“突 围！2023” 女性艺术家年度展

突围！ 2 0 2 3

前言

现在是 2023 年，但亚裔女性艺术家发现自己处于一个陌生又熟悉的境地。在世界的舞台上，放眼看蓝筹画廊的代理艺术家名单，创造天价拍卖纪录的在世艺术家名单，在各大博物馆举办个展的艺术家名单，我们看到机会和资源的倾斜依然还是朝着性别的另一端，女性艺术家整体上还有许多可以角逐的空间。我们仍然面临 Linda Nochlin 在 1971 年发表的关于伟大女性艺术家的里程碑文章中描述的许多历史性的以及社会性的障碍。 然后是“亚裔问题”。这是一个问题吗？或者不是一个问题。如果它是一个问题的话。是否存在我们必须面对和克服，或者从字面上说，跨越的特定于我们的身份的障碍？“谦逊”的刻板印象是否会影响我们的艺术自主权和我们“引起轰动”的感知能力？草间弥生是一个例外，还是一个预示亚裔受欢迎趋势的女性先锋？

抛开一切以上的“陷阱”“围墙”不说，在新的一年里，我们女性艺术家在个人和心理的层面上又有什么必须要说的话，必须要做的事，来帮助自己实现突破呢？

2月时，我把这些问题掷向30位本土和海外的涵盖50年代、60年代、70年代、80年代到90年代的各年龄阶段的女性艺术家，散心般地索求答案。在3月时集成“突围！” 线上展。她们有的已经在国际的艺术舞台上有受人尊敬的位置，有的在自己的领地刚刚暂露头角。无法代表所有的女性艺术家，但她们的作品和感想展示了美丽生动的艺术生态。我感动于她们的真诚，我为她们取得的成就骄傲。“突围”外在的限制要依托和创造很多机遇，而最重要的是内在的“突围”。她们坚持，沉淀，迷醉，思考，不断突破，要做更好的自己，更好的艺术，绽放她的最大可能性。难道这不正是艺术的目的？

谢谢你们，“突围”中的女性艺术家们，你们风姿傲人。让我们结盟，一起突围。

先锋艺术项目

策展人 蒋贞蕾

2023年3月1日

Break Out! 2023

Preface

It is the year 2023, yet Asian female artists find themselves in a strange yet familiar position. On the world stage, looking at metrics such as solo exhibitions in major museums, blue-chip gallery rosters and auction records, we can see that the inclination of opportunities and resources is still towards the other gender. We lack opportunities, and we need to take actions to address these disparities. We still face many of the historical and societal obstacles that Linda Nochlin described in her landmark 1971 essay, “Why have there been no great women artists?”

And then there is the Asian problem, if it is a problem. Are there hurdles specific to our identity that we must confront, overcome, or leap over? Do stereotypes of moderation and passivity impinge on our artistic autonomy and our perceived ability to “make a splash”? Is Yayoi Kusama an outlier or a female pioneer who heralds female Asian popularity?

Putting aside all the above "traps" and "walls", in the year 2023, what do we female artists have to say and do on a personal and psychological level to advance our cause and break through, both personally and as a group?

In February, I threw this question to 30 Chinese and overseas Asian female artists of a variety of ages, born in the ‘50s through the ‘90s, seeking their answers in an open-ended, encouraging environment. In March, the "Breakout!" online exhibition launches. Some of the artists appearing already have respected positions in the international scene, and some are successfully emerging in their own regional ecosystems. The show cannot represent all Asian female artists, but the works and thoughts of this outstanding group show a beautiful and vivid artistic community. I am touched by their sincerity and I am proud of their achievements. We depend on external factors to create opportunities – the more obvious break through. And we need more opportunities, always. But the more important breakthrough is the internal one. These female artists persevere, ruminate, obsess, and constantly explore, to be a better self, make better art, and bloom. Isn't that what art is for?

Thank you, female Asian artists who are striving, for the beauty and power you bring to the world. Let us form alliances and break through together.

Avant-garde Art Projects

Curator: Zelene Jiang Schlosberg

March 1, 2023

学术支持 ACADEMIC SUPPORT

诗蓝（Li Chevalier）| 陈默 （Mo Chen）

参展艺术家 ARTISTS

陈筱薇 (Xiaowei Chen) | 陈默 (Mo Chen) | 杜婕 (Jie Du) | 何雨 (Yu He) | 黄敏(Min Huang)

花花 (Hana Jiang) | 黄引 (Yin Huang) | 李心沫 (Xinmo Li) | 李卉 (Hui Li) | 马鸣 (Ming Ma)

蒋贞蕾 (Zelene Jiang Schlosberg) | 金楠稀 (Nanxi Jin) | 诗蓝 (Li Chevalier)

陶艾民 (Amy Tao) | 唐梦 ( Meng Elizabeth Tang) | 魏琳 (Lin Wei) | 王晓蓉 (Xiaorong Wang) 谢雯 (Wen Xie) | Sunny Wu | 徐冰 (Bing Xu) | 许越 (Yue Xu) | 许静宇 (Jingyu Xu)

严隐鸿 (Yinhong Yan) | 杨柳 (Liu Yang) | 张容 (Rong Zhang) | 周巧云 (Qiaoyun Zhou)

周發宜 (Faye Zhou) | 周平 (Ping Zhou) | 赵梦歌 (Mengge Zhao) | 张爽 Stella Shuang Zhang

陈筱薇 (Xiaowei Chen)

[The origins of farce] Series - [Games in Nine Days] ,19.5x21inch, Mixed material, 2023

【闹剧的本源】系列-【九日游戏】，19.5x21英寸，混合材料，2023

我认为真实版本的生活是由真实和虚构的叠加构成的。 试想，在历史的沙漏中，有哪些真实的事件可以流传千年，仍然具有绝对的真实性？ 很有意思的是，在如今的网络时代，当过去时态的事件卷土重来时，产生了很多脱离了原有集体认知的、不同角度的假设和自我意识判断。 我对这种现象很感兴趣。 【闹剧的起源】这个系列对我这个艺术家来说是一次自我突破。 给了我更多的思考角度，作品的表现也变得更有舞台戏剧性。 二次元与三维的共现，背景与人物的分离，在同一场景中重新设计现实与虚拟。 让争议话题以自嘲自娱的游戏态度，多维度地重新评价一个原汁原味的历史事件，并展现给大众重新审视。

I think the real version of life is made up of a superposition of real and fictional. Just imagine, in the hourglass of history, which real events can be passed down for thousands of years and still have absolute authenticity? It is very interesting that in today's Internet age, when events in the past tense come back, there are many assumptions and self-awareness judgments from different perspectives that are divorced from the original collective cognition. I am very interested in this phenomenon. [The Origin of Farce] This series is a self-

breakthrough for me as an artist. It gave me more angles of thinking, and the performance of the work became more dramatic. Co-occurrence of 2D and 3D, separation of background and characters, redesigning reality and virtuality in the same scene. Let the controversial topic re-evaluate an original historical event in a multi-dimensional way with a self-deprecating and self-entertaining game attitude, and show it to the public for re-examination.

陈筱薇的作品包括绘画、录像和雕塑。她探索自然环境、自然灾害、人类思想以及三者之间的相互联系。

陈筱薇（1978年生）华裔艺术家，现居住在波士顿。从2000年到2005年，她从事电视制作，制作和导演独立的纪录片。她曾是波士顿美术馆艺术学校的客座艺术家讲师。她曾获得纽约Artadia 艺术基金会波士顿艺术家前二奖项和奖金赞助，并在布鲁克林ISCP国际艺术家驻扎中心进行绘画项目；2013年获得纽约The COOHAUS RESIDENCY ARTIST驻扎绘画项目；纽约埃尔米拉州ARNOT ART MUSEUM美术馆 第75届美国各州艺术大赛入围奖；2019 ART OLYMPIA 2019 国际公开艺术大赛，日本; 2017 The Arte Laguna Prize国际艺术大赛入围奖，2017年意大利威尼斯Nappe Arsenale and TIM Future Center艺术中心阿尔特·拉古纳奖；美国俄亥俄州辛辛那提市Manifest Press International Drawing Annual 11纸本绘画优秀艺术家，等。她最近的个展包括：波士顿 Pellas gallery；马萨诸塞州波士顿市波士顿市政厅；中国上海周围艺术画廊；纽约PeepShow Space画廊；芝加哥的玛雅·波尔斯基画廊；伊利诺伊州芝加哥的亚洲艺术研究院；纽约布鲁克林的49B工作室；马萨诸塞州林恩的TLGUTS画廊；马萨诸塞州马尔登的Artspace@16，等。群展包括：纽约大都会艺术博物馆；Brattleboro博物馆； Limlip艺术博物馆；纽约Waam博物馆；纽约Arnot艺术博物馆；韩国Chungnam大学美术馆；马萨诸塞州惠顿学Beard&Weil画廊；中国上海多云轩艺术中心；纽约威廉斯堡艺术和历史中心；纽约See | Exhibition Space艺术空间；纽约(Art) Amalgamated画廊；纽约ARTGATE画廊；纽约A.I.R画廊；Silvermine Guild Arts Center艺术中心；MCLA gallery51画廊；Mills Gallery画廊；胡润艺术基金会伦敦巡展等。

Xiaowei Chen's work includes drawing, video, and sculpture. She explores natural environments, natural disasters, human thought, and the interconnectivity between the three.

