《锚与天空》女性艺术家2025年度线上展

锚与天空

前言

21 世纪已经过去了四分之一。在种种时代大事件的裹挟里，艺术家如何将自己锚定在世代的连续血脉，同时又将目光投向天空和未来，尽管未来很可能捉摸不定？ 

在许多方面，艺术是一种美学锚定。它提供了讲述个人历史、或国家、历史宏大叙事的根源。从观众的角度来看，它让我们扎根并融入历史的深蓝处，让作品充满重量、反思和共鸣。艺术也可以是一种生存功能，是对生活之重的反作用力；当受到无所不在的万有引力，压倒性的历史洪流的影响，我们的反应是抬头仰望，一次又一次。浩瀚的天空，隐藏着我们的梦想和抱负。锚和天空、沉重和轻逸、稳定和超越、传统和创新：这些重要的二元性被带到了前台，成为一群当代优秀女性艺术家的思考。 

《锚与天空》展览中的每一件作品都见证了16位华人女性艺术家的坚韧、远见和探索精神。她们来自北京、上海、天津、成都、杭州、长沙、南昌、长治，横滨、塞维利亚、巴黎、旧金山，芝加哥等世界各地。她们通过多种媒介挑战传统、重塑叙事、开辟新道路、讲述个人故事，奏响一种反映她们共同力量和开拓精神的宏大交响乐。 所有作品都运用了丰富的创造力。 这次展览不仅仅是一个展示，更是一次对话。一个故事展开、情感共鸣的空间。它既是呈现，也是自我提升的指引。它邀请观众思考自己生命的二元性：我们在哪里找到我们的锚点？我们如何拥抱天空？ 

欢迎您体验《锚与天空》女性艺术家2025年度线上展， 去看，去感受，去飞翔。

先锋艺术项目

策展人：蒋贞蕾

2025年3月1日

Anchor and Sky

Preface

A quarter of the way into the 21st century, and with perilous current events looming large –events which seem to defy historical context -- how do artists anchor themselves in past practices while also looking towards the sky, the future, tenuous as it may be?

In many ways, art can be an aesthetic anchor. It provides roots that tell of personal history, of homeland, even of the grand narrative of pictorial history. From the viewers’ perspective, it allows us to take root and settle into the depths of history, imbuing the work with weight, reflection and resonance. Art can also be a survival function, a reaction to the burdens of life; we are affected by an all-powerful force, and our reaction is to look up, again and again. In the vastness of above lie our dreams and aspirations. Anchor and sky, heaviness and lightness, stability and transcendence, tradition and innovation: these important dualities are brought to the fore, to be considered by a group of outstanding contemporary female artists.

Each work in this exhibition is a testament to the resilience, vision, and exploratory spirit of 16 Chinese female artists. They are quite a geographically eclectic bunch, hailing from Beijing, Shanghai, Nanchang, Chengdu, Tianjin, Changsha, Hangzhou, Yokohama, Seville, Paris, San Francisco and Chicago Through a wide variety of media, they challenge tradition, reshape narratives, open up new paths, tell personal stories, forming a kind of grand symphony that reflects their common strength, and pioneering spirit, all the while employing abundant creativity.

This exhibition is not just a display, but a dialogue. A space for stories to unfold and emotions to resonate resonance. It is also a display and as well as prompt for self-improvement. It invites viewers to consider duality in their own lives: Where do we find our anchor? How do we embrace the sky?We welcome you to experience Anchor and Sky's 2025 female artists online exhibition - to see, to feel, to fly.

Avant-garde Art Projects

Curator: Zelene Jiang Schlosberg

March 1, 2025

艺术家 Artists

李心沫 (Xinmo Li) | 黄敏(Min Huang) | 杜婕 (Jie Du) | 黄引 (Yin Huang) | 何雨 (Yu He) | 凌星 (Xing Ling) | 刘志敏 (Zhimin Liu) | 蒋贞蕾 (Zelene Jiang Schlosberg) | 魏琳 (Lin Wei) | 谢雯 (Wen Xie) | 张晓丽长治 (Xiaoli Zhang) | 周平 (Ping Zhou) | 赵梦歌 (Mengge Zhao) | 周巧云 (Qiaoyun Zhou) | 一枚 (Yi Mei) |诗蓝 (Li Chevalier)

媒体支持 Media Support

阿特网 CCARTD (北京Beijing)

Asian Art Contemporary (纽约 New York City)

李心沫 (Xinmo Li)

盒子的秘密 ，AI生成艺术，2024年

The Secret of the Box , AIGC Art, 2024

盒子的秘密（局部） ，AI生成艺术，2024年

The Secret of the Box (detail) , AIGC Art, 2024

《盒子的秘密》是一件2024年的生成艺术作品，深入探讨了记忆、创伤和死亡这些深刻主题。作品的核心围绕一个装有女孩照片的旧箱子展开，这个看似简单的物件成为了探讨人类经历复杂层次的媒介。

The Secret of the Box is a 2024 generative art piece that delves into the profound themes of memory, trauma, and mortality. At its core, the work centers around an old box that contains a photograph of a girl, a seemingly simple artifact that becomes a conduit for exploring the complex layers of human experience.

李心沫，艺术家，1976年出生于中国黑龙江省依兰县，2008年于天津美术学院研究生毕业。她运用行为、绘画、影像等多种媒介进行艺术创作， 用文字、图像，装置，现场等探讨记忆，梦境，潜在意识，作品涉及性别，身份，生态等议题。作品曾在瑞典世界文化博物馆、德国女性博物馆等世界重要的美术馆展出；参加加拿大多伦多国际双年展，布拉格中欧国际艺术双年展等。她的作品被瑞典东方博物馆，泰达当代艺术博物馆收藏以及被英国，德国，瑞士，新加坡等国的收藏家收藏。

Li Xinmo, artist, critics, curator, was born in 1976 in Yilan, Heilongjiang province, China. She graduated from Tianjin Academy of Fine Arts with a MA degree in 2008 . Her art, involving multiple media like performance, painting and video, explores memory, dream, subconsciousness with scripts, images, installation and live art. Her works, mainly dealing with gender, identity, and ecology, have been exhibited in some important museums like National Museum of World Culture in Sweden and Women's Museum in Germany, and participated in a series of art events, such as Toronto Biennial, China&Europe International Arts Biennial of Prague, etc.

黄敏(Min Huang)

无题，50 x30cm, 2023年、青花瓷板

Untitled，50 x30cm，2023、blue and white porcelain panel

无题，50 x30cm, 2023年、青花瓷板

Untitled (detail)，50 x30cm，2023、blue and white porcelain panel

景德镇的老瓷器碎片一般用于研究古代陶瓷材料技艺和年代考古的重要依据，通常我们也会在世界很多博物馆看到陈列着的大量瓷片。我每次来景德镇都会捡一些未烧的边角废料来试釉和颜色。由此生发出我画了很多碎瓷片作品，改变之前中规中距的形状，每一件瓷片在人为和偶然的因素作用之下都是独一无二的存在。尤其是经历过疫情三年之后、以及俄乌战争、人们价值观的撕裂和经济生活的变化等等，让我深深感受到碎瓷片这种材料和语言的准确性，它的易碎、尖锐、恒久、无常～正呼应记录着这几年我内心焦虑的心理状态。

Jingdezhen's old porcelain fragments are generally used as an important basis for the study of ancient ceramic material skills and chronological archaeology, and usually we can see a large number of porcelain pieces on display in many museums around the world. Every time I come to Jingdezhen, I will pick up some unburned corner scraps to test the glaze and color. As a result, I painted many pieces of porcelain pieces, changing the shape of the previous medium gauge and medium distance, and each piece of porcelain is unique under the influence of human and accidental factors. Especially after experiencing the epidemic for three years, as well as the Russia-Ukraine war, the tearing of people's values and the changes in economic life, etc., I deeply feel the accuracy of the material and language of broken porcelain pieces, its fragile, sharp, permanent, and impermanent ~ is echoing the record of my inner anxiety in recent years.

