating to the time-sensitive nature of the matured mayfly, the works in this exhibition use “points” as a unifying element not only to symbolize the movement of time in seconds, but their accumulation over a vast surface is a record of the passage of time to possibly suggest the 86400 seconds of each and every day is never the same twice. On one hand, the subject matters depicted in the works span across from children’s toys and motivational stickers, the September 11 attacks, T. S. Eliot’s Four Quartets to F. Scott Fitzgerald”s The Great Gatsby in a drifty, schizophrenic-like exploration of time, desire, unpredictability and death. On the other hand, each work represents an independent “proposal” based on the artist’s own sense-experience to illustrate the length, depth, and fields of time: length represents the linear duration of a life span; depth represents the experience gathered and intensity exerted (or felt); fields represent the expanse and diverse uncertainty. Each “proposal” intermixes the idea of the innocence (child) and the idea of worldliness (adult) to present the extremes of fantasy and reality brought together.

Lei Chak Man (1977-) was born in Hong Kong and moved to Macau when he was eight years old. At the age of twelve, his family immigrated to Canada. He continued his studies at the Ontario College of Art and Design (OCAD), the École Nationale Supérieure Des Beaux-Arts (ENSBA) in France, and at the Western University (formerly University of Western Ontario), earning an MFA degree in 2008.

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The Fictitious

Ying gallery is pleased to announced a solo exhibition of “the ffictitious“ by japans artist takeshi mita. The opening reception is on the 18th june (Sunday) 4pm-

With the development of the Internet, its network has overcome the difference of time and location. Today, when we come to discuss the word “experience,” do we refer to it as a direct self-experience, or do we refer to it as the information that we have gathered indirectly? This is the new standpoint that we have to consider for it is the symptom of our times.

 Encircling around the topic of "experience,” Takeshi Mita takes the subjects of “island" and “exploration” as his points of departure. Starting from collecting images from the Internet of places from all over the world as uploaded by different amateurs, Mita prints, folds, and bends the images, then he craftily inserts figures in them. He would then re-photograph the work from different point of views, with the resulting image forming a kind of coherent narrative. Here, the spectators become the explorers of these natural landscapes, and they can also simulate their trips with a 360-degree wide-angle lens.

"Memory of the past and present" Katsutoshi Yuasa Solo Exhibition

Exhibition duration : 2017.03.18(Sat.) - 2017.04.23(Sun.)
Opening reception : 2017.03.18 (Sat.) 2-6pm

Ying Gallery cordially invites you to attend the opening reception of solo exhibition “Memory of the past and present ” by Katsutoshi Yuasa on March 18 (Sat.) from 2 to 6pm.

Printmaking is often regarded as an indirect representation of painting. The contingency emerged from the special creation process of printmaking, could represent effects that goes beyond the artist’s original intention. Photography is a visual apparatus that differs distinctively from viewing experiences of the human eye. As a means of representation that transfers, or transmits the visual images captured by the human eye, visual art generate a series of contemporary art works characterized by working with images, including photography. If we take printmaking as a kind of image medium, it would therefore become an existence that lies between the subjectivity and objectivity of things, and the relation between photography and its object. Images are the prototype of Katsutoshi Yuasa’s work, he employs unconventional printmaking techniques and visual representation of images, exploring the position of printmaking in contemporary art, as well as its influence upon the latter. Hence we could discuss his prints as a medium of visual output. “Visual media” react with the human senses in terms of the visual, the audio, the perceptional, etc.. The way we input all messages to our mind, and how we output these messages, is based on the individual interpretation and representation of the memory of every single being. Our memory is based on the context and sensation of the “present”, a “present" constructed to suit the “present”, which is simultaneously a “past” constructed to suit the “present”. In Katsutoshi Yuasa’s prints, the original “plate” represents the past, which gradually approaches the “present” state that is being “output”, through the repetitive process of printmaking. In other words, his works represent and visualize the progressive path between the “past” and the “present” in our memory. Katsutoshi Yuasa (b. 1978, Japan) was educated at the Musashino Art University Tokyo , Japan. and recieved his MA degree Printmaking from the Royal College of Art, London. He has had numerous solo exhibitions, group exhibitions internationally.

We look forward to welcoming you at Ying Gallery!

Purple Mountain Mega Star
Kyle Skor Solo Exhibition

Opening reception: 2016.10.23(Sun) 3-6 pm
Exhibition duration :2016.10.23(Sun) ~ 2016.11.27(Sun)

Ying Gallery will hold the American artist Kyle Skor's solo exhibition Purple Mountain Mega Star on October 23rd.
Kyle Skor was born in Saint Paul, Minnesota in 1983. In 2005 he graduated from Williams College with his BA degree, studying Art History and Psychology. In the same year, he was selected to be a recipient of a Presidential Fellowship for doctoral study at Harvard, where at the age of 22 he continued his studies and research in human development under the advisor ship of Howard Gardner, the founder of Multiple Intelligence Theory. Kyle’s interest in and devotion to the visual arts began in childhood, and continued to affect his way of thinking and perceiving the world throughout his studies.
After receiving his Master's degree, he became more convinced of the importance of using visual art as medium to continue his research. Kyle terminated his doctoral studies courses at Harvard and started to explore issues surrounding social relations and human development through visual arts. “I didn’t leave Harvard because my interests changed, but because I personally needed to explore and express through some other medium in order to continue my research.” Painting not only helps him focus spiritually and brings him inner peace. In recent years his work outside the US has been in group shows in South Korea, Australia, China, and Malaysia. The current show at Ying Gallery is his third solo show of work in Beijing. Exhibited concentration of Kyle 's 2016 paper watercolor works, and will be integrated materials works on display for the first time. Kyle thinks of thoughts as “the total neural synthesis of ideas and actions from everyone we’ve met”. His past, therefore, has a large and unavoidable influence on his creating. Candy canes in the shops, Dala horses that originated from the Scandinavia of his forbears, old Persian carpets and monastic tapestries: These and numerous other details, recurring elements, and symbols form a maze of the artist’s memory. This rich treasure chest of diverse elements - at times obscure, unexpected, grotesque, profane, haunting/haunted, at others treacly, comical, sacred, meditative, and pedestrian - grew upon his move to China in 2013 - which explains why we can find images of chopsticks, china vases, and scrolls of calligraphy and painting in his recent works. In his larger canvas pieces, done in pen, marker, and acrylic, these specific symbols are abstracted beyond the point of recognition, albeit with the inner connection between colors, shapes, and ideas investigated held intact.