Xiaowei Chen (born 1978) Chinese American artist, now living in Boston. From 2000 to 2005 she worked in television production and produced and directed independent documentary films. She was a guest lecturer at the School of the Museum of Fine Arts in Boston. She was awarded the Artadia NY Artist Residency at ISCP in Brooklyn, NY; The COOHAUS RESIDENCY ARTIST FOR 2013, New York, NY; The 75 th Regional Exhibition, ARNOT ART MUSEUM. Elmira, NY; 2019 Art Olympia Prize, ART OLYMPIA 2019 international open art competition, Japan; 2017 The Arte Laguna Prize, Nappe Arsenale and TIM Future Center, Venice, Italy; Manifest Press International Drawing Annual 11, Cincinnati, OH. Her recent exhibitions include Solo show in Boston city hall,Boston, MA; AroundSpace, Shanghai, China; Maya Polsky Gallery, Chicago; The Research House for Asian Art, Chicago, IL; 49B studios, Brooklyn, NY; TLGUTS Gallery, Lynn, MA; artSPACE@16,Malden, MA. And the group shows in The Metropolitan Museum of Art, NY; NNE(North Northeast),  Brattleboro Museum, Brattleboro, VT; Gong Ju International Art Show, Limlip art Museum, WAAM MUSEUM, Woodstock, NY; ARNOT ART MUSEUM, Elmira, NY; Chungnam,Korea; Beard & Weil Galleries Wheaton College, MA; DUOYUNXUAN art center, Shanghai, China;Williamsburg Art and Historical Center, New York, NY; See | Exhibition Space, New York, NY; (Art)Amalgamated, New York, NY; ARTGATE GALLERY, New York, NY;A.I.R Gallery in Brooklyn, NY;Silvermine Guild Arts Center in New Canaan, CT; MCLA gallery51 in North Adams, MA; and Mills Gallery in Boston, MA; Hurun Art Foundation London Exhibition2016, London, UK.

陈默 （Mo Chen)

Michigan Ave in January

Acrylic on Canvas

53in X 72in

2019

《一月的密歇根大道》

布面丙烯

135cm X 183cm

2019

我很喜欢策展人就“突围”这个主题抛出的种种问题。它们直接又尖锐，还带着一种直面欲望的真诚朴实。这些欲望其实和“男性艺术家”们的世俗欲望并无二致。既然身为女性，我就很愉快地以“女性艺术家”的身份来一一回答这些问题吧。

“我们是否仍然面临Linda Nochlin在1971年发表的那篇著名论文 ‘Why have there been no great women artists?’ 中描述的许多历史性的以及社会性的障碍？”

— 我认为那篇文章中描绘的某些问题仍然存在，并且将会继续存在很久；而另外一些问题在今天也许已经渐渐消亡，至少变得不那么突出了。

“ ‘亚裔问题’ 是一个问题吗？或者不是一个问题？”

— 让我用禅宗的话术回答吧：若觉得“有”，它就有，就成为一个问题；若心中“没有”，那它就不成其为一个问题。

“ ‘谦逊’ 会影响艺术自主权吗？”

— 这要看“谦逊”这种品质是对自己的一个态度，还是对外在的一个态度？对自己的话，自知不足才能有进步空间，这对于任何艺术家来说都是一件好事。对外在的话，我觉得看环境和文化。西方社会通常只是把“谦逊”当成一种社交礼仪，而在自我推销时，并不害怕张扬自己的个性和展露自己的野心。在这种情形下，我甚至觉得适度的夸张和自我标榜也许是一件好事。

“ ‘谦逊’ 会影响我们引起轰动的感知能力吗？”

— 我个人理解这个问题，是不是想说由于亚裔社会传统文化的压制，我们习惯于压抑内心的欲望和漠视自我的真实感受？这会不会导致我们对“引起轰动”、 “吸引关注”、“成名成家”这些世俗欲望的迟钝甚至麻木？那应该会，被阉了嘛。当然“阉割”这种现象无处不在，那是另一个话题。

“草间弥生是例外，还是一个预示亚裔受欢迎趋势的女性先锋？”

— 在艺术上，我绝对认为她是她那个时代的先锋艺术家。她获得的认可与成就也来自于此。但单以凭 “女性亚裔艺术家” 的身份受欢迎与否而去定义她是否“女性先锋”的话，这应该算是对她的冒犯吧。至少同作为女性艺术家，我不会这样看她。

“作为女性艺术家，个人在心理层面又有什么必须要说的话？必须要做的事？帮助自己实现突破？”

— 那应该就是“爱与和平”吧。满足内心的女性情感，“爱与和平”永远都会是人类的心灵救赎。

最后，我完全同意你所说的 “ ‘突围’ 外在的限制要依托和创造很多机遇 ”，这一点我觉得女性艺术家不要心中有“女性”与“男性”之分，要勇于去拥抱“masculinity”。 而“突围”的内在则是你所说的“坚持，沉淀，迷醉，思考，不断实现突破，作更好的自己，更好的艺术，绽放最大的可能性！” 你已经总结得很好了，我不能同意更多。

I really like the various issues raised by the curator about the theme of “breaking through.” They are direct and sharp, and carry a sincere and plain desire to face them. These desires are actually no different from the desires of male artists. Since I am a woman, I am happy to answer these questions one by one as a “female artist.”

"Do we still face many historical and social obstacles described in Linda Nochlin's famous 1971 essay 'Why have there been no great women artists?' ” — I think that some of the problems described in that article still exist and will continue to exist for a long time, while other problems may have gradually disappeared today, at least become less prominent.

“Is the 'Asian problem' a problem or not? ” — I'll answer using Zen terminology: if you feel that it is a problem, then it is, and it becomes a problem; if you don't feel it, then it is not considered a problem.

"Will 'humility' affect artistic autonomy? ” — It depends on whether 'humility' is an attitude towards oneself or towards the outside world? Regarding oneself, knowing one's limitations can create room for improvement, which is beneficial for any artist. Regarding the outside world, I think it depends on the environment and culture. Western society usually regards 'humility' as a social etiquette, and is not afraid to show their personality and ambition when promoting themselves. In this case, I even think that moderate exaggeration and self-promotion may be a good thing.

"Will 'humility' affect our perception of what is sensational? ” — In my personal understanding of this issue, it means that due to the suppression of traditional Asian cultural norms, we are accustomed to suppressing our inner desires and ignoring real feelings. Will this lead to our dullness or even numbness towards worldly desires such as 'attracting attention,' and 'becoming famous' ? Then it is negative because we are castrated. Castration is ubiquitous, and that is another topic.

"Is Yayoi Kusama an exception or a pioneer of a trend that Asian women are becoming more popular in the art world?” — In terms of art, I definitely think that she was a pioneering artist of her time, and her recognition and achievements reflect this. However, if we define her as a 'female pioneer' based solely on her popularity as a female Asian artist, this would diminish her accomplishments. As a female artist myself, I do not see her in this way.

"As a female artist, what must be said or done on a psychological level to help oneself break through?” — I believe the key is to cultivate "love and peace" within oneself. By finding satisfaction in one's femininity and embracing a mindset of love and peace, we can bring redemption to our hearts.

Finally, I completely agree with what you said about breaking through external limitations by creating and seeking out many opportunities. In this regard, female artists should not view gender as a barrier, but rather embrace both femininity and masculinity. Internally, breaking through requires perseverance, devotion, thoughtfulness, absorption, and constant self-improvement in order to create better art and blossom to our fullest potential. You have expressed this sentiment well, and I could not agree with you more.

陈默是一位著名的画家、策展人和当代艺术家，工作和居住于美国芝加哥市。她的艺术灵感源于中国水墨山水画，并通过对画材和媒介的探索和突破，以及独具个性的抽象语言的运用，形成了她独有的鲜明艺术风格。在过去十年的艺术生涯中，她通过绘画、影像、VR虚拟现实装置、计算机算法自生成图像、人工智能、观念艺术等多种不同的艺术表现方式，创作了大量抽象又充满隐喻的“思维空间风景”。自2013年以来，她的作品在世界各地展出并受到收藏。同时，她还策划了多个在美国、欧洲和中国等地举办的有影响力的国际艺术展览。陈默拥有清华大学化学工程学士学位、康奈尔大学计算机科学硕士学位和芝加哥艺术学院绘画和素描艺术硕士学位。目前，她在芝加哥艺术学院任教，并与多个重要的国际艺术机构合作担任策展人、艺术总监和撰稿人。她在艺术和技术领域的专业知识以及对文化交流的热情，使她成为全球艺术界的宝贵贡献者。

Mo Chen (陈默) is an accomplished artist and curator who resides in Chicago. She draws inspiration from Chinese landscape paintings and creates abstract works that explore the metaphoric mindscape in various forms. Since 2013, her art has been exhibited and collected internationally. Chen has also curated numerous influential international exhibitions in the U.S, Europe, and China. Chen holds a Bachelor of Science degree in Chemical Engineering from Tsinghua University (清华大学), a Master of Engineering degree in Computer Science from Cornell University, and a Master of Fine Arts degree in Painting and Drawing from the School of the Art Institute of Chicago. Currently, Chen teaches at the Art Institute of Chicago and collaborates with several significant international art organizations as their chief curator, exhibition director, and writer. Her expertise in both art and technology, coupled with her passion for cultural exchange, have made her a valuable contributor to the global art community.

杜婕 （Jie Du)

2015.06.29--2015.07.24 宣纸水墨135*68cm

2015.06.29--2015.07.24 Ink on rice paper 135*68cm

最近几年，中国人曾经习以为常的和平稳定和经济发展离平民百姓越来越远，公权力对国人的管控方式几近非人化，绝大多数的中国人在清零政策和严厉封控下感受到人身自由受到了侵犯，个体生命在宏大的政治正确面前很难维护应有的尊严和安稳生存下去的必要条件。

随着惊心动魄的社会热点事件频发，平民控诉艰难，伸张无力，有关部门打压质疑的声音，在这样的氛围下，随处都能感受到恐慌焦虑的情绪。

2023年，疫情管控是放开了，然而，有很多人却永远失去了曾经的安定生活，曾经的健康，又或者是亲人的生命。

艺术创作使我身心安定，艺术创作让我和世界保持了距离，通过画作，我检查自己的内心，不要被外物所困，不要被外物所奴役，而要用自己的心去开创新局面，让自由的心牵引手中的画笔，融入到光明里，行进在笃定中，祈愿更多的生命沐浴着纯净的爱，愿世界终归于美好与和平。

In recent years, the peace, stability and economic development that Chinese people used to take for granted have become farther and farther away from the common people. Personal freedom has been violated, it is difficult for individuals to maintain their dignity and the necessary conditions to have stable lives. With the frequent occurrence of social conflicts, it is difficult for civilians to complain, and they are powerless, while relevant government departments suppress voices of doubt. In such an atmosphere, panic and anxiety can be felt everywhere.

In 2023, the epidemic control will be relaxed. However, many people have lost their stable life, their health, or the lives of their loved ones forever.

Art making gives me peace and stability physically and mentally. Art making keeps me at a distance from the world. Through painting, I investigate my heart, ensuring it's not trapped by external objects or lusts. I don't want to be enslaved by external objects, but rely on the purity of my heart to create a new situation. Let the free heart lead the paintbrush in your hand, blend into the light, walk in steadfastness, pray that more lives will be bathed in pure love, and wish the world will eventually be beautiful and peaceful.