黄敏，1975年生于四川通江，1998 年四川美术学院油画系本科毕业，获学士学位 。2006年，中央美术学院油画系三画室研究生毕业，获硕士学位。现生活在北京。1998年，获四川美术学院本科毕业作品一等奖。1998年，获全国群星展铜奖。2006年，获中央美术学院研究生毕业作品一等奖。2006年，获中央美术学院“王嘉廉油画奖学金2016年，获第三届南京国际艺术展“学术奖”和“大众欢迎奖”。策展人杜曦云曾写道：“黄敏的绘画中，既有对中国整体的思考，也有对某一具体地区的具体观察。她的作品关注中国普通人的生存处境和欲望，题材会阶段性的变化，但越来越自觉的从当代公民权利的角度发现问题，用朴拙有力的具像手法表达。作品强烈有力量。形式语言和材料丰富多变。” 近期展览：2025年开罗非常双年展“未见之水中石的回响” 开罗 埃及 SHARDS AND PANORAMA碎片与全景” 黄敏个展 AAIE当代艺术中心 罗马2024年 “地下札记·煎熬” 北京葵空间。“艺术家手作书籍：避难所之页”罗马美国文化学院“各自的阿卡迪亚”女性艺术家群展，北京东艺六号艺术空间。第 25 届 “NordArt” 国际当代艺术大展，德国汉堡卡尔舒特艺术工厂。“灵境～现实之上 ”云上海天艺术中心 中国青岛 .“莫里亚纳”当代艺术展 AAIE当代艺术中心 罗马.“花样年华”女性艺术家群展 VillageOneArt纽约 美国。

Huang Min, born in Tongjiang, Sichuan Province in 1975, graduated from the Oil Painting Department of Sichuan Fine Arts Institute with a bachelor's degree in 1998. In 2006, he graduated from the Oil Painting Department of the Central Academy of Fine Arts with a master's degree. He now lives in Beijing. In 1998, he won the first prize of Sichuan Fine Arts Institute. In 1998, he won the bronze Award of the National Stars Exhibition. In 2006, he won the first prize of the graduate work of the Central Academy of Fine Arts. In 2006, he won the "Wang Jialian Oil Painting Scholarship" of the Central Academy of Fine Arts In 2016, he won the "Academic Award" and "Public Welcome Award" of the third Nanjing International Art Exhibition.Du Xiyun, curator of the exhibition, once wrote: "In Huang Min's paintings, there are both thoughts on China as a whole and specific observations on a specific region. Her works focus on the living situation and desires of ordinary people in China, and the subject matter will change periodically, but she is more and more conscious of finding problems from the perspective of contemporary civil rights, and expresses them with simple and powerful figurative techniques. The work is strong and powerful. Formal language and materials are rich and varied." Recent exhibition：2025，Cairo Extraordinary Biennale "Echoes of Unseen Stones in Water" Cairo, Egypt “SHARDS AND PANORAMA "Huang Min Solo Exhibition AAIE Contemporary Art Center Rome 2024"Underground Notes · Suffering" Kwai Space Beijing "Artist's Hand Books: Pages of Refuge", American Cultural Institute, Rome

“Respective Arcadia" group exhibition of female artists East Art 6 art space 25th "NordArt" International Contemporary Art Exhibition, Karschut Art Factory Hamburg, Germany 。Wonderland ~ Above Reality, Cloud Shanghai Sky Art Center Qingdao, China Moriana/Contemporary Art Exhibition AAIE Contemporary Art Center Rome。“In the Mood for Love" group exhibition of female artists VillageOneArt New York, USA

杜婕 (Jie Du)

2023.12.6-2024.1.5，布上丙烯，28x28cm

2023.12.6-2024.1.5，Acrylic on canvas，28x28cm

2023.12.6-2024.1.5（局部），布上丙烯，28x28cm

2023.12.6-2024.1.5 (detail)，Acrylic on canvas，28x28cm

蒸腾的天空

过春节回家陪父母的一段日子，细细体会人之不同阶段，体魄与精神之变化，再次领悟，做为个体的人，谁都不可能与另一个生命完全重合，无论父母子女，也无论夫妻，抑或挚友。少时的天真抱负，青春之残酷，奋不顾身，想留住的人和事。纷纷如智慧树上的片片落叶，任心如何追逐，终局必将是消失无踪，化入尘烟。

这是人人都能明白的道理吧，成年以后，接受也好，抗争也罢，叛逆有时，迎合有时，喧嚷着，抑或思辨着，纵使退避与沉默，全难逃滚滚潮流，波涛汹涌，汇成江湖与大海，那些故人故事，子经典注，蒸腾幻化于天地间，犹如风霜雨雪般回归大地，孕育新生。

常感叹前辈们一代一代在传承与发展中寻求艰难的突破与平衡，在集体与个体的关系中此消彼长，弄潮者未能望穿前路，国运蹒跚迂回，几度闭锁。

幸而人类有文明共识，幸而世人愿意保守与神的约定，幸而良知驱使我们一直在探索与实证的路上。

人只有看透了人性，抛弃狂妄与幻想，识别伪装与陷阱，才能真正安身立命，人必须为理想与热爱的一切努力过，为错误和失败承担了结果后，拥有丰富而跌宕起伏的人生体验了，才可能明白自身的使命，循着那条独属于自己的朝圣之路，一直坚定地走下去，直到生命的尽头。

 让我们红尘作伴，爱恨果断，往来纵情，此生无憾。

Steaming skies

During the Spring Festival, I went home to accompany my parents, carefully experienced the different stages of people, the changes in body and spirit, and once again realized that as an individual, no one can completely coincide with another life, whether it is parents and children, whether it is husband and wife, or close friends. The naïve ambition of youth, the cruelty of youth, the people and things that want to keep it. They are like fallen leaves on the tree of wisdom, no matter how they chase it, the end will surely disappear without a trace, turning into dust and smoke. This is the truth that everyone can understand, after adulthood, whether it is acceptance, resistance, rebellion, catering, shouting, or speculating, even if retreat and silence, it is impossible to escape the rolling tide, the waves are turbulent, converging into the rivers and lakes and the sea, those stories of the old people, sub-classics, transpiration and transformation in the heaven and earth, like wind, frost, rain and snow return to the earth, giving birth to new life. I often lament that the predecessors have sought difficult breakthroughs and balances in the inheritance and development from generation to generation, and in the relationship between the collective and the individual, the tide makers have failed to see through the road ahead, and the national fortunes have faltered and been locked up several times. Fortunately, mankind has a consensus of civilization, fortunately the world is willing to keep the covenant with God, and fortunately, conscience drives us to always be on the road of exploration and empirical verification. Only when people see through human nature, abandon arrogance and illusions, and identify disguises and traps, can they truly settle down, and people must work hard for all their ideals and loves, bear the results for mistakes and failures, and have rich and ups and downs of life experience, in order to understand their own mission, follow the pilgrimage road that belongs to themselves, and go on firmly until the end of life. Let us be the companion of Hongchen, love and hate decisively, indulge in back and forth, and have no regrets in this life.

杜婕1968年出生于湖北，毕业于华中师大。

个展：<感恩的旅途> <后会有期> 麦勒画廊，<十六回> <无立足镜> 今格空间。

近期联展：2023年“有无之境” 今格空间 上海 ； “专注与缓释”东京画廊+BTAP 北京；2024年 “看不见者的优势” 弗兰克•斯拉格画廊 德国； 2025年 “微型沙龙”东京画廊+BTAP 北京；2016年《我偏爱生活——雷顿•韦斯收藏展》 维塞尔伯格博物馆 ，〈抽象绘画〉斯拉克画廊 德国；2018年〈All This-共存〉 美国；2019年〈新抽象：第二回展〉HDM画廊。

出版物 ：《念珠与笔触》 《生活在宋庄》 《后会有期》 《慢艺术》 《白兔中国当代收藏 》 《麻将-希客中国当代艺术收藏》 《女红绣事》 《中国抽象艺术》 《我偏爱生活》

Jie Du, Born in 1968 in Hubei, graduated from Central China Normal University. Solo Exhibitions: • “Thanksgiving Journey,” Galerie Urs Meile, 2004 • “Until We Meet Again,” Galerie Urs Meile, 2008 • “Sixteen Cycles,” Ginkgo Space, 2018 • “No Standing Mirror,” Ginkgo Space, 2021. Recent Group Exhibitions: • 2003, “Prayer Beads and Brush Strokes,” Beijing Dongjing Yushu Project • 2004, “Asia Female Artists Exhibition,” Tokyo Women Art College, Japan • 2004, “Silk Net - Emerging Chinese Arts,” Galerie Urs Meile • 2006, “Mahjong: Contemporary Chinese Art from the Sigg Collection,” Hamburger Art Museum, Germany • 2007, “Mahjong: Contemporary Chinese Art from the Sigg Collection,” Salzburg, Austria • 2011, “Ten Years of The White Rabbit,” The White Rabbit Museum, Sydney, Australia • 2011, “Slow Art: Chinese Abstract,” The Singer Museum, Netherlands • 2015, “Contemporary Abstraction in China,” Galerie Frank Schlag & Cie., Germany • 2016, “I Prefer Life — Leighton Weiss Collection,” Wesselberg Museum of Modern Art, Germany • 2016, “Abstract Painting,” Slag Gallery, Germany • 2018, “All This - Coexistence,” Nanhai Art Center, USA • 2019, “New Abstractions: Second Exhibition,” HDM Gallery, Beijing • 2021, “Time and Space,” Ginkgo Space, Beijing • 2022, “We Are Together,” online, Chinese Feminist Art Alliance • 2023, “Breakout,” online, Avant-garde Art Project Female Art Exhibition • 2023, “There is No Land,” Ginkgo Space, Shanghai • 2023, “Focus and Release,” Tokyo Gallery + BTAP, Beijing • 2024, “The Superiority of the Invisible,” Galerie Frank Schlag, Germany • 2025, “Micro Salon,” Tokyo Gallery + BTAP, Beijing. Publications: • “Prayer Beads and Brush Strokes” • “Living in Songzhuang” • “Until We Meet Again” • “Slow Art” • “White Rabbit Contemporary Chinese Art Collection” • “Mahjong — Sigg Collection of Contemporary Chinese Art” • “Women’s Needlework” • “Chinese Abstract Art” • “I Prefer Life”

黄引 (Yin Huang)