Skor’s works take us from a microscopic, delicate, and highly personal world to an earth community, within which exists an overwhelming wash of the kaleidoscope of human emotions, relations, and history; in the innermost self, presented unabashedly, openly, and searchingly, we can gasp the universal. His work includes several emblematic symbols posed in curious ways; when they come together in his theater or movie set-design-like jewels, new, perplexing, and apparently insolvable mysteries are created. For instance, the painting of a mountain peak is a common art historical trope, but if the mountain peak is depicted in a small room surrounded by a sports stadium full of cheering people, what is the specific implication and meaning behind that? The artist’s expression is intentional and personal, but his recognition of a deep well of strongly disguised unconscious psychological activity within all humans invites viewers to arrive at their own understandings and impressions, be they wistful, romantic, jubilant, commonplace, profound, etc. Skor’s works take us from a microscopic, delicate, and highly personal world to an earth community, within which exists an overwhelming wash of the kaleidoscope of human emotions, relations, and history; in the innermost self, presented unabashedly, openly, and searchingly, we can gasp the universal. His work includes several emblematic symbols posed in curious ways; when they come together in his theater or movie set-design-like jewels, new, perplexing, and apparently insolvable mysteries are created. For instance, the painting of a mountain peak is a common art historical trope, but if the mountain peak is depicted in a small room surrounded by a sports stadium full of cheering people, what is the specific implication and meaning behind that? The artist’s expression is intentional and personal, but his recognition of a deep well of strongly disguised unconscious psychological activity within all humans invites viewers to arrive at their own understandings and impressions, be they wistful, romantic, jubilant, commonplace, profound, etc.

We look forward to welcoming you at Ying Gallery!


Exhibition duration : 2016.09.03(Sat) - 2016.10.16(Sun)
Opening reception : 2016.09.03 (Sat) 3-6pm

Ying Gallery cordially invites you to attend the opening reception of "NEIGHBORSHIP IN WANG JING PARK", On 03 (Saturday) September from 3 to 6 pm.

Martin Wehmer is by almost any definition a painter—and one who embraces the traditional craft of his medium by way of extraordinary skill on the one hand, and by his concise and intellectual investigations, pursued with equally extraordinary diligence, on the other. He cannot be considered a conceptual painter per se, but his fundamental motivation is philosophical. He is by no means a relational artist (one whose pivotal undertaking is to generate work that redirects and reassesses methodology in the social placement of both the activity and the content of art), but his philosophical conviction explicates the relevance of the work of the artist in his socio-political square. His work originates from the annals of art history, specifically concerning itself with material, picture, plane, and space—issues distinctive to painting. It evolves through a tension created by the disjunction of representation and formal abstraction. Wehmer is a manufacturer of an artifice that relies on a socially relevant commodity that stays connected through his personal desire and his predisposition. His intention is not to dematerialize nor contextualize the art to advance how we define art-making today, but he consciously embraces the restrictive property of painting. The painting therefore dictates the artistic activity that has produced it and becomes a fetishistic object of desire.

Wehmer’s canvases, although the imagery is wildly eclectic, they feel derived from a singular genetic pool, one for which they qualify most often beyond stylistic consistency. Their very peculiarity imbues the work with greater significance and relevance, enabling the objects to emancipate themselves and create a sense of autonomy. Ultimately, the paintings by Martin Wehmer serve as an exchange between inner intellectual convictions and emotional discharge, leaving us with a signature style outside of that very idiosyncratic construct.

In 2008, Martin Wehmer's personal as well as artistic life radically changed. With his arrival in the People’s Republic of China, Wehmer’s moderately provincial existence was uprooted and recontextualized in the fast-moving and rapidly morphing metropolitan city of Beijing. After his arrival in China, Wehmer focused more frequently on a didactic exercise between a previous notion of formalism and a sense of renewed convergence with figuration, more specifically with that of representation. On this trajectory, Wehmer’s search for a new representation ventures through myriad symbolic imagery, a seemingly conscious effort to identify his new working environment and to make it visible in his paintings. Surely, when an artist seeks a foreign context, there is this kind of appropriation that occurs. In a representational format, that juxtaposition may translate through exotic vocabulary that emulate new visual clues or may remain self-referential. But either way, Wehmer's formerly tenuous tendencies to counter-posture formalism and representationalism have been replaced by an unmitigated approach to this dichotomy.

And more importantly, the work of an artist is not merely accomplished by exemplifying the subject matter and content as the points of reference in successful art, but the artist himself becomes the subject matter through his labor, productivity, and social relevance. Conclusively, the central discussion of Martin Wehmer's new work speaks about fetish in the art-making process, as a direct result of a commodity fetish of art's practice in a capitalist society. It utilizes as much tailored psychological fetishes inherent in a collective psyche as personal, intimate, and secretive signifiers that are thus open to interpretation.

—— Marc Hungerbühler

xia zhi

Artist:Feng Lianghong Yuan Zuo Zhu Lan
Opening reception:2016.07.09 Saturday 3:00-6:00pm
Exhibition venue:Ying Gallery

Feng Lianghong
Born in Shanghai. In 1989, graduated from Central Academy of Arts & Design Beijing (now the Art Academy at Tsinghua University) In1990, he moved to New York, established his studio in Brooklyn, He also held exhibitions. In 2006, he returned to China and established his painting studio in Beijing.He currently lives and works as a free artist in Beijing.

Select show Recent solo and group exhibition
solo exhibition
--In 2014, Abstract paintings by FENG LIANGHONG Inside-out Art Museum, Beijing
group exhibition
--In 2016, "The research exhibition of abstract art in China" Today art museum Beijing
--In 2015, "Beyond Form--An Exhibition of Abstract Art in China" Epoch Art Museum Wenzhou
“Swatch Faces La Biennale di Venezia”Arsenale Italy

Artist Statement
Each experience of painting is like an adventure, this bewildering journey is filled with amazement, anxiety and uncertainty. The progress of painting is a gradation without any prediction, what's in demand are courage and assurance.