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：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 Xiangyang, Hubei, in 1968, had studied physics before shifting her interests and dedication to the practice of painting. Du Jie has been the subject of solo exhibitions including,“No Place for Subjectivity to Stand” (2021), Ginkgo Space, Beijing;“Sixteen Cycles” (2018), Ginkgo Space, Beijing; “Until We Meet Again” (2008), Galerie Urs Meile, Beijing; “Thanksgiving Journey” (2004), Galerie Urs Meile, Lucern, Switzerland and etc. Her works have been the subjects of major group exhibitions in China and overseas, including, “I Prefer Life” (2016), Reydan Weiss Collection, Weserburg Museum für Moderne Kunst, Bremen, Germany; “Out of the Peony Pavilion – Chinese Contemporary Women Art Exhibition” (2016), The Russia Museum of Ethnology, St Petersburg, Russia; “Chinese Abstract Slow Art” (2012), Kunsthalle Recklinghausen, Recklinghausen, Germany; “Chinese Abstract Slow Art” (2011), Singer Laren Museum, Laren, Netherlands; “Ten Years of The White Rabbit” (2011), The White Rabbit Museum, Sydney, Australia; “Mahjong: Contemporary Chinese Art From the Sigg Collection”, Kunstmuseum, Bern, Switzerland; “Prayer Beads and Brush Strokes” (2003), Beijing Tokyo Art Project, Beijing, China. Du Jie’s works have been acquired by renowned private and public collections including：Foundation Olbricht Berlin, Collection Reydan Weiss, The UBS Collection, White Rabbit Collection, Sammlung Goetz Collection, The Uli Sigg Collection and The Fu Ruide Collection.

何雨 （Yu He)

手工纸上马克笔 Marker in Paper;

尺寸 Dimension： 38 * 56 cm; 创作年代Year: 2023

保持工作状态，在有限条件下持续地探索生命。 谦卑地， 创造性源泉流经自身， 让献给世界的作品纯粹、天真、喜悦。 勤奋地工作，日复一日，如是而已，这过程和果实就是给自身和世界的祝福。

"Keep it going, keep discovering life under restricted conditions. Keep the flow of creative energy passing through oneself humbly, and keep the works that I offer to the world pure, innocent and joyous. Get my work done in a very diligent way, that is a blessing to myself and to the world. "

何雨，艺术创作者，创作领域涵盖绘画、行为、影像、表演及诗歌。

HE Yu is a contemporary artist with practice wide in performance, video, photography, physical theater and painting.

黄敏 （Min Huang)

无题系列三 440x316厘米， 布面油彩 2020年

Untitled #3, 440x316cm，oil on canvas, 2020

大疫三年，也是价值观撕裂和动荡的三年，我相信我们每一个人都经历了身体、心理的压力和焦虑、甚至绝望。2022年底在人们不断的抗议声中让之前缺乏科学层出不穷的封控和核酸戛然而止，并伴随着很大的代价，虽然如此，希望是真正的结束，身心俱疲的人们实在是折腾不起了；大部分老百姓都希望早日恢复正常工作和生活。今天是雨水的节气，北京的天气依然寒冷。面对每天的各种信息，社会方方面面的各种下滑、温水煮青蛙让人们不知不觉中也一道被迫裹挟。作家索尓仁尼琴说“世界正在被厚颜无耻的信念淹没，那信念就是，权力无所不能，正义一无所成。”我个人也一直在悲哀、痛心；忧虑中，同时也思考着自己未来的创作方向。怎么样重新抖擞精神，从各种迷茫困局中“突围”。

that each and every one of us has experienced physical and psychological stress, anxiety, and even despair. By the end of 2022, in the face of constant protests, the previous blocking and nucleic acid, which lacked science and emerged endlessly, came to an abrupt end, accompanied by a great cost. Nevertheless, I hope it is the real end. Most people hope to resume normal work and life as soon as possible. Today is the solar term of rain, the weather in Beijing is still cold. In the face of all kinds of information every day, all kinds of social aspects of the slide, boiling the frog let people unconsciously also forced to. The writer Solzhenitsyn said, "The world is drowning in the brazen belief that power is omnipotent and justice is nothing." I personally have been sad, sad; At the same time, I also thought about my future direction of creation. How to shake off the spirit again, "break through" from all kinds of confused predicament.

黄敏，1975年生于四川通江 ，1994– 1998 ，四川美术学院油画系本科毕业，获学士学位 。2003 – 2006年，中央美术学院油画系三画室研究生毕业，获硕士学位。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”。 ”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。”

——杜曦云

Huang Min, born in Tongjiang, Sichuan Province in 1975, graduated from oil Painting Department of Sichuan Fine Arts Institute with a bachelor's degree from 1994 to 1998. From 2003 to 2006, he graduated from the Oil Painting Department of the Central Academy of Fine Arts with a master's degree. In 1998, he won the first prize of undergraduate works 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 graduate works 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 "Popular Award" of the third Nanjing International Art Exhibition. In her paintings, Huang Min not only thinks about China as a whole, but also makes specific observations on a specific region. Her works focus on the living situation and desires of ordinary people in China. The subject matter will change gradually, but she is more and more conscious to find problems from the perspective of contemporary civil rights, and expresses them with simple, simple and powerful imagery. The work is strong and powerful. Formal language and materials are rich and varied." -- Du Xiyun

花花 (Hana Jiang)

Contemplating 看 Screaming; 布面丙烯,170 x 130 cm,2023

突围，我的理解即突破 – 突破重围。对艺术家来说，突破总是顶顶重要的。历史也正因为那些醒人叠更的突破而生成。艺术家们从来就被自己欲突破的试图而苦闷、而挣扎、而煎熬。女性艺术家们更是在这一系列苦痛中再加上一层被忽视、被打压、甚至被蔑视的困轧，于是她们呐喊、她们抗挣、她们爆发，激烈地甚至血腥地通过艺术表达她们的感受、她们的情绪。过往的烟云，曾经的沧海。对于我来说，我觉得自己像是个中性的画者。我更愿意闭上眼睛，自然地、随意地、“以柔克刚” 地表达和阐述自己对世界对万物的感受。平等在不平等之中，反之亦然。作为男人，梵高也是终身遭受不待见。但他始终是他自己，执着而又单纯，画着世人看不懂也不喜欢的画。最终有一天，人们发现他是一位超越时代的突破者，然而，人们多因他的境遇顿生悲怜，而非因他超越时代的画作而感动。难道不是吗？

Breakthroughs, as far as my understanding, are always of the utmost importance for artist; art history has been written because of those sobering breakthroughs. Artists have often been depressed, struggling, and suffering from their attempts to break through. Female artists historically suffered more for being neglected, suppressed, and even being scorned, thus they cried out aloud struggling and flighting fiercely to break out; they express sometimes brutally their feelings through their art, liberate their emotions. For those who have experienced the vast sea, small stream and pond won’t seem attractive to them. I feel like I am a gender-neutral painter; I paint with my eyes closed; however, I follow my feelings about the world, and I believe "rigidity could be overcome with softness". Equality lies within inequality, and it is true for all genders. Van Gogh suffered from lifelong being ignored, however, he just persistently be himself and kept painting that nobody in world understand and appreciate. Today, people recognized him as a one of the greatest breakings through artist beyond his time. However, I wonder if people are pitied more by his plight than moved by his time transcended paintings. Doesn’t it?

尽管我获有芝加哥艺术学院美术学士的学位，我不认为上艺校能造就艺术家。作为艺术家，我没有目标，也没有计划，更不绞尽脑汁地去想构图、画的内容或细节。 当我看着白色的画布时，上面会浮现出很多形像，我开始用笔去勾画，它们便慢慢生长，直到充满画布。

Although I earned a BFA degree from The School of The Art Institute of Chicago, I don't think schooling is necessary for an artist. As an artist, I have no goals, no plans, no racking my brains to think about composition, content, or any details, etc. When I look at a plain canvas, many creatures and figures will emerge on it. I just start to draw with a brush, gradually they appear, and slowly grow, until they fill the canvas.

黄引 （Yin Huang)

《菜板上的大卫》 旧菜板 丙烯 成品搁件 幕布等综合材料 尺寸可变, 2022

David on the Cutting Board, old cutting board, acrylic, finished product shelf, curtain and other mixed materials, dimensions variable, 2022

在这个作品中我在使用过的菜板上作画，菜板作为充满生活琐碎事物质感的一个载体，总能使人联想到在上面施展的女性形象，我将菜板的一部分涂抹上绘画底料遮蔽和覆盖了上面的细碎刀痕，底料上我绘制了大卫的局部，这层底料像是分化形而上下的一层隔离，却能把菜板与大卫原本毫不搭界的两种事物毫不违和的并置为一体，画好大卫的菜板被我放置在古典繁琐而优雅的搁件上，后置上如舞台般的幕布背景，至此，简陋的菜板和经典的大卫以及隆重的背景形成一种有趣的关系，相互突破又各自成全而成就了一种新的秩序。

In this work, I painted on used cutting boards, which refer to a carrier full of the texture of mundane life and can always evoke images of women. I covered some of the fine knife marks with a coat of primer, on which I painted parts of David’s body. This primer coat is like metaphysical isolation, yet unifies the cutting board and David, two things that have nothing to do with each other, in a harmonious way. I placed the finished paintings on separate elegant shelves, against a curtain-like background, to set up a stage. At this point, the crude cutting boards, the classic David images, and the grand background form an interesting relationship, where they break restrictions and complement each other, eventually achieving a new order.

黄引（Huang Yin）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 Province now 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 Water was awarded the Excellent Work in “Into the New Century—the Exhibition of Oil Paintings by Young Chinese Artists", and another work Spring Comes and Goes won 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 are found 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. With her creative ability and humorous creative language, she has used well-known fairy tales and 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, and fall into a deep reflection.