延异, 生活物品 丙烯底料气球木板 木质鸡蛋等, 尺寸可变, 2025

Differance, daily necessities: acrylic base, balloons, wooden boards, wooden eggs, etc., Variable Dimensions, 2025

延异（局部）, 生活物品 丙烯底料气球木板 木质鸡蛋等, 尺寸可变, 2025

Differance (detail), daily necessities: acrylic base, balloons, wooden boards, wooden eggs, etc., Variable Dimensions, 2025

我近期的装置作品《延异》通过日常用品与网上购得商品等材料作为元素来进行粘接拼贴，这 种解构与重组形成了独特的艺术语言方式。我把材料转化生成了多重语义，将日常物品的异化 编排，通过单色涂绘的覆盖，物品原有的功能性符号被剥离，转化为纯粹形态的视觉符号。这 种“去语境化”处理，使虚拟与现实嫁接，形成类似超现实主义的符号拼贴。制造了多重材料 肌理的时空叠合，同时也构建了材料的时间考古学。

视觉秩序颠覆与重构是我多年创作和思考的主线，我运用拓扑学式的空间编排，将古典雕塑照 片分割的叠加形成多重视觉层级，这种”分形美学”打破了传统视觉习惯。在整个作品制作 中，我将一些物品都涂成单色，从而形成单色语境下的光效视觉，统一色调强化了光影的戏剧 性：亚光涂层与反光材料的对比，使静态装置产生动态的光影流动，单色处理反而激发出材料 潜在的光学可能性。通过物像的异化重组，使作品构成德里达式的”延异”场域：日常用品被 单色涂层消解，柔软的材料通过硬边处理获得建筑感，这种物质属性的颠倒，质疑了人对物体 的认知定式，层积的形态犹如文化地层剖面。

My recent installation work Différance brings together everyday objects and items purchased online, collaging and bonding them to create the artwork. This process of deconstruction and reorganization creates a unique artistic language. By transforming the materials, I generate multiple layers of meaning, reconfiguring the familiar objects through a process of estrangement. The monochromatic coatings strip away their functional symbolism, reducing them to pure visual forms. This “de-contextualization” treatment bridges the virtual and the real, forming a surrealist-like collage of symbols. The resulting work combines the textures of various materials, creating a temporal and spatial overlap, while also constructing an archaeological narrative of material in time.

The subversion and reconstruction of visual order have been the central theme of my work and thought for many years. I employ a topological approach to space, layering images of fragmented classical sculptures in a way that creates multiple visual hierarchies. This “fractal aesthetic” disrupts traditional visual habits. Throughout the production of the work, I applied monochromatic paint to several objects, establishing a visual effect of light and shadow with a strengthened dramatic effect. The contrast between matte coatings and reflective materials generates dynamic light flow within a static installation. This monochromatic treatment also unlocks the latent optical potential of the materials. Through the estranged reorganization of objects, the work forms a Derridean field of différance: everyday items are dissolved by monochromatic layers, and soft materials acquire an architectural quality through hard-edge treatments. This reversal of material properties challenges the viewer’s established perceptions of objects, while the layered forms evoke the concept of cultural stratigraphy.

职业艺术家出生于四川成都，现居北京，作品《似水流年》获《走向新世纪——中国青年油画 展》优秀作品奖， 作品《春去春来》获《第九届全国美展》铜奖。作品曾在北京， 上海， 香 港，比利时，卢森堡，巴黎，等世界各地举办过个展，参加过多个重要的群展。作品被多个美术馆、艺术机构和私人收藏家收藏。作品曾发表在纽约时报，澳大利亚《Trouble》艺术杂志封 面，《东方艺术大家》2014年6月期封面，西班牙艺术杂志《art.es》等诸多杂志，作品被收录 在美国性别研究学者魏淑凌所著《实验北京：中国当代艺术中的性别与全球化》，批评家佟玉洁所著的《中国女性主义艺术》等诸多重要专业学术书籍。

黄引以其独特的创作手法和高超的绘画技巧来观察和表现对她的成长经历和现实社会的感受， 她喜欢用隐喻和戏剧舞台的方式去设计她的画面，她拥有惊人的创造能力和诙谐的创作语言， 运用众所周知的童话与历史真实事件结合的转译丰富她的绘画内容，使观众在观看的时候有耳 目一新的感受，诱发观众对作品陷入深深的思考。

Huang Yin, an artist born in Chengdu, Sichuan Provincenow lives in Beijing. She graduated from Sichuan Fine Arts Institute in 1997 with a bachelor's degree in oil painting. Her graduation work Youth Passes like Running Waterwas awarded the Excellent Work in “Into the New Century—the Exhibition of Oil Paintings by Young Chinese Artists", and another work SpringComes and Goeswon the Bronze Award in “The Ninth National Art Exhibition” . She has had solo exhibitions in Beijing, Shanghai, Hong Kong, Belgium, Luxembourg and Paris, and participated in many important group exhibitions. Huang Yin’s works arefound in collections of several art museums, art institutions, and private collectors.

With her unique creative approach and superb painting skills, Huang Yin observes and expresses her feelings about her upbringing and real society. She likes to design images metaphorically and theatrically. Withhercreative ability and humorous creative language, she has used well-known fairy talesand real historical events to translate and enrich the content of her paintings. So that the audience will have a refreshing experience when confronting the work, andfall into a deep reflection.

何雨 (Yu He)

2025111004，布面丙烯及马克笔，110 * 100 cm，2025

2025111004, Acrylic and marker on canvas, 110 * 100 cm, 2025

2025111004（局部），布面丙烯及马克笔，110 * 100 cm，2025

2025111004 (detail), Acrylic and marker on canvas, 110 * 100 cm, 2025

对于天空的想象和渴望，永远都是根植于行走大地之上的双脚的。 我们从何升起， 从大地母亲的身体之上。天空之父， 是一种绝对意识/超越性的意识的召唤， 而母亲们带领着孩子把彩虹从天上引到人间。

什么在支撑着你的创作？

答：朝向道途的坚定心。 

你的理想和展望？

答：到生命的最后一天仍然后涌动的创造力可以持续创作。

那更高更远更深的东西？

答：它们已经在我之中，我只需无限地往内接近它/实现它。

The longing for the vast sky is grounded on our feet walking on the earth.  How and from where would we ascend ourselves?  Above the body of the earth Mother.  The father of the sky is a calling from the  absoluteness, the trascending conscisouness that is above and all-bearing.  Mothers on the earth taking their children bring the rainbows from sky to the earth.

Q: What sustains your creative work?

A:  My faith in taking on the Dharma of art.

Q: Your ideals and aspirations?

A: I could work with creativity till the last day of my life.

Q: What about something higher, farther, and deeper?

A: It has been already in core of my life, that I am searching inside to have a full embrace of.

何雨， 自由艺术家，创作领域涉及表演/行为/绘画/影像和诗歌。 南京大学文学学士，新南威尔士大学商科硕士, 在心灵觉醒和古老智慧上的持续探索把她带向了法艺之道， 基于灵性启蒙的艺术创作。 

HE Yu, self-taught artist with practice in performance, poetry, painting and videos.  With BA from Nan Jing university and Business degree from UNSW, her art journey, the Dharma of art, are inspired by her practice on anicient tradition of seeking for absolute Truth.

凌星 (Xing Ling)

RB，宣纸和水墨颜料，180厘米ⅹ61厘米ⅹ3，2025年2月3日，凌星

RB, rice paper and ink, 180 cm x 61 cm x 3, February 3, 2025, Xing Ling. 

RB（局部），宣纸和水墨颜料，180厘米ⅹ61厘米ⅹ3，2025年2月3日，凌星

RB (detail), rice paper and ink, 180 cm x 61 cm x 3, February 3, 2025, Xing Ling. 

展望未来必然会回望历史，这种回望同时又包含着一种告别。站在21世纪的四分之一，又恰逢中国农历新年——春节。所有的感慨让我只选了一类颜色——红，它们是我们文化中一种重要的颜色，也是我们这几代人记忆中最重要的颜色。而对于女性来说，它们又隐喻着一种重要的人生体验。当我在纸上泼洒这些颜色时，脑海里掠过的是弗洛伊德、荣格和拉康的影子。荣格在他那本众所周知的《Red Book》里说，追寻内心图像的那些年是他此生最重要的时光，其他一切皆发源于此。所以我必选“RB“这两个字母来表达我与荣格的某种不期而遇，因为追寻内心图像的此刻正是我此后人生的重要起点。就当成是一场庄重的道别吧，人生是条向死之旅，拖着沉重的行李必将行之不远。  而我想去很远的远方，去沐浴这个世纪后面的阳光……我想，那些阳光里会藏着我此生的渴望……

“Like letting my love resemble sunshine, the bag gives you effulgent freedom again round you.“（泰戈尔）

Looking forward to the future will inevitably lead to looking back at history, and this kind of looking back also contains a kind of farewell. Standing at the quarter of the 21st century, it also coincides with the Chinese New Year - Spring Festival. All the emotions made me choose only one kind of color - red. They are an important color in our culture and the most important color in the memory of our generations. And for women, they are metaphors for an important life experience. When I splashed these colors on paper, the shadows of Freud, Jung and Lacan passed through my mind. Jung said in "Red Book", his well-known book, that the years of pursuing inner images were the most important time in his life, and everything else originated from this. So I must choose the two letters "RB" to express my unexpected encounter with Jung, because the moment of pursuing inner images is the important starting point of my life from now on. Just treat it as a solemn farewell. Life is a journey to death, and dragging heavy luggage will not go far. And I want to go far away, to bathe in the sunshine after this century... I think that sunshine will hide my desire for this life...