Yuan Zuo
Yuan Zuo studied in Central Academy of Fine Art, Beijing, and later graduated from Massachusetts College of Art with BFA and MFA. For the last twenty some years, he lives, and teaches in the Boston area. He had participated to creating many public art projects in US and China. In painting, he advocates the Chinese traditional sense of space, direct painting vocabulary expression, emphasizes self responses with color, creating lights, manifests the beauty of material, and try to from the painting with oriental aesthetics. Yuan’s work exhibited in both the US. and China. His painting are interested and followed by many privet and institutions, including some of the art museums. In the Fall of 2008, he started to teach as an Associate Professor at the Foundation Department of Academy of Arts and Design, Tsinghua University. He is interested in the development of the art education of the foundation study in China. In 2009, he was named the deputy director of the Visual Art Center and the vice chair of the Foundation Department at the Academy. He is the Director of Inside-Out Art Museum, Beijing and Deputy Director of Artist Association of Western Returned Scholars Association, Beijing.

Artist Statement
I admire a pure language of painting, playing between the thickness of paint, the warmth and cold of colour tonality, the orientation and speed of brush strokes. The ongoing social disputes in reality are as intangible as our innate instincts, for which I would have to disguise them into my pictorial plane.

Zhu Lan
Born in a family of art Beijing China 1962.
1988 - 90 City University of Art Kyoto Japan
Mural Department / Post-Graduate Program, MFA
1979 - 1983 China People’s Liberation Army Academy of Art Beijing China Chinese Painting Faculty BFA
Now live in Beijing and Montreal as a professional artist.

Select show Recent solo and group exhibition
solo exhibition
“The Flight of Time” Zhu Lan Abstract Exhibition Song Ya Feng Beijing China
“Dissipating”-Zhu lan/Cao jigang Top Red Gallery Beijing China
“Dialogue”-Zhu Lan 2015 Shone-Show Gallery Beijing China
“Zhu Lan Solo Exhibition” ZhuZhong Art Museum Beijing, China
“Abstract Mind” - Zhu Lan Solo Exhibition Times Art Museum Beijing China
“Ink In Ink” China Space 798 Art Zone Beijing China
Zhu Lan Solo Exhibition GAO (Galerie D’Art D’outremont) QC Canada
Zhu Lan Solo Exhibition Toronto Gallery Toronto Canada

Artist Statement
The connotation indicated in a space produced by the interrelation between line and plane, is inaugurated in a probe into the substance and the accumulation of time.


Exhibition duration April 24(Sun) -May 31(Tue) 2016
Opening reception: 24(Sunday) April 3-6pm

We are very delighted to announce the opening of the new space of Ying Gallery at No. 258-2-1, Cao Chang Di Art District. The new gallery space is designed by PRAXiS d'ARCHITECTURE led by architect Di Shaohua. Their design project Spring Art Museum was published in the authoritative architecture magazine Dezeen (January, 2016). We cordially invite you to visit our new space and attend the opening exhibition of "Asymmetry" by Japanese artist Ryuta Suzuki.
Taking "Asymmetry" as the title, this exhibition has deconstructed and reconstructed the original pieces and the prints, and given them independent form of expression. On the basis of his last solo exhibition "Original & Surface", the artist goes on exploring the form of expression of prints in the context of contemporary art. As a printmaking artist from Japan,Ryuta Suzuki completely breaks our stereotypical recognition of prints, with his unique and diversified creative methods as a way to express his artistic concept.
"Having experienced the life in Tokyo, London and Beijing, the reflection on my 'cultural identity' has become the core of my creation. In Japanese, the word 'Manabu' (learn) is derived from 'Maneru' (Imitate). In the history, various cultures have been introduced into Japan and been imitated. 'Mimesis' refers to the process of consciously approaching to another existed object. 'Copy' refers to the attempt to getting the exactly same result of another object. The 'asymmetry' generated from these sameness and difference is the result of the cognitive nuance in different cultures. Delving into the origin of such nuance is an important way to understanding Japanese culture, and is also the inspiration of my art creation."
Opening reception: 3:00 - 6:00 pm, April 24(Sunday) 2016

Trick or Treat --Germination

Artist:Wong Rose Gao Xiyue Huang Lan Tan Yingjie
Curator:Wang Ying
Duration:Nov 28 (Sat)-Dec 27(Sun) 2015
Opening:Nov 28 (Sat)3-6pm

Growth is the instinct of all creatures. Philosopher PAUL RICE OUR stated that humans have a common wish, despite the enormous destructive power of time ,“growth would prevail decaying ultimately .”As for living organisms, they will do anything to change from spreading, evaluating and even rebirthing to break through external obstacles and environmental limitations. Thus, they could continuously grow. They would have made every effort to reach out for the sources of energy. Similarly, the artists must continue to explore and break through from their preposition in the process of breeding the artworks.It is almost the only way to alleviate the level of themselves as well as their works.

Not only is "Germination"the content of works for the four exhibiting artists, but also their state of mind and living. Gao Xiyue shifts from representational paintings to abstract works by capturing the trace of time on the wood pattern. Huang Lan who majored from oil painting has combined the language of painting and sculpture to portray delicate human organs. She discusses life and death by reconstructing human body and her own childhood memory. Tan Yingjie studies the method to transfer force of squeezing into blooming via various experiments of force. Wong Rose presents a retrospective of her own female body that embodies the reproduction functions. She is particularly interested in searching the potential living gap in between the cracks of organic and geometrical forms. Their works will be mixed and presented along with each other's in the exhibition space. Their works talks, navigates and are stimulated by each others, presenting a dynamic living and working state of the young artists of their generation.

Close To Me

Artist:jie Sun
Curator:Wang Ying
Duration:Oct 17 (Sat)-Nov 1(Sun) 2015
Opening:Oct 17 (Sat) 3-6pm

Culture has always an important position in my work, either eastern or western. I am obsessed with historic and cultural ideas and form, and tend to translate them into my objects that are meant for similar understanding in a new way. By adjusting and reusing recognizable contemporary objects and shapes, new objects, concepts, sculptures and artifacts are brought into existence. But I also refer to historical objects and materials. By constantly experimenting with material and traditional craft, I come to new results by which my object often gains an even more unexpected and not recognizable appearance. A remarkable aspect of this method is the transformation of relatively normal materials (e.g. wood sheet) into new ones visually, which immediately evoke connotations, the 'unexpected' plays an important role.

During the process of making I have incomplete control over the outcome. The function of the outcome is jewellery, but the value is its narrative, conceptual and sculptural quality. When the outcome is jewellery without function of ‘wearable object’, it turns into a still life, it goes from being a usable object to an object of representation. All genres may be said to be holders of meaning: repositories or systems in which it is possible to communicate thoughts, seek to influence that can give rise to new and unexpected meanings for the contemporary society.