李心沫 （Xinmo Li)

《吻》，摄影，100x150cm，2022

Kiss, photography, 100x150cm, 2022

人从出生开始，便开启了其社会化的过程。从语言文化，到日常行为，社会意识就进入人们的意识。并且逐渐沉淀成为潜意识。人是被社会塑造的，并且成为社会的一部分，人们是在无意识的状态下接受社会观念的。

而性别的观念就是这一社会观念的一部分。这也是社会性别的由来。人被框定在一种分明的性别模式当中，人们认为女性是应该具有女性特质的，而男性也是具有男性特质的。两种属性截然不同，对于女性是母职期待，对于男性则是社会期待。而那些不符合性别模式的男人女人则被排斥。了解社会的这一运行规律，并且能够分离出来审视世界以及自我，就会理解每个个体的遭遇都是因为这个并不合理的认知结构导致的。文化，艺术最重要的是要清楚这个社会的运行规律，并且抵御社会意识对自我的影响和塑造。

People start their socialization process from birth. From language and culture to daily behavior, social consciousness enters people's consciousness. And gradually precipitated into the subconscious. People are shaped by society and become a part of society. People accept social concepts unconsciously.

The concept of gender is part of this social concept. This is also the origin of gender. People are framed in a clear gender model. People think that women should have female characteristics, while men have male characteristics. The two attributes are quite different. For women, the expectation is their role to be a mother while for men, it is their social roles. Men and women who do not conform to the gender model are excluded. Understanding this law of social operation, and being able to separate and examine the world and self, will understand that each individual's experience is caused by this unreasonable cognitive structure. The most important thing for culture and art is to understand the operation law of this society and resist the influence and shaping of social consciousness on self.

李心沫是艺术家、批评家、策展人，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。

LiXinmo, artist, critics, curator,was born in1976 in Yilan, Heilongjiang province, China. She graduated from Tianjin Academy of Fine Arts with a MA degree in2008 and is now based in Beijing. 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 the Toronto Biennial, China Europe International Arts Biennial of Prague, etc. Her works are collected by "Östasiatiska Museet" (in Sweden), and collectors from Britain, Germany, Switzerland, Singapore, etc. She was also given a special artist honor by UNWomen. She has published articles in art journals like National Arts, Oriental Art Master, etc.

李卉 (Hui Li)

笔・画

Brush・drawing

作为一名插画师和绘本作家，我的突围更多的致力在绘本故事创作上。作为在美国生活的第一代移民作者，我拥有许多本土作者难以体会的经历。这些经历有些很有趣，而有些则时刻提醒我们没有一个社会是完美的，但至少我们可以朝着让社会更好运作的方向努力。因此，我的绘本故事创作集中在展现“亚裔声音”的方面。尤其是在后COVID时代，许多曾经看似和谐的场景被击破，人与人之间的对立和种族之间的对立愈加凸显。因此，我希望能将我的视角所看到的世界和亚洲文化展示给读者，特别是小读者们。通过我的作品，我希望能让亚裔孩子们更自信地面对和理解自己的身份，同时也让更多来自不同种族、不同背景的读者从不同的视角去观察生活，以更好地融合和促进多元的文化。

As a children's book author-illustrator, my primary goal is to make breakthroughs in creating stories that will capture the imaginations of young readers. As a first-generation immigrant author living in the United States, I have experiences that many local authors may not be able to relate to. Some of these experiences are interesting, while others remind us that no society is perfect, but at least we can strive towards making it work better. Therefore, my children's book stories focus on showcasing the "Asian voice," especially in the post-COVID era where many seemingly harmonious scenes have been disrupted and the divisions between people and races have become more pronounced. I hope to share my perspective on the world and Asian culture with readers, especially young readers. Through my work, I hope to help Asian children become more confident in understanding and embracing their own identity, while also allowing readers from different races and backgrounds to observe life from different perspectives, promoting the integration and development of diverse cultures.

李卉是一位绘制儿童图画书作家和插画师，热衷于用亚洲的声音讲述故事。她曾在芝加哥大学学习，用画笔解决问题和探索意义是她的日常习惯。卉曾多次和美国和中国的众多出版商和杂志合作，展示了她独特的插画风格。她的作品以其创造力和真实性而广受认可，尤其是在捕捉第一代移民经历方面。她致力于分享在美国的亚裔和其他未代表群体的故事和观点，利用她的图画书突出他们独特的经历和挑战。卉的下一本作者和插画师绘本《卷轴》将于2023年9月由在童书界享有盛誉的Little, Brown出版社出版。

Hui Li is an author-illustrator of children's picture books who has a passion for telling stories with an Asian voice. She studied at the University of Chicago, solving and creating meanings with pencils and brushes is her daily ritual. Hui has worked with a variety of publishers and magazines in both the United States and China, showcasing her versatile and unique artistic style. Her work has been recognized for its creativity and authenticity, particularly in the way it captures the experiences of first-generation immigrants. She is deeply committed to sharing the stories and perspectives of Asian Americans and other underrepresented groups, using her picture books to highlight their unique experiences and challenges. Hui's next author-illustrator picture book, "Scroll," is set to be published by Little, Brown and Company in September, 2023.

马鸣 (Ming Ma)

《无界》系列，材料：布面丙烯，尺寸：160cmx40cmx6cm，年代：2022年

Boundless series, acrylic on canvas; 160cmx40cmx6cm; 2022

世界本是一个完整的世界，万物是一体的，但因为人类的局限和贪婪，把世界划分的四分五裂，支离破碎，导致战争，冲突，纷争，暴力，犯罪，仇恨，伤害，痛苦，分离，矛盾，恐惧！如果没有界限，当世界万物相连融为一体，不再分割，一切的矛盾，纷争，伤害，恐惧，苦难，都消失了！世界将彻底的宁静，安祥，无限，永恒！人类将获得真正的自由与幸福！

The world was a complete world originally, and all things are one, but because of human limitations and greed, the world is now divided and fragmented, resulting in wars, conflicts, strife, violence, crime, hatred, injury, pain, separation, contradictions, fear! If there is no boundary, when everything in the world is connected and integrated, and no longer divided, all contradictions, disputes, injuries, fears, and sufferings will disappear! The world will be completely quiet, serene, infinite and eternal! Human beings will gain real freedom and happiness!

马鸣，生于山东，艺术家，现居北京。曾就读中央美院，参加过多个国内国际艺术展。1999年当代油画展，北京。2008中韩女性艺术家邀请展。2015年世界和平艺术大展（巴黎）。2017年国际女性双年展（澳门）。西班牙东方意象主题展（西班牙）。2019年《跨境》威尼斯双年展平行展。

Ming Ma, born in Shandong, is an artist and currently lives in Beijing. She studied at the Central Academy of Fine Arts and participated in many national and international art exhibitions. 1999 Contemporary Oil Painting Exhibition, Beijing. 2008 Invitational Exhibition of Chinese and Korean Female Artists. 2015 World Peace Art Exhibition (Paris). 2017 International Women's Biennale (Macao). Spanish Oriental Image Theme Exhibition (Spain) . 2019 "Cross Border" Venice Biennale Parallel Exhibition.

蒋贞蕾 （Zelene Jiang Schlosberg)

《势》，帆布，亚克力，线，51x76x2厘米，2023

Vantage, canvas, acrylic, thread,20x30x0.75inches/51x76x2cm, 2023

去年冬天，我在迈阿密艺术周的博览会阅览了无数的艺术品，但我的思绪回到了我在那里看到的人身上；那些优雅的各个年龄段的精英们像天鹅般穿梭于画廊的展位。很少有向公众开放的活动能聚集如此多的“人生赢家” 来访，他们若无其事地穿着定制西装，女士拎着高级时装包。艺术绑在资本的轮子上，严格来说不是坏事，但作为艺术家，也不能太当真。

在奔向展会咖啡馆的途中，我发现自己站在洛杉矶一家高端房地产公司的创始人杰森·奥本海姆 (Jason Oppenheim) 面前，他是律师，也是明星。纪录他和他的经纪人伙伴们洛杉矶售卖奢华房产的真人秀《销售日落Selling Sunset》已热播5季，讲述百分之0.1上流人群的行为举止。在节目中，杰森被描绘成一个钻石单身汉总裁，而现在他就在“现实生活”中，站在他的国际超模女友旁边。我的行为一反常态，我冲动地向他大喊“嗨”，他以我认为是真诚、友好的微笑回应。这种无聊的互动无关紧要，除了它揭示了在布尔乔亚高雅文化框架下艺术家和收藏人的角色。在那个框架下，有一套关于应该消费什么，以及看什么和什么值得看的精细话语。因为天时地利人和的偶然因素，一些艺术作品受到追宠——或不受青睐。由于艺术不能脱离资本主义，因此当下的问题便是，可消耗的资本主要在男性的口袋里。

男性凝视的背后是权力。改变的第一步是挑战、协商和颠覆凝视。不满足于仅仅做在画布上被看的女性，我决定审视艺术史、世界、男性和他们的权力工具。只有博览群书和独立思考，我们才能开始了解男性凝视的力量；了解之后，我们或许就能改变它的动力，和资本的流向。作品《势》是一个墙上装置，仿文艺复兴时期祭坛画为三联画的形式，由三块有两层的帆布组成。色块、带圆的尖三角形、和带有触角的男性人体和女性人体剪影组成了富于节奏的空间。人体挑衅的姿势和空洞的大眼睛向观众提出有关后现代艺术文化、性别角色以及权力和资本潮流的问题。

I experienced a myriad of artworks at Miami’s fairs this past winter, but my thoughts return to the people I saw there; those elegant elites of all ages swanning through gallery booths. Rarely do events open to the public generate such a concentration of “life’s winners” nonchalantly outfitted in bespoke suits and haute couture bags. Art is tied to the wheels of capital, which is not strictly a bad thing, but as an artist, you must also not take it too seriously. On a run to the fair’s café, I found myself in front of Jason Oppenheim, the founder of a high-end real estate firm in Los Angeles who stars in Netflix’s “Selling Sunset” reality TV show about the antics of the 0.1 percent. On the show, Jason is portrayed as a most eligible bachelor, and there he was in “real life,” standing next to his international supermodel girlfriend. In behavior uncharacteristic of me, I impulsively shouted “hi” to him and he responded with what I interpreted as a sincere, friendly smile. Nothing about this frivolous interaction mattered, except for what it revealed about the roles of artists and patrons under the framework of bourgeois high culture. There is a set of fine-grained discourse on what should be consumed, as well as what to see and what is worth seeing. Some works of art are favored—or not favored—due to the serendipitous collision of place and people. Since art cannot be divorced from capitalism, the issue at hand is where expendable capital mostly resides: in the pockets of men.