"Like letting my love resemble sunshine, the bag gives you effulgent freedom again round you." (Rabindranath Tagore)

凌星，江西省美术协会会员、江西省女艺术家协会会员、华人女性主义艺术家联盟成员。1980年代的校园诗人，1990年代在媒体从事文艺编辑工作，发表过若干诗、散文和专题作品；2002年后到高校任教，从事符号学研究工作；2012年后开始小说和绘画创作。其中，平面水墨作品《莲•结》、《丝•结》、《女神》、《韵》以及综合材料作品《痛》、《荒原》等，在北京、上海、南京、南昌及纽约等地参加多类美术展览；部分作品被私人和机构收藏。

 Ling Xing is a member of the Jiangxi Provincial Art Association, a member of the Jiangxi Women Artists Association, and a member of the Chinese Feminist Artists Alliance. A campus poet in the 1980s, he worked as a literary editor in the media in the 1990s, and published several poems, essays, and feature works; After 2002, he taught in colleges and universities and engaged in semiotic research. Since 2012, he has been writing novels and paintings. Among them, the two-dimensional ink works "Lotus Knot", "Silk Knot", "Goddess", "Rhyme" and mixed media works "Pain" and "Wasteland" have participated in various art exhibitions in Beijing, Shanghai, Nanjing, Nanchang and New York. Some of his works are in private and institutional collections.

刘志敏 (Zhimin Liu)

《时空之间》，布油画，140x70cm，2024年

Between Time and Space,Oil on canvas,140x70cm,2024

《时空之间》（局部），布油画，140x70cm，2024年

Between Time and Space (detail), Oil on canvas,140x70cm,2024

我的作品《时空之间》画面具象又抽象，具象里承载着抽象的寓意，它是时空间综合体的代言。快速发展的时代，先进的科技催卷着人们奔跑！令人没有喘息的时间，眼花缭乱的世界，除了提供一时的快感外，更多带给人的是难以名状的无奈、困惑、迷茫，找不到生存的未来！艺术创作是具有时代血液脉动的，这是自然而然日的，因为每个人都不会脱离社会，只要不是个灵魂僵死的创作者，她的作品一定是透着灵性的，作为女性艺术家历来与男性艺术家有本质的区别，一是生理决定的，二是社会角色决定的。当然今天的女性不再是传统意义上的女性，不再是美丽供赏的代名词，不再是附属品，男女平等，共同关心探讨未知、未来、开辟生存道路，并创造着历史奇迹！作为艺术创作者，天生具有超出常人的敏锐敏感的本能，我以自己的方式和独特的视角诠释人类与社会变化！

 My work Between Time and Space features both figurative and abstract elements. The figurative part conveys abstract meanings, and it serves as a representation of the complex integration of time and space. In this era of rapid development, advanced technology drives people to keep running! There is no time for people to catch their breath. The dazzling world, apart from providing momentary pleasure, more often brings people an indescribable sense of helplessness, confusion, and bewilderment, leaving them unable to find the direction of their future existence.

Artistic creation is inherently connected to the pulse of the times. This is only natural because everyone is part of society. As long as a creator's soul is not dead, their works are bound to be filled with spirituality. Female artists have always had fundamental differences from male artists. Firstly, this is determined by their physiological characteristics, and secondly, by their social roles.

Of course, women today are no longer what they were in the traditional sense. They are no longer just synonyms for beauty to be admired, nor are they mere appendages. Men and women are equal, and they jointly care about and explore the unknown and the future, blaze a trail for survival, and create historical miracles.

As an artistic creator, I am naturally endowed with the instinct of being more perceptive and sensitive than the average person. I interpret the changes in humanity and society in my own way and from a unique perspective.

刘志敏，1962年生于河北永清，毕业于河北师范大学美术学院,，就学于中国美术家协会油画研修班,，同年就学于中央工艺美术学院（清华大学美术学院），大学任教，河北省美术家协会会员, 河北省油画学会会员, 中国石油美协会员, 中国香港美术家协会会员, 清华大学校友学会会员, 从事绘画艺术创作及教学近30年, 作品多次参加国内外艺术展览活动, 部分作品被个人及机构收藏,

绘画种类：油画、国画、水彩

Liu Zhimin: Born in 1962 in Yongqing, Hebei Province. Graduated from the Academy of Fine Arts of Hebei Normal University. Studied at the Oil Painting Workshop of the Chinese Artists Association, and in the same year, studied at the Central Academy of Arts and Crafts (now the Academy of Arts and Design, Tsinghua University). Works as a university teacher. He is a member of the Hebei Artists Association, a member of the Hebei Oil Painting Society, a member of the China National Petroleum Artists Association, a member of the Hong Kong Artists Association, and a member of the Alumni Association of Tsinghua University. She has been engaged in painting creation and teaching for nearly 30 years. Her works have participated in many domestic and international art exhibitions, and some of her works have been collected by individuals and institutions.

蒋贞蕾 (Zelene Jiang Schlosberg)

《阈值》，丙烯，帆布，102x102x3.8厘米，2025年，蒋贞蕾

Thresholds, acrylic and canvas, 40x40x1.5 inches, 2025, Zelene Jiang Schlosberg

《阈值》(局部)，丙烯，帆布，102x102x3.8厘米，2025年，蒋贞蕾

Thresholds (details) , acrylic and canvas, 40x40x1.5 inches, 2025, Zelene Jiang Schlosberg

《阈值》是一个游牧迁徙的女性的例证，她可能就是我，从过去到未来的反思和梦想。

生活经历就像一本重写的手稿（palimpsest），每一层都是我居住过的城市，从有着动人《小池塘记》和黑质白章之异蛇的故乡永州，庄严阔大的文化北京，再到多元的风城芝加哥。男男女女，自然或人造世界，泉灵，山谷，养过的蚕虫，捕捉过的蝴蝶，大都市景观，闪烁在意识的褶子里。就像重写的手稿一样，我的艺术有层次——字面意义上我堆叠帆布，画布有指引时间、地点或感觉的割口（或切口）。《阈值》包含多层次、多个图像主题的张力，结果是复调多声的叙述。如果要描述作品的情绪的话，那么它可以说是怅惘的、浪漫的或一丝甜蜜的，但不能忽略那底层隐忍的激情。

意义与创作过程本身密不可分：我用手、锤子、剪刀来个性化画布。这永远不能被 AI 或机器学习所取代。我的艺术随着时间的推移而演化过，但现在它以帆布切割为中心。我喜欢把玩网格性和建筑性，这从许多三联画和其他多面板阵列中可以看出。无论是在单个作品中，还是在我的整体作品，我想邀请观众将目光向内，但作品无疑也有因仰望天空带来的惊喜。

我希望创造一个独特且相关的当代性图像，它看起来类似于古典大师的绘画，但又具有当下流行的风貌。星布在我作品中的带触角的迷你型人类是矛盾的总和：外表是人工智能的或来自外星或未来的，但却是手工精心绘制的。最重要的是，镂空、分层的帆布让作品在光影中舞动，带来轻逸和对天空的向往。归根结底，我希望我的艺术能够表达我们当前的情感和智性世界。

"Thresholds" is an example of a nomadic, migrating woman, who might be me, reflecting and dreaming from the past to the future.

Life experiences are a like a palimpsest, with each layer a city I have lived in, from Yongzhou, Beijing in China to now in Chicago. And within those cities are the people in my life, and the natural or manmade worlds surrounding them, from the mountains and forests to the metropolitan cityscapes. Like a palimpsest, my art has layers – literally in the form of stacked canvases, with cuts (or incisions) corresponding to a specific time, place or feeling. "Thresholds" contains multiple levels, multiple iconographic subjects, and a lot of tension. Each incision corresponds to visceral memories, which, in combination to a complex collection of figures and objects, leads to an almost polyphonic narrative. If there is a mood to the work, it might be melancholic. romantic or a little sweet, but with an undergird of repressed passion.

The meaning of my art is inextricably bound to the creative process itself: using my hands, hammers, scissors, to personalize the canvases. This can never be replaced by AI or machine learning. My art has evolved over time, but right now it centers around canvas cutouts. I love playing with grids and architecture, as is evident by many triptychs and other multi-panel arrays. The use of stacked panels invites the viewer's eye inward, yet there is also the optimism and wonder of looking towards the sky, both in any given individual piece, and my oeuvre taken as a whole. 

I hope to create a unique and relevant contemporary iconography that looks to old master painting but is still very much of the moment. The mini people with antennae that dot my works are the sum of contradictions: artificial or alien or from future in appearance, yet crafted by hand with utmost care.  Most importantly, layering canvas with cutout panels allows the work to dance in shadow and light, bring force the lightness and the longing for sky. At the end of the day, I want my art to be an expression of our current emotional and intellectual world.