Rhizoma—Liu Zhengyong solo exhibition

Curator: Huang Du

In botany, a rhizome refers to the root-like underground stalks of a plant that stretches out horizontally. These underground roots increase in thickness and take on a horizontal or radiating shape beneath the surface. In form, rhizomes look like roots while they also spread in all directions. At the tips there are buds, while on the nodes are auxiliary buds and adventitious roots. Just like the growth of plants, human thought is this process of continual unfolding. There is a similar peculiar relationship in thought and in neurons. The brain is structured in a rhizomic form, much like weeds; it is an “indeterminate system”. The development of the brain is the result of interactive movement between the exterior and the interior.

Liu Zhengyong’s paintings are as unrestrained as rhizomes, manifesting a free and untrammeled form. Even though he is focused on the body (whether it be the chest, the truck, or a body without organs), his target is not about granting new definitions but to clearly display a distinct relationship between the language of the body and a sensate life. In the view of Liu Zhengyong, the concept of the body is not tedious, abstract, and closed off, but rather is entirely warmhearted, concrete, and open. Hence the body serves to reflect the spiritual spectacle of the human existential condition. Liu Zhengyong is fond of a subjective imagination and expression of the body. He does not wish to ponder over philosophical issues about the relationship between the spirit and the body, but rather aims to outline its spiritual layers (for instance, in terms of gender, pleasure, anxiety, repression, desire). Thus in this sense, Liu Zhengyong has unveiled the discursive order of the body. It can be said that his paintings’ narration is not based on the completeness or perfection of the image but rather the incomplete or imperfect nature of the image. This is determined by his language of painting, bearing the weight of that visual tension between freedom and control, of the incomplete and the complete, of release and restraint. In order that the picture plane has a greater tangible texture, Liu Zhengyong has subjectively increased the sensation of thickness in the colors, especially by using grouped brushes to paint layer after layer of colors. The touch of the brush, so full of rhythm, utterly manifests the grains of texture and its tactility. With a method of using hues which verge on purely black and gray and of using sparse colors, he portrays the body into somewhat “savage” or “wild” sculptural stances, with a solemn and tragic air permeating all, inculcating or indicating or implying an inner meaning—both letting one sense the solidity and power of the body and yet also letting one come to realize its softness and pathos. Liu Zhengyong’s pictorial narrative does not merely provide new cognitive dimensions but also offers up new modes of sensation.

Liu Zhengyong’s paintings express that distinctive relationship between the personal and the body, the experiential and the material, the inner and the outer. He brings the body into such distinctive “indeterminate” lines of sight; in other words, life and death, pleasure and pain, reason and insanity are viewed as mysterious, abnormal, and unpredictable things. Just like what is expressed in his paintings, humanity’s free consciousness will forever be granted infinite possibilities—constantly overstepping, constantly changing, constantly leaping forward.

From September 12th 2015 to October 14th 2015, Ying Gallery will present solo exhibition of Liu Zhengyong “Rhizoma”,you are cordially invited to attend the exhibition.

Make an Honest Flower

Artist:Chen Chunmu
Curator:Wang Ying

Artist self narration:
These years, every time…often…once every other day, I have severe headaches, every nerve in my brain seems to expand and collide into each other, molecules pressing and rub against each other. This kind of sensation is as if the positive Pole and negative pole of a magnetic field wanting to attract each other but not quite come together, that split of a second of coming together, so bitter but so happy. It is like delicious food is about to touch your teeth, and then about to be swallowed, so fine and so wonderful.I like this process, I enjoy it, and this is my world. It is not the same as the reality; it amazes me. The flow of inspiration brings me joy and excitement.

Slowly, I start to think that it is an “illness”, I like this “illness”, it is like a rusted screw, rotting and reviving my nerves. This comes to my soul through different phases; I believe this is what frees me through meditation. Although “illness” is suffering, my thoughts experience a sudden appearance of aura. It is a dry sense of happiness.

From June 27th 2015 to July 30th 2015, Ying Gallery will present solo exhibition of Chen Chunmu “Make an Honest Flower”,you are cordially invited to attend the exhibition.

Facing Paper: Awakened Soul
Cold Ink

Artist:Fang Zhiyong,Huang Qi,Jin Jinghua,Kong Yan,Li Sa,Yu Yang
Curator:Xia Kejun
Opening:2015.4.29(Wed.) 18:00
Address:Ying Gallery NO.327, Cao Chang Di, Chao Yang District, Beijing
Tel:+86 010 5722 0406

Curator Xia Kejun

Paper, carries so much cultural weight, however, as we enter modernism, paper is reduced to the pursuit of its characters as a material, or some mutated hidden perception. In the middle of transformation of modernism, “paper-ness” is torn to pieces. Paper is usually considered of something without much self-property, waiting to reach other expressions through existence. Between rational order and irregular randomness, after paper’s plasticity refused any symbolic burden, how does paper find its new form of existence and natural expression? The soul of paper, in this technologically imagery era, how to wake up again? How to point out the spiritual essence and direction of “paper-ness”?

“Cold Ink” group members this time attempt to face paper again as if it were the first time ever, giving paper a new look, allowing its soul to shout one more time. These works allow us to experience the storm and stillness of the metaphysics of their youth. Their reflection on paper-ness, presentation between surface and volume, this dialogue between rule and no-rule, chance and construction, will for sure change our perception towards ink and paper, pointing out a possible directive tendency of Chinese brush painting in its essence.

Charlotte McGowan-Griffin

Artist:Charlotte McGowan-Griffin
Opening:3.14 15:00
Tel:+86 010 5722 0406
Address:Ying Gallery,No.327 Cao Chang Di,Chao Yang District,Beijing,China

The title of this exhibition “Metamorphoses” originates from the eponymous poem of the Roman poet Ovid and the short novel “Die Verwandlung”, or “The Metamorphosis” by Austrian novelist Franz Kafka. By referencing these works, the artist aims at representing the transformation process of one thing into another. Furthermore, the German synonym of ‘Metamorphosis’,‘Verwandlung’, signifies this transformation as a passage or journey.