Behind the male gaze is power. The first step towards change is to challenge, negotiate, and subvert the gaze. No longer content with just being a woman who is seen on the canvas, I decided to look at art history, the world, men, and their instruments of power. Only after reading expansively can we begin to understand the power of the male gaze, and after understanding it, we may be able to alter its dynamic and change the flow of capital. My work Vantage is an attempt to do so. Vantage is a wall installation consisting of three double-layered canvases—recalling triptych altarpieces from the Renaissance. I utilize color blocks, rounded pointed triangles, and male and female silhouettes with tentacles to form a rhythmic space. Their provocative poses and big empty eyes interrogate the viewer with questions about post-modern art culture, gender roles, and currents of power and capital.

蒋贞蕾出生于中国湖南永州，现居芝加哥，因其大胆的融合绘画和雕塑的艺术创作方式而受到赞誉。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，包括美国周氏兄弟艺术中心、亚洲艺术研究所、韩国CICA美术馆和英国皇家雕塑家协会。她的作品“方向 #0” 是作曲家约翰利伯瑞特（John Liberatore） 2018 年发行的 CD 专辑“线画Line Drawings”（奥尔巴尼唱片公司）的封面。她是当代古典新音乐的爱好者，经常与知名的前卫音乐家合作，这些音乐家了收藏她的作品，在几个美术馆收藏之外。蒋贞蕾是2021年和2022年迈阿密艺术博览会，以及2022年2023年洛杉矶艺术博览会的参展艺术家。蒋贞蕾硕士毕业于北京师范大学。

Zelene Jiang Schlosberg is a Chinese American artist living and working in Chicago who has been hailed for her bold approach to art-making that has resonances in both painting and sculpture. Solo exhibitions include Chinese American Arts Council Gallery (NYC), North Central College (IL), University of Illinois at Chicago, East Central College (MO) and Woldt Gallery London. She has also participated in numerous group shows, including Chicago Sculpture International, The Research House for Asian Art, Zhoub Art Center, CICA Art Museum Korea and The Royal British Society of Sculptors. Her painting “Directions #0” was featured on the cover of composer John Liberatore's 2018 debut CD album, "Line Drawings” (Albany Records). Her works can also be seen in Artist Talk Magazine (UK), Studio Visit (US), Art Market Magazine (Israel), World Journal (US) and Tsing Tao Daily (US). An enthusiastic lover of contemporary classical new music, she frequently collaborates with notable avant-garde musicians, who also collect her work, in addition to several museums. She was a multi-year participant at Context Art Miami and Los Angeles Art Show (2021-23), represented by Fabrik Projects Gallery.

金楠稀 （Nanxi Jin)

《逃跑计划》Escape plan

我对女性的最初印象来自于我的母亲。她个头不高，但是能一手提一袋米回家。她工资不高，但却有艺术家和家庭主妇两份工作。她要求不高，只希望她孩子能健康快乐。 直到我独自一人生活，做了和她一样的工作，才理解了母亲。 泥土在我看来是一个女性化的材料，它包含各种复杂的养分，滋养孕育生命。同时是它是一个矛盾的材料，在不同阶段的属性是两极化的。它像水一般柔软包容，也像山一般坚韧执着。

My first impressions of women came from my mother. She was not very tall but could carry a bag of rice home in one hand. She was not well paid but had two jobs as an artist and a housewife. She didn't ask for much; she just wanted her children to be healthy and happy. I started to understand my mother once I lived alone and did the same job as she did. Clay is a feminine material that contains all kinds of complex nutrients that nourish and nurture life. At the same time, it is a contradictory material with polarized properties at different stages. It is soft and tolerant like water but tough and persistent like mountains

金楠稀，现于芝加哥。2020年毕业美国纽约州阿尔弗雷德大学陶瓷学院艺术与设计专业获美术学士。2022年研究生毕业芝加哥艺术学院获陶艺专业硕士学位。期间获学院激励奖学金、Ox-Bow奖学金、 Lillstreet Art Center BIPOC奖学金、2022“石湾杯”青年陶瓷大赛一等奖、第十二届中国陶瓷艺术大展银奖。

Nanxi Jin is an interdisciplinary artist who works with clay. She currently lives and works in Chicago. She obtained a BFA in Art & Design from New York State College of Ceramics at Alfred University in 2020. She graduated from the School of Art Institute of Chicago in the summer of 2022. She received the Academy Incentive Scholarship, Ox-Bow Scholarship, Lillstreet Art Center BIPOC Scholarship, First Prize in the 2022 "Shiwan Cup" Youth Ceramics Competition, and Silver Medal of the 12th Chinese Ceramic Art Exhibition.

诗蓝（Li Chevalier）

大地艺术装置 《海市蜃楼》拉丝铝材摄影 2020年

Land Art Installation <Mirage > Photography over brushed aluminum 2020

2023年，了解艺术领域的性别不平等已成为世纪之急！何不更进一步，揭露亚裔艺术家在世界艺坛上的可叹处境，她/他们悲惨地承受着这两种不平等的重压，一种是肤色，一种是性别！康奈尔大学的 Kulkofsky 和 ​​Qi Wang 进行的跨文化研究表明，虽然西方人始终表现出自我提升的倾向，但东方人往往表现出自我贬低的倾向。在西方思维中，谦​​虚被认为是一种社会交流工具，而相反，在东亚，它被视为一种个人和道德美德。这种社会和文化的压抑部分地解释了亚裔女性艺术家在竞争激烈的世界中的影子地位：她们平和、沉默寡言，或者可以说，透明而无形，偶尔会因为她们温和而愉悦的微笑而被忽视或欣赏。今天，在艺术世界的每一个角落，我们亚裔女性艺术家的代表性和价值仍然被严重低估。从今天开始大声说话怎么样？展示你的才华，你的品味，你的个人价值，你的竞争精神怎么样！不如联合起来，打破内外枷锁！除了你自己，没有人会救你。这是对艺术家的呼吁，也是对博物馆、画廊和拍卖行策展人的呼吁。如果您是女性，请立即伸出您的双手或加入我们的行列！

In 2023, learning about gender inequity in the arts has already becoming the century urgency! How about going further, throwing some light over the shameful situation of Asian artist in the world, who bears miserably the weight of these two inequities, that of color, that of gender! A cross culture study by Kulkofsky and Qi Wang from Cornell University, have shown that while Westerners consistently show a self-enhancement bias, Easterners tend to show a bias toward selfeffacement. In Western thinking, modesty is considered a socio-communicative tool while In contrast, it is, in Eastern Asia, perceived as a personal and moral virtue . Such a social and cultural inhibition explain partially Asian artist women’s status of a shadow in a highly competitive world: they are peaceful, taciturn, or lets say it, transparent and invisible, made to be ignored or appreciated occasionally for their mild and pleasing smile. Today, in every corner of the art world, we, Asian woman artist are still dramatically underrepresented and undervalued. How about speaking loudly from today? How about showing your brilliance, your flavor, your individual value, your spirit of competition! How about united together and break the internal and external chain! Nobody will save you except yourself. This is a call for artists but also for museums, galleries, and auction houses curators. If you a woman, do reach out your hands or join us right now to Break out!

诗 蓝，法籍华裔艺术家1961生。 英国中央圣马丁美术与设计学院硕士 。法国索帮大学哲学博士前学位 。主要展览: 法国尼斯亚洲艺术博物馆 2022， 法国玛格纳艺术基金收藏展 2022，意大利锡纳市立 美术馆 2019，意大利罗马当代美术馆 2017， 联合国巴黎总部艺术与和平艺术展 2016，法国波尔多潜艇当代艺术馆 2014，中国国家大剧院 2013，中国国家图书馆谢阁兰纪念展 2012，上海美术馆 2012，中国美术馆 2011，今日美术馆 2010， 英国皇家艺术馆 2007，卡塔尔国家艺术馆 2004 等。 2014 年获法国国立艺术家协会与法国视觉艺术家与作家协会装置作品头等奖 。 艺术博览会包括: 法国波尔多艺术与设计沙龙 2022，伦敦亚洲艺术沙龙 2020，荷兰 TEFAF 2020，纽约 TEFAF2020，美国迈阿密巴塞尔艺博会 2019，香港典雅艺博 2019，台北艺术博览会 2019， 艺术巴黎 2017 至 2021，卢森堡艺术博览会 2018，日内瓦艺术沙龙 2016，台湾水墨双年展 2012， 英国格拉斯哥艺术博览会 2007，上海艺术博览会 2008，伦敦艺术博览会 2007等。 主攻布面实验水墨与多媒体装置。

Li Chevalier Chinese born French artist, graduated from London Central Saint Martin’s College of Art and Design (Pg dip Fine Arts), Sorbonne University (Pre-PhD diplomat in Philosophy) ; Major works in experimental Ink Painting and multimedia installation. Major museum exhibitions : Asian Art Museum Nice France 2022/ / Bernard Magrez Art Fund Collection Bordeaux France 2022 / Museum Complex Siena Italy 2019 / Contemporary Art Museum Rome (Macro) 2017 / Unesco Paris France 2016 /Contemporary Art Centre Submarine Base Bordeaux France 2014 / National Opera of China 2013 / National Library of China 2012/ Shanghai Art Museum 2011/ National Art Museum of China 2010/ Today Art Museum Beijing2010 / Royal Academy of the Arts Summer Exhibition 2007/ Qatar Al Bida National Gallery .2004 Major Art Salon: Bordeaux Art & Design 2022/ Asian Art London 2020/ Tefaf Maastricht 2020/M/ Tefaf New York 2021/ Art Basel Miami 2019/ Master Piece Pavilion, Fine Art Hongkong 2019/ 2019 Taipei Contemporary Art Fairs 2019/ Luxembourg Art Week 2018 / Geneva Fine Art 2016 / 2007 Glasgow Art Fair 2007/ London Fine Art UK 2007 / Art Paris 2017-2021/ Ink Biennale Taipei 2012.