蒋贞蕾出生于湖南永州，毕业于北京师范大学（硕士）和芝加哥洛约拉大学（硕士）。灵感常来自于建筑和当代古典新音乐。独展包括“一个阳光灿烂的下午”（伊利诺伊州立大学芝加哥分校，2012），“过渡景观”（密苏里州北中央学院，2019），“悬崖”（伊利诺伊州东中央学院，2019），“无间之距”（英国伦敦沃尔特画廊，2021），“后城市游荡”（纽约美华艺术协会456画廊，2021）。为“芝加哥雕塑国际”等机构成员。参加多个国际和美国的艺术群展。她的作品《方向第0号》是作曲家约翰·利伯托雷2018 年CD 专辑《线画》的封面艺术。她的作品《沉思》是格莱美奖获奖乐团“第三海岸打击乐”2023 年CD专辑《呼吸之间》的封面艺术。蒋贞蕾是迈阿密国际艺术博览会和洛杉矶国际艺术博览会的多年参展艺术家（2021-2025年）。

Zelene Jiang Schlosberg, a Chicago-based visual artist, is renowned for art that blurs the line between painting and sculpture. Solo exhibitions include Chinese American Arts Council Gallery (NYC), North Central College (Illinois), University of Illinois at Chicago, East Central College (Missouri) and Woldt Gallery London. She has participated in numerous groups shows. Her painting “Directions #0” was featured on the cover of composer John Liberatore’s 2018 debut CD album, “Line Drawings” (Albany Records), and her work “Contemplation” serves as the cover art for Grammy-Award winning Third Coast Percussion’s latest album, “Between Breaths,” released in September 2023 (Cedille Records). She has been a multi-year participant at Art Miami + CONTEXT and LA Art Show（2021-25）.

魏琳 (Lin Wei)

《前所未有的時代》，布面油畫,  91.44厘米 x121.92厘米,  2025年, 魏琳

UNPRECEDENTED TIMES,  oil on canvas,  36"x48",  2025, Lin Wei

《前所未有的時代》（局部），布面油畫,  91.44厘米 x121.92厘米,  2025年, 魏琳

UNPRECEDENTED TIMES (detail),  oil on canvas,  36"x48",  2025, Lin Wei

我的油画《前所未有的時代》是个梦，悬浮在锚与天空之间。

她站在一叶纸船上，漂泊于无垠的大海。无桨，无帆，深海无底，如何抛锚停泊？纸船如此脆薄，时间所剩无几，赶紧用防水画笔，在船上留个言。

汹涌的海浪摇摆，鞭打着锚，它在寻找……坚实的地面。

颤动的灵感邀纸船与大海共舞，载着小生命，牵引鱼群万千，

如一场交响乐伴奏的现代舞，在星光璀璨之前，与迷失的风、沉默的乌云共行，在锚与天空之间。

愿我的画面映照出生命的骄傲、忧伤、好奇、理想，还有不卑不亢，直面现实的力量。

My UNPRECEDENTED TIMES is a painting of a dream—suspended between the anchor and the sky.

She stands on a small paper boat, drifting in an endless sea. There is no oar, no sail, and beneath the waves, no bottom in sight. Should she anchor the ship? But how much time does she have before the paper dissolves? Should she take write a message on the fragile boat?

The restless sea, whipping the anchor, searches for solid ground.

Trembling inspiration invites the paper boat to dance upon the waves, carrying a fragile life and a thousand fish. Like a modern ballet set to a symphony, it moves beneath the stars, between wandering winds and shadowy clouds—caught between the anchor and the sky.

May my painting reveal the pride, the sorrow, the curiosity and the ideals of life. And may it find the quiet strength to face reality—neither humble nor proud, but simply resolute.

魏琳（Lin Wei）美籍华人艺术家，1958年生于山东潍坊的一个教师家庭。魏琳先后在曲阜师范大学、首都师范大学、中央美术学院学习油画。并曾任教于曲阜师范大学，山东艺术学院。之后她应邀在美国奥克兰米尔斯女子学院、加州大学戴维斯分校、旧金山市立大学、旧金山州立大学客座讲学，魏琳现在负责旧金山亚洲美术学校的教学。她曾多次举办个人画展和联展，代表作品有《作者作品》系列、《旅程》系列、《时代美》系列、《伟大后》系列等。 

Lin Wei was born in 1958 and raised on the campus of Qufu Normal University in Shandong, China. Her earliest works of art were chalk drawings on the concrete walls of university housing. She was recognized for her art throughout her school years, even when she worked in the countryside during the Cultural Revolution.  In 1977, Lin Wei returned to Qufu Normal University. In 1983, she became a teacher there. In 1985, Lin went to the Central Academy of Fine Arts in Beijing to complete her graduate studies in oil painting. In 1988, Lin was appointed lecturer at the Shandong Institute of Fine Arts where she taught for six years.  In 1993, she was invited to give a lecture at Mills College in Oakland, California. In 1994, Lin mounted a solo exhibition of paintings in San Francisco. In 2007, Lin opened an art school that is now called Asian Arts School LLC. Lin Wei’s art is a rich blending of academic realism and Chinese traditions animated by her passionate response to the world around her.

谢雯 (Wen Xie)

创世纪，纸本设色，24 x 24 cm，2023年，谢雯

Genesis，colored on paper，9.45 x 9.45 inches，2023，by Xie Wen 

创世纪（局部），纸本设色，24 x 24 cm，2023年，谢雯

Genesi (detail)，colored on paper，9.45 x 9.45 inches，2023，by Xie Wen

在动物里，我最喜欢猫，也最喜欢画猫。

猫，独立，冷漠，喜独行，不喜欢群居，不讨好人类，与人类像朋友一样平起平坐，坚决不会做自己不想做的事情。猫很自我，时刻冷着脸，小小的身体，有着强大的气场，时刻提醒着你，它和老虎一样是猫科动物。

我的猫不得已被我圈在只有我的世界里，又保有自己的野性，不被人类驯化，这是我最欣赏猫的地方，也是我喜欢猫的原因，我想成为猫那样的人。我想，猫如果是一个人，它肯定是无政府主义者和自由主义者，肯定会被别人PUA得一无是处。

人类社会太喜欢规训别人如何变得“有用”、“好吃”、“好看”、“忠诚”、“听话”、“合群”、“牺牲”和“奉献”……却把“自私”、“自我”、“冷酷”、“叛逆”、“个性”、“内向”、“木讷”、“独特”和“古怪”等等批得一无是处。充满了威权思维和工具人心理。爱猫其实不需要任何理由，我想像猫一样活着……

Among all animals, cats are my favorite, and I love to paint them as well.

Cats are independent, aloof, and fond of solitude; they shun the company of others and do not seek to please humans. They coexist with us as equals, steadfastly refusing to do anything they do not wish to. Cats have a self-assured demeanor, ever wearing a cool expression on their faces, and despite their small stature, they possess an immense presence that constantly reminds you they belong to the feline family, just like tigers.

My cat, though inevitably confined to the world I've created, maintains its wild spirit and defies domestication by humanity. This is what I admire most about cats and the reason I cherish them; I long to live like a cat. If a cat were to be a person, it would undoubtedly be an anarchist and a libertarian, likely to fall victim to others’ manipulative schemes.

Human society has an insatiable appetite for training individuals to be “useful,” “pleasant,” “attractive,” “loyal,” “obedient,” “sociable,” “self-sacrificing,” and “dedicated,” yet it relentlessly vilifies qualities like “selfishness,” “individuality,” “coldness,” “rebellion,” “distinctiveness,” “introversion,” “awkwardness,” “uniqueness,” and “quirkiness.” It is rife with authoritarian thinking and a mindset that reduces people to mere tools. To love cats requires no justification; I desire to live as they do…

谢雯，女，1979年12月出生于中国黑龙江，独立艺术家。工作和生活在中国浙江杭州。目前从事绘画创作、自由摄影、装置艺术、策展以及先锋诗写作。

曾担任美术报“鉴藏”版责任编辑和浙江画院研究员。现为浙江画院中国工笔画研究所创作员、李可染画院青年画院院聘画家、华人女性主义艺术家联盟会员、复旦之友书画摄影社特聘理事、浙江省美术家协会会员、北京工笔重彩画会会员、浙江省中国人物画研究会会员、浙江省陆俨少艺术研究会会员、浙江省中国花鸟画家协会会员。

Wen Xie, Born in Mudanjiang, China, in December 1979, currently lives and works in Hangzhou, China. She is an independent artist engaged in painting, photography and avant-garde poetry writing. In 2007, she graduated from the Chinese Painting Department of Jilin University School of Art with a bachelor's degree. She was recommended to study as a graduate student at Jilin University School of Art. In 2010, she received a master's degree in fine arts. She once served as editor-in-chief of the collection edition of "Art Collection and Appreciation" section of "China Art Weekly".and was employed as a researcher in the figure painting studio of Zhejiang Painting Academy. Currently, she is a creator of the Chinese Meticulous Painting Research Institute of the Zhejiang Painting Academy, an appointed painter of the Youth Painting Academy of the Li Keran Painting Academy, a member of the Zhejiang Artists Association, a member of the Chinese Feminist Artists Association, a member of the Beijing Meticulous Brushwork and Heavy Color Painting Association, and a member of the Zhejiang Chinese Figure Painting Research Association. She is a member of Zhejiang Province Lu Yanshao Art Research Association, a member of Zhejiang Province Chinese Flower and Bird Painters Association, and a member of Jiangsu Province Xu Beihong Research Association. Academic papers and works have been published many times in journals such as Art Newspaper, Chinese Painting Magazine, Huzhou Daily, Theoretical Academic Research, and Young Writers. Her paintings have participated in many international and domestic exhibitions and were auctioned at China Guardian Auction and Xiling Seal Society Auction.