Paper cutting is at the core of Charlotte McGowan-Griffin’s work, a process which relies on anticipation and intuition, and a dynamic relationship with the material. A cut is an irreversible act, a ritual, the repeated enactment of which gradually reduces the physical weight of the paper and turns it into a mysterious three-dimensional space situated between the image and a supra-physical distance which surpasses the usual limits of paper’s capacity for graphic expression. Through her subtractive process and monochromatic approach, McGowan-Griffin empowers the ordinarily passive paper with a subtle intensity.

The wall relief “Morbio Inferiore” is titled after a mountain gorge featured in the short novel “A Journey to the East” by Hermann Hesse as a place of crisis in a metaphorical journey. In this concept, the place of crisis is also a vortex where the image and the object detach themselves from their original forms to allow multiple stages of transformation.

Origin and Surface
Ryuta Suzuki Solo Exhibition

Exhibition Date: 2014/12/06 – 2015/01/03
Gallery Opening: Dec 6th, 2014 , 3 – 7pm
Live workshop by artist from 3pm to 3h30pm
Curator: Wang Ying

This exhibition held at Ying Gallery presents a beautiful collection of works combining techniques from woodcuts, silkscreen and water based printmaking in order to illustrate multiple layers of visual effects. Japanese artist Ryuta Suzuki, while giving prominence to his cultural background and self-identity, bases his work on traditional Japanese Ukiyoe printmaking techniques, creating a body of prints with more rounded visual effects successfully exceeds the classic idea and vision towards printmaking.

“Watercolor-based photo-woodcut”, Ryuta Suzuki has given his work an interesting new name. As a way for the artist to communicate with the outside world, he uses a collection of images and photographical methods to capture and document life.Through various printmaking approaches, Suzuki covers the original surface with multiple layers of coating in order to express the “original form” and “surface” of everyday life through different printmaking methods revealing the duality of each subject at the surface level and behind the scene.

Ryuta Suzuki’s artwork is his understanding and interpretation of different cultural structure, social environment and political background. His work emphasizes on the poly-facade of each piece of artwork rather than putting efforts on technicality of making art.

Zhu Cunwei Solo Exhibition

Opening:2014.10.19 15:00pm

Zhu Cunwei is a painter born in the 1970s. His recent works attracted wide attention from his distinct individuality. In our artistic discussion of continuous pursuit of the “modernity” and the “sociability”, Zhu Cunwei’s rational and persistent attitude allow his viewers to experience the delicate transformation of his works from “alienation” to “deepening” to “integration”.

Based on Zhu Cunwei’s perseverance in making oil paintings, we are impressed with the artist’s inquisitive and ponderous creative attitude. In his works, the viewer would discover the seemingly unrelated figures and animals. From the gaze of Chinese and Western masters in the history of art to the personified animals, the figures Zhu Cunwei portrays are at times humorous, at times warm and calm. One does not find the coquette kitsch, or the misanthropic satires, but rather the tranquil poetics of classical aesthetics and the analogies embedded within the artworks.

What is tradition? What is contemporary? Within the fragmented condition of contemporary society, we are gradually confined by the existing modes of thinking, while losing the freedom and natural expression of human nature. Such “existing” modes of thinking permeate into every aspect of our lives. Zhu Cunwei’s represents the oriental characteristics of self-awareness that we have been constantly searching in contemporary art, as well as the most genuine attitude to approach art in the course of the co-existence, acceptance and transformation between tradition and contemporary.

Ying gallery cordially invites you to the gallery opening of this new exhibition on 19th October, 2014 Sunday, 3 pm – 6 pm.

Cold Ink Art Group Vigorous Force - Part I The Sword of Damocles: Stab into the Limits

Part I-The Sword of Damocles: Stab into the Limits, Ying Gallery, from 30th August(Sat) to 27th September(Sat), 2014.

What is the most lack in contemporary Chinese art? What is needed most in contemporary ink painting? That is an attitude of rational reflection and questioning. Ink painting has to regain its life in the hard integration of rational reflection and intuitive understanding. With its rational calmness and free imagination, the artistic experiment made by “Cold Ink” team brings a gust and velocity to contemporary ink painting. It penetrates into our numb nerves, keeps spreading and extending, and manifests the new possibility of art beyond boundaries.

“Cold Ink” art contains conscious reflection on the flexibility of ink painting, which energizes the valuable properties of contemporary art as follows: vanguard, question exploration, rational reflection, material intuition, as well as the experimental property and a strong sense of presence whenever new works are on exhibition.

The art experiments of “Cold Ink” make us think about the future of ink painting in the risks and challenges of contemporary art, and about new ways to probe into ink painting, liberating us from discussions restricted in traditional and new styles of ink painting. Following the western minimalism and eastern Japanese “Mono-ha”, there are concerns including how to open a more proactive and freer “intermediary” space between the plane of painting and theater of sculpture, and whether ink painting is still flexible in this aspect.

In this exhibition, the artists of “Cold Ink” all showed their unique “reflections” on various factors of ink painting art: Li Sa changed the intrinsic and fundamental direction of ink painting's volition with her sharp and thorough reflection; Yu Yang reflected on the complex of intermingled natural and artificial orders; Fang Zhiyong reflected on the illusion produced by various combination modes and how to avoid the limitation of habitual thinking; Jin Jinghua reflected on the sharp sting brought by remainders through the tension between ink paper and iron wire; Kong Yan reflected on all possible tangible senses related to the way of symmetry being broken between plane convex and blurred transparency; and Huang Qi reflected on the limit of visibility with twitters of inking whispers and secret murmurs.

By Xia Kejun

Ying gallery cordially invites you to the gallery opening of this new exhibition on 30th August, 2014 Saturday, 3 pm – 6 pm.

Warm Dissociation --Chen Chunmu Solo Exhibition

Ying gallery will present Warm Dissociation --Chen Chunmu Solo Exhibition from 2014.7.12 (Sat) to 8.10(Sun).

Chun Mu’s work has a form of unique attraction, according to his own words, it is “a type of whimsicality”. At first glance, Chun Mu’s work brings a form of visual chaos and confusion; yet we can capture a sense of energy, sprouting and developing from intuition. In his visual frames, what seems to be dissociating and floating organic parts are being magnified, as if stems of plants are forming their own structures and shapes in the mess of branches. Dissimilated entities are living in suspension, blurring the line between real and surreal; at the meantime, demonstrating ultimate creativity and liveliness towards irresistibly newborn energy. Such visual impact is not the same as our familiar aesthetic judgment; shedding dark and mysterious shadows at times; glowing with prosperity and light at other times. It is like the real face after pealing off the first layer of protection, incubating a form of change, reproduction and viscous warmth. They are being extended by “entities” built by the artist, just like the extension of the most primitive form of freedom and happiness. Such holistic visual sensation brings to us such joy, mysteries and unexpected surprises. “All is disintegrating, growing, dissimilating and sprouting”.