陶艾民 （Amy Tao)

《女书》水墨装置+录像 "Nv Shu" ink installation + video

材料：线装书、旧搓衣板、灰色展柜 Materials: thread-bound books, old washboards, gray showcases,

录像：由不同年龄的女性的手搓洗衣服的镜头剪缉组成。（3：20）Video: Comprised of footage of women of various ages washing their clothes with their hands. (3:20)

《女书》八角的摆放形式来源于江永女书的一种书写样式，一篇文字中心部位常常手绘一个八角形花卉图案，这种形式在文字史上是绝无仅有的。图案本身是具有神秘文化色彩（附图）

   “八角花”图案实际来源于八卦图案。它体现了吉祥文化色彩，也有明显的地域文化色彩，也带有女红文化色彩。而花本身也隐喻和象征着女性！

女书拓片采用的方法是用传统拓碑的方式制作的，每一页拓片所呈现的斑驳的痕迹，与远古时代的书法石刻所显示的在时间的磨砺下历史沧桑变化的视觉语言不径相同。它把日常生活用品——搓衣板印在每一张书页上。它所呈现的是一种岁月流逝过程中遗留下的印迹，如书写般反复的搓洗形成了各种抽象而丰富的“文字”。它不同于一般的文字，这是一种关于生命的语言，需要我们用心灵去阅读。

批注部分的书写，采用世界上现存的唯一的女性文字——江永女书。它起源于湖南江永，是女性之间传承的一种神秘符号，字体呈菱形，刚硬倾斜，暗藏锐气，灵感来源于日常生活符号体系的启示。她们把文字作为抗争命运的工具，通过同性间的交流，倾诉，表达，得到心灵的解脱，书写出自由的灵魂，创造了一个独特而隐秘的女性世界。体现了女性独立的生命精神和顽强的生存意识。

《女书》作品以一种独特的方式叙述女人的历史，具有东方女性的特质。这是女性文化的象征！当这样的文字在逐渐消逝或被现代文明替代之前，它们不会就此终结。《女书》所具有的无以伦比的精神力量和人性之美，将不断照耀人类的历史。

The arrangement of the octagons in "Nvshu" comes from a writing style of Jiangyong's Nvshu. An octagonal flower pattern is often hand-painted in the center of a text. This form is unique in the history of writing. The pattern itself is mysterious and cultural (with photos)

The "octagonal flower" pattern actually comes from the eight trigrams pattern. It embodies the auspicious cultural color, also has obvious regional cultural color, and also has female red cultural color. And the flower itself is also a metaphor and a symbol of women!

Nvshu rubbings are made in the traditional way of stele rubbings. The mottled traces on each page of the rubbings are different from the visual language of the vicissitudes of history shown by the calligraphy and stone inscriptions of ancient times. . It prints the daily necessities - the washboard - on every page. What it presents is a kind of imprint left over from the passage of time, and various abstract and rich "words" are formed by repeated rubbing and washing like writing. It is different from ordinary words, it is a language about life, we need to read it with our hearts.

The annotations are written in Jiangyong Nushu, the only existing female script in the world. It originated in Jiangyong, Hunan Province. It is a mysterious symbol passed down between women. The font is diamond-shaped, rigid and inclined, with hidden vigor. The inspiration comes from the enlightenment of the symbol system of daily life. They use words as a tool to fight against fate, through communication, confidance, and expression between the same sex, they get spiritual relief, write free souls, and create a unique and secret female world. It embodies the independent life spirit and tenacious consciousness of survival of women.

The works of "Nv Shu" narrate the history of women in a unique way, which has the characteristics of oriental women. This is a symbol of feminine culture! When such writings fade away or are replaced by modern civilization, they will not end there. The unparalleled spiritual power and human beauty of "Nv Shu" will continue to illuminate the history of mankind.

陶艾民，1974年生于湖南，现居北京。中国当代女艺术家。主要作品涉及绘画、书法、拓印、影像、装置等多个门类。她怀着感同身受的情怀和人类学者的好奇去观察农村妇女的生活，用一种意味深长的沉默，为她们默默无闻，随时可能被历史忘却的生命代言。

她曾荣获2006年“中国当代艺术文献展”新人奖；吴作人国际美术基金会萧淑芳艺术提名奖（2008年），以及“艺术中国”年度艺术家装置多媒体类提名（2009年）。30年选30件，入选中国当代艺术最具影响力30件装置作品之一（2016年）。陶艾民的作品曾于国内外众多博物馆、画廊及艺术机构展出，其中包括：香港大馆当代美术馆（2021年）， 德国首都柏林美术馆（2020年），意大利米兰世博会KIP国际馆（2015年），北京墨斋画廊（2014年），土耳其伊斯坦布尔米马尔希南艺术大学（2013年），北京中华世纪坛当代艺术馆（2011、2006及2005年），美国费城卓克索大学美术馆（2011年），北京中国美术馆（2009年），北京今日美术馆（2008及2010年），台湾台中国立台湾美术馆（2009年），第四届成都双年展（2009年），美国纽约Sepia International画廊（2007年），美国休斯敦Deborah Colton画廊（2007年），以及丹麦奥尔堡北日德兰艺术馆（2005年）等。

Tao Aimin (b. 1974 in Hunan) graduated from the Fine Arts Department of National Huaqiao University, Fujian in 1999. She approaches the lives of rural Chinese women with a combination of empathy and anthropological curiosity, giving voice to their unexpressed and undocumented experiences, which are increasingly at risk of being forgotten. Incorporating found objects, painting, calligraphy, printmaking, video, and installation, Tao’s works move fluently between elite and popular culture and between the languages of traditional and contemporary art.

Tao Aimin has exhibited in EGG Gallery, Beijing (2017), Dayuntang Art Museum, Beijing (2016), Red Gate Gallery (2016), the KIP International School Pavilion of the World EXPO in Milan (2015), INK Studio, Beijing (2014), Mimar Sinan Fine Arts University, Istanbul (2013), World Art Museum of China Millennium Monument, Beijing (2005, 2006, 2011), Leonard Pearlstein Gallery, Drexel University, Philadelphia (2011), National Art Museum of China, Beijing (2009), Today Art Museum, Beijing (2008, 2010), National Taiwan Museum of Fine Arts, Taichung (2009), the Fourth Chengdu Biennale (2009), Wuhan Art Museum (2009), Sepia International Gallery, New York (2007), the Deborah Colton Gallery, Houston (2007), as well as the North Jutland Art Museum, Aalborg, Danmark (2005). She has received a Newcomer Award of the 2006 Chinese Contemporary Art Document Exhibition, a nomination for the Xiao Shufang Award from the Wu Zuoren International Art Foundation, and a nomination as Artist of the Year in the Installation and Multimedia category in Art China (2009). Her works has been chosen as one of the most influential installation artworks in the past thirty years in contemporary China, “30 Works for 30 Years” (2016).

唐梦 ( Meng Elizabeth Tang)

《后疫情時代》尺寸：50x70cm 数字绘画，2023年

Post epidemic era Size: 50x70cm digital painting， 2023

新冠病毒改变了世界，也改变了我们每个人，这个世界再也回不到疫情以前了。面对后疫情时代，我们每个人别无有选择…

The Covid virus has altered the world and each of us, and the world will never be the same as it was prior to the pandemic; we have no control over it.

唐夢,艺术家，生于中国。唐夢先后获得北京电影学院摄影系电影学士学位( BFA)，美国纽约大学文学艺术硕士学位(MA)，和美国明尼苏达大学获艺术 创作硕士学位(MFA)。她曾任教于北京电影学院摄影系，现任美国明尼苏达大 学艺术系讲师。她个人多年跨文化的生活经历给了她丰富的创作灵感。作为一 个艺术家，她的创作领域包括电影，影像装置，摄影，雕塑和行为艺术等。她 的作品多年来被选入国内和国际的许多展览并被美国和亚洲等地的专业收藏家和美术馆所收藏。近年来，她还在美中两地策划了很多艺术展览和文化活动。 唐夢现已出版了一本翻译著作，发表了多篇关于当代艺术的文章。2011年唐梦 被美国《明尼苏达月刊》评选为“最值得关注的艺术家”之一。美国独立艺术杂志《雨的士》在2011年发表长篇专文介绍她的艺术实践。唐夢目前任国 际女艺术家协会副会长。

Meng Tang, artist was born and raised in Tianjin, P.R. China. She earned Bachelor of Fine Arts and Master of Arts degrees from Beijing Film Academy, a Master’s degree in Media Art at NYU, and a Master of Fine Arts degree in New Media Arts at the University of Minnesota. She had serve on faculty at the Beijing Film Academy for years. As a lecture, she teaches at Department of Art, the University of Minnesota.

Her life has given her extensive experience in dealing with the cultural differences that inspire much of her work. As an artist, she works in many different media – including film, video installation, photography, sculpture, and performance art. Her work has been exhibited nationally and internationally and collected by many
private collectors in the U.S. and Asia. She has curate many exhibitions and organized numbers events in China and in the United States in recent years; and she has published one translated book and many articles about contemporary art as well. In 2011, she was named “Artist to Watch” by Minnesota Monthly, and was featured in a lengthy article on Rain Taxi Magazine. She is currently vice-president of International Association of Female Artist.

魏琳 (Lin Wei)

《好像带珍珠项链的女孩》布面油畫， 尺寸：45.72厘米 x 60.98厘米, 2019年

"Like a Girl with a Pearl Necklace", oil on canvas, size: 45.72cm x 60.98cm, 2019

走在天空和大地之间，走在爱和恨，和平与战争之间，走在漫长宇宙中属于自己的这短暂的瞬间，很想知道存在的真正原因和目的，很想知道做人，做女人，做亚洲女人的正确方式。

梦里我看到了成群结队的人们用不同的语言在争斗、叫骂着，我犹豫着加入哪边，结果已记不清了…

醒来后，我立刻把自己画进了美术史备课用的维米尔《戴珍珠耳环的少女》肖像里，直接改名为《好像带珍珠项链的女孩》。这不是要挑战荷兰黄金时代的伟大作品， 而是要宣告和肯定亚洲女性在这片欧洲化土地上的存在。

让绘画展示我们的疑惑、争论、理想、及不卑不亢地突破现实的力量。

I walk between the sky and the earth, between love and hate, between peace and war, in this short moment of my own in this long universe. I want to know the real reason and purpose of existence, I want to know the correct way to be a human being, to be a woman, and to be an Asian woman in this new world.

Once, in a dream, I saw groups of people shouting in different languages and fighting. I ran around trying to pick a side, but I don’t remember what side I picked.