张晓丽长治(Xiaoli Zhang)

二仙庙，装置，纸箱，40*38厘米   ，2024年，地点：山西高平西李门二仙庙

Erxian Temple (Temple of Two Goddesses), Installation, Cardboard, 15.7 × 15 inches, 2024, Location: Erxian Temple in Xilimen, Gaoping, Shanxi

二仙庙（局部），装置，纸箱，40*38厘米   ，2024年，地点：山西高平西李门二仙庙

Erxian Temple (Temple of Two Goddesses) (detail), Installation, Cardboard, 15.7 × 15 inches, 2024, Location: Erxian Temple in Xilimen, Gaoping, Shanxi

《二仙庙》是我在生活地随处可见的众多古建遗存中所做装置作品系列之一，巧合的是随机寻找来的材料上面印着“甜蜜蜜”字样，而放置空间是古人为了纪念两个命运悲惨的女孩所建造，它跳脱出作品的原初意义，让我产生出一种别样的心里感受！创作的动力或许就在于以自己有限的认知去探索无限的未知…

Erxian Temple is part of a series of installation works I created based on the numerous ancient architectural relics scattered throughout my surroundings. The space in which the work is placed was originally built to commemorate two girls with tragic fates. The randomly sourced materials for this piece just so happened to be printed with the words “甜蜜蜜” meaning “Sweet Honey” which created an unexpected contrast, breaking away from the work’s original meaning, evoking in me a unique emotional resonance. Perhaps the driving force behind creation lies in using our limited understanding to explore the infinite unknown... 

张晓丽长治（Xiaoli  Zhang）女，现生活创作于山西长治。2019年参加《库艺术》第二期非具象研究工作坊，2020年中央美术学院第一届抽象艺术高研班结业，2021年装置作品 《摆布》参加［元典美术馆---北京］接力（第十辑 鳌虾）展，2022年装置作品《洞见》参加我们在一起线上展（纽约），2023年装置作品《摆布》参加 跬步 元典美术馆（武清）三年展，2024年装置作品《她们的营生》参加先锋艺术项目线上“气场! 2024年女性艺术家年度展”(芝加哥)。

Zhang Xiaoli is an artist based in Changzhi, Shanxi, where she currently lives and works. In 2019, she participated in the second edition of the KUART Non-Figurative Art Research Workshop. In 2020, she completed the inaugural Advanced Study Program in Abstract Art at the Central Academy of Fine Arts. In 2021, her installation work Arrangement (摆布) was featured in CARRY-ON (The 10th Exhibition Langoustine) at Yuan Art Museum, Beijing. In 2022, her installation work Insight (洞见) was included in the online exhibition WE ARE IN THIS TOGETHER (New York). In 2023, her work Arrangement was presented in the TINY STEPS at Yuan Art Museum Triennial. Most recently, in 2024, her installation work Their Livelihood was part of the Avant-Garde Art Project Aura! at Asian Female Artists Annual Art Exhibition 2024 (Chicago).

周平 (Ping Zhou)

食・光，直径：50厘米，食・春暁，145.4x60.6厘米，合而为一，2025年完成

Food・Light , diameter:50cm, Food・Spring Dawn, 145.4x60.6cm, combined into one, completed in 2025

食・光（局部），直径：50厘米，食・春暁（局部），145.4x60.6厘米，合而为一，2025年完成

Food・Light (detail), diameter:50cm, Food・Spring Dawn (detail), 145.4x60.6cm, combined into one, completed in 2025

《食・光》与《食・春暁》上下合而为一成为一件作品《食・春晓》。　　　　　　　　　　　　　　

梦里昏暗的天空被戳开一个洞，我的自由精灵披着光从天而降，如被无形的手抛出的神锚。

光洒在末冬的大地，森林，所在之处唤醒了沉睡在黑暗、寒冷中的生命。

迎着光，大地万物复苏，枯枝生花，新生命诞生。

诞生于人生果，落花生壳儿里的新生命，新的自由精灵睁着惺忪的双眼，仰望天空，仰望飞天而降的光，迎候着木莲一朵一朵盛开，迎候新春、新开始、新轮回、新希望的到来……                              

总有很多梦，也总是这些梦支撑着我一直画下去，直到生命尽头。愿从我手中诞生的种种梦境能温暖、唤醒越来越多沉睡在寒冷、黑暗中的生命。

"Food・Light" and "Food・Spring Dawn" are combined to form a work "Food・Spring Dawn".

In the dream, the dark sky was poked into a hole, and my free elf fell from the sky with light, like a divine anchor thrown by an invisible hand.

The light sprinkled on the earth and forest at the end of winter awakened the life sleeping in darkness and cold.

Facing the light, everything on the earth revives, withered branches and flowers, and new life is born.

Born from the fruit of life, the new life in the peanut shell, the new free elf opens its eyes, looks up at the sky, looks up at the light falling from the sky, welcomes the blooming of the wood lotus one by one, and welcomes the arrival of the new year, the new beginning, the new reincarnation, and the new hope...

There are always many dreams, and these dreams always support me to draw until the end of my life. May all kinds of dreams born from my hands warm and awaken more and more lives sleeping in the cold and darkness.

周平1973年生于四川。98 年毕业于西南师范大学美术学院油画硕士、97年赴荷兰阿姆斯特丹Rietveld Art Academy访学。99年始生活工作于日本横浜。先后被推荐为日本亚西亚美术协会会员、日本近代美术协会会员、国际美术评论家选考委员会A.M.S.C认定艺术家。2004年获東京銀座SUDOH美術館举办的“青年艺术家传言展”最優秀奖。2006年获日本《美術之窗》杂志評为当代倍受瞩目藝術家之一。2008年荣获日本世界堂Think Global Art Japan 絵画展缪斯奖。2017年荣获日本近代美術公募展库萨卡贝奖。作品为日本、德国、西班牙、比利时等国美术馆、私人收藏。

Zhou Ping Born in Sichuan, China in 1973.She graduated with a master's degree in oil painting from Fine Art Academy of Southwest Normal University in 1998 and visited Rietveld Art Academy in Amsterdam, the Netherlands in 1997. She has been working and living in Yokohama, Japan since 1999. She has been specially recommended as a member of the Asian Art Association of Japan and a member of the Modern Art Association of Japan. An artist recognized by the International Art Critics Selection Committee A.M.S.C. In 2004, won the Best Award and the Planning Solo Exhibition Award in the "Young Artist Rumor Exhibition" held by the SUDOH Art Museum in Ginza, Tokyo. In 2006, was named one of the most high-profile contemporary artists by Japan's "Window of Fine Arts" magazine. In 2008, won the Muse Award for the Goncourt Exhibition of Think Global Art Japan. In 2017, won the Kusakabe Prize for the Public Exhibition of Japanese Modern Art. Works are collected by art museums and private collections in Japan, Germany, Spain, Belgium and other countries.  

赵梦歌 (Mengge Zhao)

拼图，亚麻布油画，150X180cm，2024，赵梦歌

Puzzle, Oil painting on canvas , 150X180cm,2024, Zhao Mengge

拼图（局部），亚麻布油画，150X180cm，2024，赵梦歌

Puzzle (detail), Oil painting on canvas , 150X180cm,2024, Zhao Mengge

锚与天空关乎自我定位与他者制约，现实与理想，限制与自由等相互对立统一的关系。这种关系犹如一张巨大而无形的灵魂拼图，寻找自我的定位至关重要。

艺术创作是自身存在价值的极致体现，对于我来说持续创作的动力就是让有限的生命过程更具意义，尽可能多的留下一些活着的痕迹和影响，虽然明知生命本身并无意义。

Description of the work: Anchor and the sky are related to the mutually opposite and unified relationship of self-positioning and other constraints, reality and ideals, restrictions and freedoms. This relationship is like a huge and invisible soul puzzle, and it is very important to find your own positioning.

Artistic creation is the ultimate embodiment of its own existence value, for me, the motivation for continuous creation is to make the limited life process more meaningful, leaving as many traces and influences of life as possible, although I know that life itself is meaningless.