Watercolor, Ink Painting, Canvas, Paper, the use of various materials and visual languages are only ways to get close to the “perfect touch”. Classic elements and surreal fractions with almost absurd structures together demonstrate a crossroad between reality and imagination, constructing Chun Mu’s unique visual world.

Ying Gallery is proud to work with young international artists and to participate in this dialogue. And Ying Gallery cordially invites you to the gallery opening of this new exhibition on 2014.7.12 (Sat) 3 pm – 6 pm.

Pattern∞Landscapes --Alice Dittmar Solo Exhibition

Ying gallery will present Pattern∞Landscapes--Alice Dittmar Solo Exhibition from May 31st (Saturday) to June 29th(Sunday), 2014.

Alice Dittmar‘s work is based on the concept of ornamentation: a motif within a frame in endless repetition. The ornament traverses cultures, unifying the Oriental and Occidental. Since coming to Beijing on an artist residency in 2008, Alice has moved between three worlds, continents, cultures: Europe, China and Australia. The experience of living nomadically has been a major influence on her work. Initially Alice assumed this nomadism would be provisional. Instead it became a conscious performance, allowing her to explore different cultural ‘landscapes‘ and perceptions of identity.

Employing various media including text archives (diary notes, philosophical, historical and/or scientific sources), Alice seeks to capture her perceived reality and her immediate surroundings. Drawings emerge out of this approximation process.

‘My basic concepts are ornamentation, landscape and texture, and their relationships and alliances in transcultural contexts‘, says Alice. In her understanding, ‘landscape‘ is both a metaphor for the ornament and a particular context including its social and cultural materiality or fabric.

‘I believe that we influence ‘landscapes‘, just as they influence us and that there‘s constant interaction.‘ In her work, Alice explores ways of depicting this dialogue. The use of Chinese paper as a carrier (cultural vehicle) for her drawings, becomes part of a silent communication with the other culture, whereas language (written text) links the different aspects of her work and describes the (cultural) field in which it was produced. Titles may provide additional information.

Her recent ‘ambiguous landscape‘ series revolve around the idea of ornamentation expanding into abstraction: in endless space or void landscapes. Her theoretical interest lies between (Western) notions of the real, the Romantic and Sublime vis-à-vis (Eastern) notions of harmony, emptying and transcendence. In her work, Alice merges the repetitive moments and motifs recognisable in different cultural settings, questioning what is overlapping and transcultural.

Alice wishes to unveil the different thought and production processes that give rise to her work: a drawing is one possible result; (related) texts become part of the piece or are written to provide insights into her full body of work and action. She indicates that (real) things, motifs, symbols, even words and terms may have different meanings depending on the (cultural) context they‘re seen, read, perceived and interpreted in. Meanings are never fixed; they undergo a constant change (together with culture, history and earthly cycles).

Trying to be aware of the many possible meanings became particularly important for Alice who works in different cultural landscapes, but it is actually essential for all of us if we want to achieve a better understanding in transcultural societies. Each of us is asked to take a step in the direction of ‘the other‘, in order to acknowledge, respect, appreciate and learn.

Ying Gallery is proud to work with young international artists and to participate in this dialogue. And Ying Gallery cordially invites you to the gallery opening of this new exhibition on May 31st, 2014 Saturday, 3 pm – 7 pm.

幽人对酌 Hermits' Toast

Hermits’ Toast --Contemporary Art Jewelry Exhibition

Ying gallery will present Hermits’ Toast Contemporary Art Jewelry Double Solo Exhibition from April 5th(Saturday) to April 27th(Sunday), 2014.

Contemporary Art Jewelry being part of Contemporary Art stands from the perspective of visual art and contemporary culture to comprehend and observe design itself. With the development of this era, design within the Contemporary Culture ecosystem has transformed from traditional pragmatism and functionality to finding balances which bridge between handicraft, functionality, concept, culture and life.

Hermits’ Toast taken from a vivid description of a famous Chinese ancient poem of Li Po – You Ren Dui Zhuo, describing two people living in recluse, drinking to each other in utmost freedom and enjoyment. This exhibition will present works from two outstanding young designers who are both currently active in the international scene of jewelry design. Yet they come from eastern and western cultures with very distinct backgrounds and life experiences. They start from their own individual understanding of Contemporary Art Jewelry, combining with their own sensitivity to creation, using abstract or representational languages to explore the artistic and conceptualism of Contemporary Art Jewelry. Pursuit of jewelry material and handicraft in traditional sense of jewelry design has been intentionally concealed; instead, they distinctively presented a witted and smart characteristics of the works to make their “design of spirit”, rather than “design of matter”; at the meantime, transmitting unlimited possibility of the relationship and interactivity between Contemporary Art Jewelry and human relations.

Jewelry works from Jie Sun and Marta are almost pieces of mysterious sculptures; after designers finished the riddle, they handed the answer to the audience. “Oneness of heaven and humanity” are the common pursuit of both designers. This is an experiment in the Contemporary Art Jewelry language; “what you are contains me, what I am contains you”. You and me, all as one, yet remains their independent existence. Such intention and capacity allows the work to become “wearable sculpture”.

Exhibition Hermits’ Toast attempts to conduct a conversation between eastern and western cultures in the scope of Contemporary Art Jewelry; starting from practice, using concept and thoughts to redefine and re-pursue Contemporary Art Jewelry and Visual Art.

Ying gallery cordially invites you to the gallery opening of this new exhibition on April 5th, 2014 Saturday, 3 pm – 6 pm.