After waking up, I hurriedly drew myself into the face of a famous Dutch masterpiece that I was about to lecture on. The painting was Vermeer's Girl with a Pearl Earring. I bluntly named my version Like a Girl with a Pearl Earring. This was not to challenge the great works of the Dutch Golden Age, but to declare and affirm the arrival and the presence of this Asian women in the walls and halls of this Europeanized land.

Let our painting show our doubts, arguments, ideals, and the power to break through barriers.

魏琳（Lin Wei）美籍华人画家，1958年生于山东潍坊。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、中美国际学校等院校客座讲学，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, a Chinese-American painter, was born in Weifang, Shandong in 1958. She is currently the head teacher at Asian Arts School in San Francisco, USA. She studied oil painting at Qufu Normal University, Capital Normal University, and the Central Academy of Fine Arts. She also taught at Qufu Normal University and Shandong Art Institute.

In 1993, she was invited to give guest lectures on various aspects of Chinese art at Mills Women's College in Oakland, California, The University of California, Davis, City College of San Francisco, San Francisco State University, and the China-American International School. Since then, Lin Wei has held many solo and joint exhibitions. Her major works include the Author's Works series, the Journey series, the Ages of Beauty series, the After Greatness series, and more.

王晓蓉 (Xiaorong Wang)

《时间的秩序》布面综合材质，80x100cm，2022年

"The Order of Time" mixed media on canvas, 80x100cm, 2022

用撕扯过的纸片层层折起覆盖，使原本轻薄柔软的纸张厚重起来，在重重叠叠的边界留下了燃烧过的或实或虚的线条。它们时而相聚时而分离，时而忧虑时而决绝，如暗流一般在画面中涌动，使不同物质的堆砌、叠加。

在或柔和、或性感、或忧伤、或冷漠的气氛包裹下的疼痛感，仍然在感官上不断发酵。那层层遮掩的撕裂的灼伤，在虚幻中生长着、舞动着、扩散着——让人不免由心底冉冉升起孤寂而悲凉的情愫……女性对于疼痛的经验多来自于生活中的阅历——对情感的依赖夹杂着恐惧和不安，但仍旧是欲罢而不能。我无意强调女权，仅仅从自我内心出发，去感知，去触摸，去品味。生命无疑是脆弱的，那么精神的坚韧，如何能够削减肉身的痛苦？这也许就是“爱与生的苦恼“吧！

The torn paper is folded and covered layer by layer, making the original light and soft paper thicker, leaving burnt or solid or imaginary lines on the overlapping borders. They sometimes meet and sometimes separate, sometimes worry and sometimes break up, like an undercurrent surging in the picture, making different substances pile up and superimpose.

The pain wrapped in a soft, sexy, sad, or indifferent atmosphere is still constantly fermenting in the senses. The tearing burns covered by layers are growing, dancing, and spreading in the illusion - people can't help feeling lonely and sad from the bottom of their hearts... Women's experience of pain mostly comes from their life experiences ——The dependence on emotion is mixed with fear and anxiety, but it is still unable to stop. I have no intention of emphasizing women's rights, I just start from my heart to perceive, touch and taste. Life is undoubtedly fragile, so how can mental toughness reduce physical pain? This may be the "distress of love and life"!

王晓蓉 中国陕西人 ， 毕业于西安美院 。陕西省美协会员，纽约哈德逊美术家协会会员，世界和平艺术家联盟会员。 在北京798、宋庄、陕西、南京等地举办多场个展。主要展览有：2019年：艺术北京博览会(北京全国农业展览馆）。 AAF Art Fair 伦敦艺博展（Journey to the East Art 画廊）。2018年: “纽约国际艺术博览会 ”( 纽约 ）。 AAF Battersea 伦敦当代艺博展 （英国Journey to the East Art 画廊)。 2017年：ALAF 第六届韩中日国际美术家大展 (日本下关美术馆 ) 。 “开启未来”2017首届国际艺术家巡展 ( 韩国釜山、首尔 ) 。2016年 约翰.莫尔绘画奖（上海民生现代美术馆）。

Xiaorong Wang was born in Shaanxi, China and graduated from Xi'an Academy of Fine Arts. She is a member of Shaanxi Provincial Artists Association, New York Hudson Artists Association and World Peace Artists Union. Wang held many solo exhibitions in Beijing 798, Songzhuang, Shaanxi, Nanjing and other places. The main exhibitions are: 2019: Art Beijing Expo (Beijing National Agricultural Exhibition Hall). AAF Art Fair London (Journey to the East Art gallery). 2018: "New York International Art Fair" (New York). AAF Battersea London Contemporary Art Fair (Journey to the East Art Gallery, UK). 2017: ALAF 6th Korea-China-Japan International Artists Exhibition (Shimonoseki Art Museum, Japan). "Opening the Future" 2017 First International Artist Tour Exhibition (Busan, Seoul, South Korea). 2016 John Moores Painting Award (Shanghai Minsheng Art Museum).

谢雯 (Wen Xie)

《我的身体里早已大雪纷飞》 70cmx42cm 绢本设色 2021年

"It's already snowing heavily in my body" 70cmx42cm silk color 2021

“为什么没有伟大的女性艺术家？”这里的“伟大”是谁来定义？对于女性来说，我们却经常能听到“伟大的母亲”、“伟大的母爱”以及“伟大的女性”，这里的“伟大”又是谁来定义？一旦女性在行行业业里足够优秀，就会被尊称为“先生”，那么，我们真的需要“伟大的女性艺术家”吗？或者说，男权文化下会出现“伟大的女性艺术家”吗？“艺术家”这个身份，一定要分性别吗？那么，你听过“男性艺术家”、“男艺术家”、“男画家”或者“美男画家”这样的词汇吗？

在这里，我故意抛出一堆问题，其实我知道答案，一直以来，在行行业业，女性占据的位置不到5%，世界范围内的针对女性的性别歧视、就业歧视以及种族歧视屡见不鲜且通常是叠加的。在历史、男权文化传统、社会习俗、资源分配倾斜以及厌女思维遍布的重重围困下，女性艺术家若想突围，谈何容易。而我不想再说丧气话了，我改变不了这个世界的时候，能做的只有先改变自己，让自己，成为一个更好的自己。

"Why is there no great female artist?" Who defines the "greatness" here? For women, we can often hear "great mothers", "great mother love" and "great women". Who defines the "great" here? Once women are excellent enough in the industry, they will be respected as "sir", then, do we really need "great female artist"? In other words, will "great female artists" appear under a patriarchal culture? Is the identity of "artist" divided into gender? So, have you heard the words such as "male artist", "male artist", "male painter" or "beautiful male painter"?

Here, I deliberately throw a bunch of questions. In fact, I know the answer. For a long time, in the industry industry, women occupy less than 5%. Usually superimposed. Under the siege of history, patriarchal culture tradition, social customs, resource allocation, and feminine thinking, it is easy for female artists to talk about it if they want to break through. And I don't want to say it anymore. When I can't change this world, all I can do is to change myself first, let myself, and become a better self.

谢雯，艺术家、诗人、摄影人。1979年12月生于中国黑龙江省牡丹江市，2010年毕业于吉林大学艺术学院国画系，美术学硕士研究生。曾任美术报“鉴藏”版责任编辑，现在工作生活于杭州。

多篇学术论文和艺术作品发表于《美术报》《中国画画刊》《湖州日報》《理论学术研究》《青年文学家》等期刊杂志。其作品多次参加全国性展览、省级展览以及上拍于中国嘉德、西泠印社拍卖。女性主义主题的展览有“断链”艺术行动，“我们在一起”和“解锁皴”当代艺术展。

现为浙江画院中国工笔画研究所创作员，浙江省美术家协会会员，华人女性主义艺术家协会会员、北京工笔重彩画会会员。

Wen Xie , artist, poet, photographer. Born in Mudanjiang, Heilongjiang, China in December 1979, she graduated from the Chinese Painting Department of the Art College of Jilin University in 2010 with a master's degree. She used to be the editor-in-charge of the China Art Weekly, and now lives and works in Hangzhou.

Many academic papers and works of art have been published in such journals and magazines as "China Art Weekly", “Journal of Chinese Painting","Huzhou Daily", "Theoretical Academic Research" and "Young Writers". His works have participated in many national exhibitions, provincial exhibitions and auctions at China Guardian and Xiling Seal Art Society Auction. Feminist-themed exhibitions include the "Broken Chain" Art Action , “We are in This Together"and the "Unlock Crack" Contemporary Art Exhibition.

Sunny Wu

我的灵感来自早晨的阳光，感觉就像白色的小鹿斑点，旧货店的 Bonne Maman 果酱罐和彩色玻璃器皿，寒冷的夜晚亲人的手挤压，以及不同结构的织物与肉体的结合。我想沉浸在细节中。我会把我的作品描述为亲密的、感性的、生动的、有趣的和丰富多彩的。女性，尤其是像我这样具有东亚特征的女性，通常是我插图中的焦点。她们既诱人又充满力量，想穿什么就穿什么的时尚感和随心所欲的态度体现了女性在现代世界中应有的形象。毫无歉意的，原创的，多方面的。我对美丽的热爱激发了我的创作欲望，有时是不被注意或不被爱的事物，尤其是在简单的日常生活中。

I am inspired by the morning sunlight that feels like white fawn spots, Bonne Maman jam jars and colored glassware from thrift stores, a hand squeeze from a loved one on a chilly night, and the varying structures of fabrics laced against flesh. I want to drown in the details. I would describe my works as intimate, sensual, graphic, playful, and colorful. Women, especially ones with East Asian features like myself, are usually the focal point in my illustrations. Their seductive, yet empowering, wear-what-you-want fashion sense and do-what-you-like attitudes embody the persona of how women should be in modern world. Unapologetic, original, multifaceted. My desire to create is energized by my love for the beautiful, sometimes the unnoticed or unloved, especially in simple everyday life.

Sunny Wu 在美国加利福尼亚州出生和长大。她在纽约市视觉艺术学院取得了艺术学士学位。目前，她正在英国普利茅斯艺术大学攻读硕士学位。 Sunny 是一名插画师，客户来自《Buzzfeed》、《VICE》 和《纽约杂志》等。她在油管有一个@sunnykabocha 频道，以视频博客的形式分享她的艺术学校生活。

Sunny Wu is born and raised in United States California. She went to School of Visual Arts in New York City for her BFA Illustration. Currently, she is pursuing her MA Illustration in England at Arts University Plymouth. Sunny is a freelance illustrator, with clients from Buzzfeed, VICE, and New York Magazine. She also has a Youtube channel under @sunnykabocha where she shares her art school life in vlog forms.