赵梦歌，生于中国河南，现居北京，独立艺术家，曾就读于中央美院附中、中央美院油画系，美国乔治城大学访问学者，中国传媒大学艺术创作院客座教授，亚洲女性发展协会理事，获2024Emerging Woman Artist Award奖（欧洲ARTS TO HEARTS PROJECT），参展与收藏：伦敦女性艺术双年展2024，欧洲现代艺术博物馆、意大利贝纳通艺术基金会、西班牙马努埃尔艺术基金会、美国乔治城大学、韩国全北道立美术馆，北京今日美术馆,北京大都美术馆，河南博物院，山东美术馆，广东美林美术馆，台湾观想美术馆等。出版:《Art-Mag 》（法）2023；《BOOKS》（法）2019，《VISION CHINE》（英、法）2020，《中国油画》2009第六期封面等。

Zhao Mengge Born in Henan, China, now living in Beijing, she is an independent artist. She studied in the Affiliated Middle School of the Central Academy of Fine Arts and the Department of Oil Painting of the Central Academy of Fine Arts. She is a visiting scholar at Georgetown University in the United States, a visiting professor of the Institute of Art Creation of Communication University of China, and a director of the Asian Women's Development Association. She won the 2024 Emerging Woman Arti St Award (European ARTS TO HEARTS PROJECT), exhibitions and collections: London Women's Art Biennial 2024, European Museum of Modern Art, Benaton Art Foundation in Italy, Manuel Art Foundation in Spain, Georgetown University in the United States, Korea Guoquan North State Art Museum, Beijing Today Art Museum, Beijing Dadu Art Museum, Henan Museum, Shandong Art Museum, Guangdong Meilin Art Museum, Taiwan Guanxiang Art Museum, etc. Published: "Art-Mag" (French) 2023; "BOOKS" ("French) 2019, "VISION CHINE" (English, French) 2020, "Chinese Oil Painting" 2009 sixth issue cover, etc.

周巧云 (Qiaoyun Zhou)

《门》（装置）,226cmX196cmX270cm，木材、镀锌铁丝网、宣纸、石墨等，2024年

Door (Installation),226cmX196cmX270cm,Wood, galvanized wire mesh, rice paper, graphite, etc, 2024

《门》（装置）（局部）,226cmX196cmX270cm，木材、镀锌铁丝网、宣纸、石墨等，2024年

Door (Installation) (detail),226cmX196cmX270cm,Wood, galvanized wire mesh, rice paper, graphite, etc, 2024

一个为场所而设的边界，时间和空间在这里汇合为一体。从存在之初就被所处环境和社会所改变，并赋予其时间的印痕：记忆、历史、符号等等。门内的特定环境是特定人群的行为背景，在时间的长河中随着不同人群的进驻而改变又被重新规定，不同空间的分隔和汇聚在特定场所中呈现出越发的荒诞和魔幻，浸透着不同特定人群的精神状态，形形色色。覆盖在那一片白色之下......

A boundary for place, where time and space converge into one. Since the beginning of its existence, it has been transformed by the environment and society in which it is found, and given the imprint of time: memory, history, symbols, and so on. The specific environment inside the door is the behavioral background of a specific group of people, which changes and is re-defined with the entry of different groups in the long river of time. The separation and convergence of different Spaces in a specific place show more and more absurd and magical. Imbued with the mental states of different specific groups of people. And beneath that white......

周巧云，中南大学建筑与艺术学院副教授，硕士研究生导师；定居中国长沙。

她的作品在美国、日本、泰国和中国等多个画廊和博物馆展出，以及获得众多美术馆和私人的收藏。2018年受邀作为参展艺术家在第八届富山国际当代艺术展期间驻留于日本半个月，2019年作为驻地艺术家在北京上苑艺术馆半年，2021-2023年访学于美国纽约州立大学Oneonta学院。

个人网站：www.zhouqiaoyun.com

Zhou Qiaoyun, Associate Professor, Master tutor, School of Architecture and Art, Central South University; Settled in Changsha, China.

Her work has been exhibited in numerous galleries and museums in the United States, Japan, Thailand and China, as well as in numerous art galleries and private collections. In 2018, she was invited to stay in Japan for half a month during the 8th Toyama International Contemporary Art Exhibition as an artist; in 2019, she spent half a year as an artist in residence at the Shangyuan Art Museum in Beijing; and in 2021-2023, she studied as a visiting scholart at Oneonta College, State University of New York.

Personal website: www.zhouqiaoyun.com

一枚 (Yi Mei)

《瓦伦西亚之光》，行为摄影，尺寸可变，2024，地点：西班牙瓦伦西亚

“Light of Valencia ”,self performance photograph,2024, Location:Valencia of Spain

《瓦伦西亚之光》（局部），行为摄影，尺寸可变，2024，地点：西班牙瓦伦西亚

“Light of Valencia ”(detail),self performance photograph,2024, Location:Valencia of Spain

去年六月，我关上上海朱家角漂亮的新家的门，踏上了一个陌生的国度西班牙，开始了新的历程和经历。我经常自我调侃，称之为“自我流放”。其中的经历一言难尽，内心经历了很多，喜悦，兴奋，思乡，困顿，挣扎，孤独，迷茫，分裂，多层的，多重的，心理的，文化上的。当我处于迷茫时，我自问我的初心是什么。在回看当初给蒋贞蕾女士的信息时我这样说：我来西班牙，是为了一种文化体验，多一个纬度看世界和中国，也希望在艺术上融入新的元素。西班牙安达卢西亚的天空太美了，绝无仅有的来自上天的大手笔，每次旅行途中看着天空云彩的变换，沉醉其中，也一次次地被治愈。离开熟悉的文化，将自身植入新的土壤，这个过程是痛苦的，需要重新定位，这就是“锚”的意义！而明天我将再次凝视安达卢西亚的天空，它射下的光将带我一次次从内心的灰暗中走到它的光明地带！

Last June, I closed the door of my beautiful new home in Zhujiajiao of Shanghai and set foot on a new journey and experience in a strange country called Spain. I often joke about myself, calling it 'self exile'. The experience is indescribable, and I have experienced many things in my heart, including joy, excitement, homesickness, hardship, struggle, loneliness, confusion, division, multiple layers, multiple layers, psychological, and cultural aspects. When I am lost, I ask myself what my original intention was. When reviewing the message I gave to Ms. Jiang Zhenlei back then, I said this: I came to Spain for a cultural experience, to see the world and China from a different perspective, and to integrate new elements into art. The sky in Andalusia of Spain is so beautiful, a unique masterpiece from the heaven. Every time I travel, watching the changes in the clouds in the sky, I am immersed in it and am healed time and time again. Leaving a familiar culture and planting oneself in new soil is a painful process that requires repositioning. This is the meaning of 'anchor'! And tomorrow I will gaze at the sky of Andalusia again, its light will take me from the darkness of my heart to its bright zone time and time again!

一枚，本名王轶梅，艺术家、摄影人、诗人，上海对外经贸大学副教授，两届英国中兰开夏大学访问学者。居于上海。

多年囿于校园讲学跨文化和语言文学的一枚，终于在2012年夏天的某个时刻毅然决意地转向艺术领域，从而开启了艺术和诗歌的自由灵性之旅。这一转身一发不可收拾，借助自媒体，以她富有挑战和惊艳的姿态,连同她主持的艺术沙龙迅速走入公共视野。她把镜头对准自己，以发丝和身体为媒介，切入当下语境，将实景现实和超实景现实互构在同一时空中，以此来展现和表达个体与社会、文化和自然之间的多维度和多元化的关系。

主要个展和群展有《头发与世界的关系》（上海，2016），Art Centro双个展（纽约，2017），《一枚》（北京，2019），《一枚躺》（深圳，2021），《暗自涌动的梦境》（上海，2023）。《土耳其-中国：2021艺术互动的爱、宽容与和平在线展览》，《共享的危机》国际网络展 (2020)，《爱要发电》当代女艺术家群展 (上海，2021)，《奥拉·她视界》国际女性艺术家群展（杭州，2022), 《我们在一起——首届华人女性主义艺术家联盟开幕展》（2022），《重叠卡塞尔·行为影像文献展》（德国，2022），《儕Chai国际行为艺术节·行为影像展》（景德镇，2023），UAAF合作艺术家回顾展暨成立十二周年系列庆典活动展（巴黎Galerie Sabine Bayasli, 2025)。2018年获红门国际艺术驻留“中国新锐艺术家奖”。

Yi Mei, WANG Yimei as real name, artist, photographer and poet. Associate professor of Shanghai University of Int’l Business & Economics, Visiting scholar twice at University of Central Lancashire in UK. Lives in Shanghai.

Confined on campus for years, teaching Intercultural & language courses, she finally, on a moment in summer of 2012, made a resolute determination to turn to art field, thus embarking on her journey of freedom and spirituality.That moment of her life is overwhelming.Via self media, she was swiftly drawn into public attention with her defiant and stunning poses as well as her art salon.She focuses lens upon herself,with hair and body as media. By cutting into current context,she places realistic and surrealistic scenarios in the same time and space, or they are mutually constructive, so as to display and convey the multi-dimensional and multi-cultural correlations between the individual and the society, culture and nature.

Her major solo and group exhibitions include:Link the Word with Her Hair (Shanghai,2016), Art Centro Double Show (NY, 2017), YI MEI (Beijing, 2019), BETWEEN (Shen Zhen, 2021), Dreams of Hidden Wave (Shanghai, 2023). Turkey-China:2021 online Art Exhibition of Interactive Love, Tolerance and Peace, Sharing Crisis int’l Online Exhibition (2020), Love Generates Power Contemporary Women Artists Exhibition (Shanghai, 2021), HOLARTE·SHE Int’l Feminist Artists Exhibition (Hang Zhou, 2022), 

We Are Together——The First Chinese Feminist Artists Alliance Opening Exhibition (2022), Overlapping Kassel·Video & Images Documentary Show (Germany, 2022), Chai In’tl Performance Art Festival·Video & Images Show (Jingdezhen, 2023), UAAF Collaborative Artists Retrospective Exhibition &12th Anniversary Celebration Event Exhibition (Paris Galerie Sabine Bayasli,2025).2018 received Emerging Chinese Artists Award by Red Gate Int’l Residency Program.