2014 New Year Special Collection

Artist: Fu Xiaotong Li Jie Tian Fangfang Zhu Cunwei
Duration: 2014.1.18——2014.3.16
Opening: 2014.1.18(Sat)3-6pm

Ying gallery is pleased to announce the new exhibition of 2014 New Year Special Collection.
This exhibition will bring forth 4 emerging artists from China, Fu Xiaotong, Li Jie, Tian Fangfang and Zhu Cunwei.
Those four artists have discussed in their artworks the humanistic emotions and state of living of contemporary China at depth. Their works have exhibited the excavation and creativity upon the self-positioning of China’s history. Looking at their works, the audience will feel a inert and hidden callings, scrubbing off the slow deterioration of our spiritual worlds and re-ignite our once aloft enlightenments--returning to a appraisal and respect of life and nature. At the same time, we will see how there still exists a determined and unadorned spiritual world within these artists under the fact-paced materialistic developments of the world today.
You are cordially invited to join our opening reception on 18th(Sat)January 2-6pm.

Labyrinth—Jiang Cheng Solo Exhibition

Duration :11/23/2013(Sat)-01/12/2014 (Sun)
Opening:11/23/2013(Sat) 3pm-6pm

Jiang Cheng’s art resides on the edge of realistic imagery and unrealistic settings, using a type of visual metaphors in search for particular judgments, thoughts and expressions towards self and reality. His images mobilize a kind of complex, vibrant yet fragile structure, almost intentionally disrupting the visual orders, and cutting through his existence and inner conscious, transforming them into numerous small glittering pieces. He constructed a divide between reality and dream; a visual effect filled with grief, melancholy and mystery. It actually metaphorically presents his personal experience, memory and encounters, or another way of sensing towards inter-connection, a corresponding form of adsorption.

In such a mode, which surpasses experiences and feelings, Jiang Cheng did not intentionally seek for meanings with things and phenomenon. Maybe art rooted in daily life, should first have the capacity of finding the most meanings in most meaningless things; the ability of bringing whatever and wherever to the height of importance. However, this kind of choice and transformation does not put meaning to people or things, rather, it presents meaning through relationship between people and objects, and through detailed anecdotes. He picks and chooses from realistic personal experiences while releasing his own memory, interests and tastes; a genuine and direct presentation of inner-self under imagination, referred to as abstract reality of one’s inner reflection.

Maybe Jiang Cheng would eventually like to accomplish is depicting the real condition of a small fragile living being seeking out the trajectory and intimate feelings in the world of such vast chaos. We can see that these works have a blood tie with realism; they also demonstrate his classic art education background. At the same time, he maintains a free, open and experimental working attitude. Such expansion with freedom fills the jumping gaps making his works so much more complete, consolidating all senses and distilling his fearless unique and thriving self-expression in this chaotic world.

-- Feng Boyi

Jiang Cheng graduated BA from China Academy of Fine Arts(2008), and MFA of painting from China Academy Chineisch-Deutsche Kunstakademie Germany (2012) (Joint program by China Academy of Fine Arts and The Berlin University of the Arts) . Jiang Cheng’s work was selected in the 2013 Uneasy Trip in Asia (Star Gallery) show, exhibition in Taiwan Cans Tea & Book House and Hong Kong Poly Gallery. Other group shows including Art Beijing (2011, 2012) and etc.

This solo exhibition Labyrinth, presented by Ying Gallery, will show oil paintings and works on papers of almost 20 pieces.

Your presence is greatly welcomed.

Misplacement——Sheguang Hu & Li Bo Joined Exhibition

Ying Gallery is pleased to present a joined exhibition by Dutch-Chinese fashion designer Sheguang Hu and Chinese artist Li Bo entitled “Misplacement”. This is the first-ever cross-boundary collaboration for both artists. The works on exhibition include video, photographs, installation, and mixed medium paintings.

Opening reception: 19th (Sat) October 2013 3-6pm
Exhibition duration: 19th (Sat) October-17th (Sun) November 2013
Business hour: 10am-6pm Wed-Sun (Tue appointment only)
Address : No.327 Cao Chang Di Village, Cui Ge Zhuang, Chao Yang District,
Beijing, China, 100015
Tel : +86-10-5722-0406
Website :
Email :

Sheguang Hu went to Holland in 1990, graduated from GERRIT RIETVELD in 2001 with a BA Degree. In 2004 graduated from Central Saint Martins College of Arts and Design London, UK with a MA Degree. With more than 20 years of experience in fashion, the designer enjoys high reputation in the European fashion industry. Meanwhile, he is the evening dress designer for the Dutch Royal family. He had won a number of honors and awards in fashion design career. In 2007, Sheguang Hu was presented with Honorable Contribution Award and "Haute Fashion Designer" by the Government of Holland. In 2008, he was presented with “Dutch Fashion Art Award” and “Holland Museum Art Award”. In 2009, he was presented with “Dutch Image Design Award”. In 2010, he was presented with “Dutch Swarovski Fashion Show Innovation Award”. In 2011, he was listed in Who’s Who among the Overseas Chinese.

Born in Beijing, Li Bo graduated from Mural Painting Department in the Central Academy of Fine Art of China in 2006. As a professional artist born around the 1980s, Li Bo has held several solo exhibitions and group exhibitions at home and abroad, including Singapore, Taiwan, Britain, Switzerland, etc. He was also presented with the First Prize for Graduation Creation at the Central Academy of Fine Arts of China in 2006, "Best Foreign Artist" award presented by the Pierre Cardin Art Center in France in 2007 and "Rising Star of Tomorrow of Basel" awarded in 2008 Switzerland.

An enthusiasm for adventure and challenge in the souls of both artists with different life experiences and backgrounds guided them to unexpectedly crossing paths in different fields in art.

Li Bo’s works are filled with curiosity and adventure regarding the materials that he uses, and demonstrates skillfully the mastery of various creative medias. His topics show boldness, directness and even a rebellious tendency of artists born in the 1980s. In his paintings, Li Bo highlights his breakthroughs on traditional painting as well as the expansion and challenge on the expression of the depicted subject matters. The paintings for this exhibition were created from 2007 to 2008, during which, Li Bo adopted the female body as the main carrier of his works, utilized rope, lace, crystal and other materials as substitutes for traditional painting materials. Through twisting and piling these materials, he fills the image of his works with mysterious and abundantly three-dimensional visual effect, and they fully reflected his spiritually-intelligent and adventure-seeking character of this artist born in the 1980s. Standing in front of Li Bo's works, the spectator is in fact standing in front of a open-air private space, the pauses of the images of this private space are like moments captured by camera shutters, or spontaneous releases of everyday human nature that are difficult to be grasp hold of. The expression straightforward and honest, delivers explicit and shocking visual perception as well as sensory experience to visitors. In a black-and-white video image series created in 2013, i.e., "I Can Only See Your Heartbeats", the artist connects two live models with an old electrocardiograph. During the filming, the misaligning electrocardiogram gently stretch out, and in the almost static frame which lasted for 12 minutes, as the visitors tried to understand the long and voiceless conversation, they would gradually understand a feeling of helplessness and depression of modern day communications that the artist is trying to express from behind the scene. It seems to imply that what we see and hear in the real society is just a misplaced apparent communication.

Li Bo's works are sometimes full of loud outcries of mysterious emotions, and sometimes convey an impulse to smash the shackles. Combining works of these two kind of different emotional fluctuations, shows a certain contradiction typical of certain age groups in this new era present in our society, it is a crisscrossing grid of power in both appearance and essence.

Sheguang Hu’s applications subvert the practicality of clothing, as he uses chrome-plated steel nails, wire and other materials to shape up symbolic signs one by one. In the appliances series entitled “Thorns”, the hard, sharp material and dramatic styling expresses the charisma of women who continuously challenge the ultimate peak in the spiritual world beyond herself. The collaboration with Li Bo is even this costume designer’s adventurous attempt to combine art with life.

The cross boundary cooperation between Li Bo and Sheguang Hu will bring the audience a brand-new visual experience.
You are sincerely invited to Ying Gallery to attend the opening reception party from PM 3-6 on the afternoon of October 19 (Saturday).

"HAPPINESS MACHINE" Solo-Exhibition of Miika Benedetti

颖画廊将于8月31日(周六)举办美国艺术家Miika Benedetti ( 谧磕·贝内代蒂 )个展“幸福机器”
Exhibition Duration : 31(Sat) August - 8(Tue) October , 2013
Opening Reception : 31(Sat) August 3-6pm
Business hour : Wednesday - Sunday 10:00 - 18:00 (Tuesday appointment only)
Address : No.327 Cao Chang Di Village, Cui Ge Zhuang, Chao Yang District, Beijing, China, 100015
Ying Gallery Website :


Ying Gallery Group Exhibition

Ying Gallery is delighted to invite you to participate the opening reception at our new space in Cao Chang Di international art district.
Artist: Feng Lianghong / Hu Shengping / Wei Baogang
Exhibition Duration : 27(Sat) July - 25(Sun) August , 2013
Opening Reception : 27(Sat) July 3-6pm
Business hour : Wednesday - Sunday 10:00 - 18:00 (Tuesday appointment only)
Address : No.327 Cao Chang Di Village, Cui Ge Zhuang, Chao Yang District, Beijing, China, 100015
Tel : 010-57220406
Email :

Ying Gallery has relocated to NO.327 at Cao Chang Di International Art District , we are delighted to invite you to our new space.

The Elegant King
Solo-Exhibition of Zhu Cunwei

April 27(Sat.) - June 16(Sun.), 2013 Opening
Reception: April 27 (Sat.) 3:00 - 6:00pm

Zhu Cunwei, born 1972 in Xuzhou, Jiangsu Province, graduated from the fine art department of Nanjing Normal University in 1996. The artist currently lives and works in Nanjing.

After his solo-exhibition ‘Thinking of Alienation’ in Tokyo Gallery + BTAP in 2011, Ying Gallery is very pleased to present his new solo-exhibition ‘The Elegant King’ with more than 20 pieces of Zhu’s works.

The exhibition shows the artist’s creation of the past two years. A strange and peculiar alienation prevails in his paintings, in which he combines Chinese painting elements and surrealistic representation - realism in detail and surrealism in composition. Zhu’s intended introduction of the traditional visual patterns to the details evokes the reflection of Chinese bird-and-flower paintings. They seem to be simply aesthetic forms or parodies of classic masters when viewed from a distance, however, a closer look unveils a modern wasteland where things are absurd, orders are fractured, and life is unable to find its natural habitat. In his works, humans, including us, become twisted figures whose true nature is hard to be recognized.

Zhu Cunwei’s humorous narrative and analogy is amusing, however, the viewer senses the contradiction that pervades in modern society. Zhu’s juxtaposition of traditional elements and alienated composition is more than a simple appropriation or conceptual presentation. It shows the modern time conflicts between human being and nature and the imbalance between human society and technology, thus rendering his works convergence and profundity.

We request the pleasure of your company at the opening reception.
Address: 1F B05, 706 North 1st street, 798 Art zone, No.2, Jiuxianqiao Rd., Chaoyang Dist., Beijing
Gallery Hours: 10:30-18:30 from Wednesday to Sunday

"BEYOND SURFACE" Maartje Blans Solo Exhibition

March 24(Sun) – April 22 (Mon), 2013
Opening Reception:March 24 (Sun) 3:00 – 6:00 p.m
Curator: Catherine Cheng

Ying Gallery is pleased to present an exhibition by Dutch artist Maartje Blans titled ‘Beyond Surface’.

Maartje Blans creates multi-layered artworks of mixed media, which she composes directly on the walls, on panels, on glass, on canvas or in frames. The results are unusual “paintings” endowed with a highly sculptural nature that embody the artist’s need to break away from the bi-dimensional surface and go beyond the limits of the definite space provided by the traditional canvas.

Maartje Blans’work has featured globally in prominent venues devoted to contemporary art. Her work was featured at “Dialogue 2010”, a group exhibition organized by the Chinese European Art Center (CEAC) at the Dutch Culture Centre as part of the 2010 Shanghai World Expo. Recently her work was shown among prominent contemporary Chinese and Asian artists at Da Xiang Art Space in Taiwan as part of the exhibition “Without Shape, A Thinking Format that Transcends the Medium” curated by Zhang Yu. In 2012 her works were shown together with Chinese artist Ma Hui at Gallery Clement, Amsterdam. In the same year she had several solo-, duo- and group exhibitions in China, including duo exhibition “Spring.We.Meet” with the traditionally educated Chinese artist Fan XueYi: a meeting between East and West.  

Leaving the interpretation of her work open to the viewer, Blans provides a bridge between Chinese and western culture. While Blans’ conceptual foundation, choice of materials and visual language largely developed before her stay in China, the dialogue Chinese audiences evokes new interpretations referencing in traditional Chinese art forms.

With this body of works, we aim to bring you a fresh visual enjoyment by Maartje Blans, who has been constantly exploring her artistic experience with the spirit of creativity, as well as an overview of mixed-media artworks created by the artist during her five-year residence in Beijing.