诗蓝 (Li Chevalier)

《原野无垠》，大地艺术装置，2019，诗蓝

The Untamed Vista, Land art Installation, 2019, Dubai Desert, Li Chevalier

《原野无垠》（局部），大地艺术装置，2019，诗蓝

The Untamed Vista (detail), Land art Installation, 2019, Dubai Desert, Li Chevalier

如果艺术是一台投影仪,它或许会通过放大的镜头描绘一片土地、一段足迹,邀请观众踏上一段旅程。就像人生一样, 艺术从中汲取灵感, 从而孕育出自己的生命。

艺术家诗蓝的大地艺术装置《原野无垠》宛如一面投影镜,映射了触动诗蓝灵魂的世界一角。2017 年至 2020 年间, 诗蓝生活并工作于中东地区。通过这件安置在阿拉伯沙漠中的大地艺术装置, 她表达了中东地区为她带来的全新视角与心灵触动。她与当地工人、阿曼渔民, 以及来自菲律宾和巴基斯坦的工人合作, 完全手工打造了这片金属森林, 并使之矗立于自然之中, 创造出一片意想不到的地平线, 令沙漠探险者的目光为之一亮。

这件作品与迪拜沙漠中崛起的惊人建筑天际线相呼应,突出了无生命自然的广阔与沉寂,以及人类通过各种努力征服世界的雄心之间的对比。同时, 作品也暗示了一种意外回归的可能性。

周游世界的诗蓝不断追求超越边界的限制,探索创作的无限可能。生命之船曾短暂地将她“锚定” 在中东数年,而这短暂的停留充实了她的创作邂逅与灵感。然而, 这并不会阻止这位游牧艺术家继续她执着的旅程, 走向世界的尽头, 寻找那失落的美。此作品赢得 2023 年伦敦艺术博览会最佳摄影奖。

关于“锚与天空”线上展的感言：在过去的几个世纪里，人类历史经历了一系列剧烈的宗教和意识形态幻灭。当这两种人类生存的外在光源在我所生活的世界中逐渐消失时，虚无主义的诱惑——生命没有内在的意义——以及随之而来的空虚感已经成为我们心灵中若隐若现的阴影。随着年龄的增长，陷入绝望的倾向变得越来越明显。众所周知，德国哲学家弗里德里希·尼采拒绝将虚无主义视为纯粹的破坏性力量。相反，他试图将其转化为一个机会，将个人从强加的价值观、权威和继承的信仰中解放出来。虽然我不完全接受他拆除所有过去价值观的哲学，但我同意他的信念，即我们别无选择，只能接受生活的荒谬，并在我们的创造性斗争中找到快乐。对我来说，艺术和创意表达是迎接生活挑战的唯一真正方式——唯一反抗尘世存在的无意义的行为。

对我来说，艺术和创意表达是迎接生活挑战的唯一真正方式——唯一反抗尘世存在的无意义的行为。正如叔本华所观察到的，审美狂喜拥有一种独特的力量，可以使我们超越世俗，暂时将我们从困扰我们的存在空虚中解放出来。在审美体验中，我们脱离了日常生活的负担和支配我们存在的焦虑——哪怕只是一瞬间。然而，艺术除了作为一种逃避之外，还拥有挑战我们死亡的罕见能力。艺术品留下了我们转瞬即逝的存在、我们内心的挣扎以及我们对世界的渴望的印记。通过这种方式，艺术让我们超越了人类的有限性。也许，遗产仍然是迫使我继续创作的最强大力量。

Through a projection that magnifies a place and a story, art invites the viewer on a journey, much like life, from which it draws its inspiration, thus giving birth to its own existence.

The Untamed Vista is designed and constructed as a mirror of a world, of a place—in this case, the Emirates—whose extravagance deeply impacted Li Chevalier.

"Living and working between 2017 and 2020 in the Middle East, Li Chevalier sought to convey her impressions of the region through this monumental open-air installation in the heart of the Arabian desert. She collaborated with local workers, Omani fishermen, and Filipino and Pakistani laborers. This handcrafted metallic forest rises in the natural landscape, creating an unexpected horizon that surprises the eyes of desert explorers. A nod to the Dubai skyline and its stunning architectural wealth emerging from the desert, this installation highlights the contrast between the vast, silent stillness of nature and the fullness of human ambition to conquer the world through its various enterprises, all while revealing an unexpected return."

If Li Chevalier constantly seeks to transcend the limitations of boundaries and explore the

infinite possibilities of creation, the ship of life has temporarily anchored her in the Middle East, a stop rich in encounters and inspiration. However, this will not prevent this nomadic artist from continuing her relentless journey to the far reaches of the world, in search of lost beauty. The work won the Best Photography Award at the 2023 London Art fair.

Human history has undergone a series of drastic religious and ideological disillusionments over the past few centuries. As these two sources of external light for human existence gradually fade in the part of the world where I live, the temptation of nihilism—the belief that life has no inherent meaning—and the accompanying sense of emptiness have become looming shadows haunting our minds. The tendency to fall into despair grows ever more present as I age. As is well known, the German philosopher Friedrich Nietzsche rejected nihilism as a purely destructive force. Instead, he sought to transform it into an opportunity—one that liberates individuals from imposed values, authority, and inherited beliefs. While I do not fully embrace his philosophy of dismantling all past values, I share his conviction that we have no choice but to accept the absurdity of life and find joy in our creative struggles. For me, art and creative expression are the only true ways of embracing life’s challenges —the only acts of defiance against the meaninglessness of earthly existence. As Schopenhauer observed, aesthetic ecstasy holds a unique power to elevate us beyond the mundane, momentarily freeing us from the existential void that haunts us. In the aesthetic experience, we detach—if only for an instant—from the burdens of daily life and the anxieties that govern our existence. Yet, beyond being a mere escape, art possesses the rare ability to challenge our mortality. Artworks leave an imprint of our fleeting existence, our inner struggles, and our aspirations upon the world. In this way, art allows us to transcend the limits of human finitude. Legacy, perhaps, remains the most powerful force that compels me to continue creating.

诗蓝出生于北京 。 近三十年来生活与创作于亚洲、欧洲和中东的多个国家。她广泛的游牧生活经历以及与音乐界的深厚联系,深刻地塑造了她的艺术语言。她专注于实验水墨画的创作,同时将艺术表达延伸至多媒体和土地艺术装置领域。诗蓝的教育背景：伦敦中央圣马丁艺术与设计学院(2003-2007)；巴黎索邦大学 哲学博士前(1991)；她曾担任巴黎交响乐团合唱团女高音歌手。奖项与荣誉包括伦敦艺术博览会 最佳摄影奖(2023)；法国美术与平面艺术协会 雕塑一等奖(2014)；法国国家美术协会 装置艺术金奖(2014)。重要博物馆展览包括： 2024 法国国立吉美亚洲艺术博物馆,《飞翔的灵魂》(个展)； 2024 意大利威尼斯东方艺术博物馆,《聆听水之梦》(个展)； 2022 法国尼斯亚洲艺术博物馆,《灵魂的风景》； 2017 意大利罗马当代艺术博物馆 (Macro),《欲望的轨迹》(个展)；2013 中国国家大剧院,《视觉交响曲》(个展)；2012 上海美术馆,《诗意的东方》(个展)；2010 中国美术馆,《诗意的东方》(个展)；2007 英国伦敦皇家艺术学院夏季展览。

A French artist born in Beijing, the nomadic Li Chevalier has lived and worked in various countries across Asia, Europe, and the Middle East for the past three decades. Her extensive experiences of travel and living abroad, combined with her deep engagement with the musical world, have profoundly shaped her creative language. She continuously focuses on experimental ink painting while also extending her expression to multimedia and land art installations. Education: Central Saint Martin’s College of Art and Design, London Fine Arts, Post Graduate Diploma Fine Arts; 2003-2007/ Sorbonne University Paris Pre-PhD Philosophy, 1991. She has been soprano in the Choir of Paris Orchestra. PRIZE AND AWARD: London Art Fair Best Photography 2023 /First prize for sculpture - French Graphic and Fine Arts; Society, 2014/ Gold medal for Installation - French National Fine Arts Society, 2014 MAJEUR MUSEUM SHOWS; 2024 National Asian Art Museum Guimet France < Flying Souls> (Solo ); 2024: Oriental Art Museum, Venice Italie < I Hear the Water Dreaming >; 2022: Asian Art Museum, Nice, France -<Landscapes of Soul >; 2017: Contemporary Art Museum, Rome (Macro) <Trajectory of Desire>; 2013: National Opera of China <Visual Symphony>; 2012 : Shanghai Art Museum - Li Chevalier Retrospective; 2010: National Art Museum of China <The Poetic Orient >; 2007: Royal Academy of the Arts Summer Exhibition, London.

展览海报设计 Poster Design： 关紫兮 (Zixi Guan)

展览资料编辑 Exhibition Editor： 陈龙英 (Longying Chen)

展览排版编辑 Exhibition Layout：陈琪欣 (Qixin Chen)