徐冰 (Bing Xu)

“潮汐-4”综合材料，50+70cm，2022年

Tide-4 ，mixed media，50+70cm，2022

随着疫情发生，这几年世界变化太快了，国内国际都发生着几近疯狂的和令人震惊痛苦的事情。从关注社会人权和女性本体的角度来看，很多问题都需要深刻思考和直面对待的勇气。

没有岁月静好，没有十里桃花，有那么多的不平那么多的痛苦那么多的遗憾！《潮汐》是我彼时和此时的心情反射。

我发现有些内容非具像比具像有更大更多让人想象的空间……

With the outbreak of the pandemic, the world has changed too fast in the past few years. Crazy, shocking and painful things have happened both domestically and internationally. From the perspective of human rights and women's ontology, many issues require deep thinking and the courage to face them directly.

There is no peaceful time, no peach blossoms of 10 miles. There are so many injustices, so many pains, so many regrets! The work of Tides is a reflection of my mood then and now.

I found that some non-figurative content has more room for imagination than figurative content...

徐冰/教授/艺术家/策展人, 现居北京/黄山/石家庄/海南工作室

近十几年致力于研究和推动国内当代女性艺术的发展和启蒙。策划组织了十数次中大型艺术展览如：“凝视/2015中国当代女性艺术双年展”、“合相门/2017当代中国油画延伸展”、“春醒-2017中国女画家作品展”、“绽放/2022年中国当代女性艺术家邀请展”、“地缘/2019-国际当代女性艺术展览”、“品格2022/京畿春季油画展”等大型活动。

在国内制作个人艺术家专题BTV节目数次。数十次参加国内和国际大型展览和交流活动并获奖。

2009年参加《华北地道战》油画作品制作：“国家重大历史题材美术创作工程展览”和“国家重大历史题材美术作品创作工程—文献展”。

出版和在专业核心期刊发表论文和美术作品数十次。作品被国内外机构个人收藏和拍卖。

自1985年至今致力创作以女性为题材的作品如：“红潮系列”“天使系列”“浮世记系列”“孔雀系列”“金瓶梅系列”作品等。

Xu Bing/professor/artist/curator, currently living in Beijing/Huangshan/Shijiazhuang/Hainan Studio

In the past ten years, she has devoted herself to researching and promoting the development and enlightenment of contemporary art by female artists in China. Planning and organizing more than over 10 medium and large-scale art exhibitions, such as: "Gaze/2015 Chinese Women Contemporary art Biennale", "Hexiangmen/2017 Contemporary Chinese Oil Painting Extension Exhibition", "Spring Awakening-2017 Chinese Female Painters Exhibition", Large-scale events such as "Blooming/2022 Chinese Contemporary Female Artists Invitational Exhibition", "Geosphere/2019-International Contemporary Female Artists Exhibition", "Character 2022/ Gyeonggi Spring Oil Painting Exhibition". Xu produced several BTV programs for individual artists in China. Participated in dozens of domestic and international large-scale exhibitions and art exchange activities and won awards. In 2009, participated in the production of oil paintings of "North China Tunnel Warfare", "National Major Historical Themes Art Creation Project-Exhibition" and "National Major Historical Themes Art Creation Project- Documentation Exhibition". Xu published dozens of papers and art works in professional core journals. The works have been collected and auctioned by domestic and foreign institutions. Since 1985, Xu has devoted himself to creating female-themed art works such as: "Red Tide Series", "Angel Series", "Ukiyoji Series", "Peacock Series", "Jin Ping Mei Series" and so on.

许越 (Yue Xu)

通风系统研究 No.1, 2020 聚苯乙烯，风扇，塑料，尼龙布，气球

Ventilation System Study No. 01, 2020, plastic sheets, household fans, balloon, mixed materials

https://vimeo.com/557341152 点击查看全视频。Click for full video

我在决定前往美国深造艺术前和我一名男性艺术家朋友聊天。当他听到我要继续做艺术的时，他给我这样的反馈，“女性做艺术家是很辛苦的。”我疑惑地反问道，难道身为男性艺术家就不辛苦吗？他的回答道，“女性艺术家除了做艺术，还要照顾孩子和家庭，男性艺术家就不需要考虑这么多。“ 这段对话时常会浮现在在我的脑海里，在21世纪，无论是社会还是我所处的环境，女性身上还是继续被迫套上太多理所应当的责任和不合理的预想和期待。在这次展览里，我的作品通风管道研究No.1, 2020,是一个关于系统机制的隐喻，试图呼吁人门关注即使在不同体量的权力结构下相似性和普遍性的存在。也希望可以给予另一个角度，解构社会系统，从而有机会冲破“突围”，打破社会给予女性的枷锁。

I talked to a male artist friend before deciding to go to the US to study art. When he heard that I would continue to make art, he gave me this feedback, "It is very hard for a woman to be an artist." I asked suspiciously, isn't it hard for a male artist? He replied, "In addition to making art, female artists also have to take care of their children and families. Male artists don't need to consider these." This dialogue often comes to my mind. In the 21st century, whether it is society or In the environment I live in, women continue to be forced to have too many responsibilities and unreasonable expectations. Ventilation System Study No.1, 2020 is a metaphor about the system mechanism, trying to call people's attention to the existence of similarity and universality even under power structures of different sizes. I also hope that it can give another perspective and deconstruct the social system, so as to have the opportunity to break out the walls and break the shackles that society places on women.

许越1995年出生于中国广州，现居芝加哥。2021年毕业于芝加哥艺术学院的艺术硕士学位，2018年毕业于中国广州美术学版画学士学位。她是一位多媒介艺术家，策展人，她的作品以雕塑、充气装置、绘画和艺术书作为媒介来指向构建日常生活看不见的或被视为理所当然的力量。曾在美国伊利诺伊州芝加哥的The Plan画廊(2023)、6018|North空间 (2023)、Mayfield空间(2022)、Chicago Art Department 画廊(2021)、芝加哥建筑双年展（2021）Terriain双年展(2021)、芝加哥Mana Contemporary(2021)、062画廊(2020)、Comfort station空间（2020）；中国广东美术馆（2017）、新造当代艺术中心（2016）展出。近期获得了芝加哥艺术联盟（CAC）的 SPARK资助。

Yue Xu(b.1995) was born and raised in Guangzhou, China, and currently based in Chicago. Xu earned her MFA from the School of Art Institute of Chicago in 2021, and her BFA from Guangzhou Academy of Fine Art, China. Xu is a multimedia artist and curator who works with video installation, inflatable, drawings, and artists’ books to point toward to the forces—invisible or taken for granted—that structure our everyday lives. Her work has been shown at Mayfield (2022), Chicago Art Department (2021), Chicago Architecture Biennial (2021), Terrain Biennial (2021), Mana Contemporary (2021), 062 (2020), Comfort station (2020), Chicago, IL, USA; Guangdong Museum of Art (2017), Xinzao Contemporary Art Center (2016), Guangdong, China. Xu recently received the Spark Grant of the Chicago Artist Coalition.

许静宇 (Jingyu Xu)

女人，46" 行为艺术视频，2020

Woman，46" performance video, 2020

https://www.jingyuxu.com/copy-of-sculpture?pgid=laylh9sj-745330ec-f733-4e73-a4af-25cf902b348f 点击查看全视频。Click for full video

我对文字，特别是汉字和书写体系有浓厚的兴趣。

汉字是为记录汉语而发明的语素[1]文字也是独有的一种指示会意文字体系。汉字的发展历史大约是这样的：在文字发明前，原始人类使用了结绳、刻契、图画的方法辅助记事，后来用特征图形来简化、取代图画。当图形符号简化到一定程度，并形成与语言的特定对应时，原始文字就形成了。

简单理解，汉字是图形的简化。现在，我用“简化的图形”重新组成图形和图像。这就是我最近在探索的课题。

这样，汉字来源于图像，我又让它回归到图像中去。

注解：

[1] : 语素（morpheme）可定义为语言中最小的有意义单位，或者说语言中最小的语音语义结合体（声音和意思的结合体）。

I have a strong interest in characters, especially Chinese characters and writing systems.

Chinese characters are morphemes invented to record the Chinese language[1] and are also a unique ideographic writing system. The history of the development of Chinese characters is roughly like this: before the invention of characters, primitive humans used the methods of knotting ropes, engravings, and pictures to assist in note-taking, and later used characteristic graphics to simplify and replace pictures. When the graphic symbols are simplified to a certain extent and form a specific correspondence with the language, the original text is formed.

Simple understanding, Chinese characters are the simplification of graphics. Now, I use "simplified graphics" to recompose graphics and images. This is what I've been exploring recently.

In this way, Chinese characters come from the image, and I let it return to the image.

Annotation:

[1] : Morpheme (morpheme) can be defined as the smallest meaningful unit in language, or the smallest phonetic-semantic combination (combination of sound and meaning ) in language.

许静宇(Jingyu Xu)是一位多媒介艺术家。她的主要创作领域是雕塑、绘画、影像和装置艺术。

许静宇1981年出⽣于中国山东。⽬前⼯作⽣活在中国北京和美国南佛罗里达。2004年获山东工艺美术学院雕塑专业学⼠学位，并留校任教于2012年。法国里昂国立高等美术学院访问学者（2007-2008）。她的作品曾展览于国内外的重要艺术机构，包括中国美术馆（2004）、今日美术馆（2012）、上海美术馆（2004）、上海民生美术馆（2012）、上海喜马拉雅美术馆（2021）、广州大剧院（2016）、巴黎大皇宫（2017）、中国驻法国大使馆（2008）等。她的影像作品曾荣获美国第一届雅歌文艺奖佳作奖 （2020）、设计作品获中国第十届全国美术作品展铜奖（2004）。

Jingyu Xu is a multi-media artist. Her main areas of practice are sculpture, painting, video and installation art.

Jingyu Xu was born in Shandong, China in 1981. Currently working and living in Beijing, China and South Florida, USA. In 2004, she received her bachelor's degree in sculpture from Shandong University of Art and Design . From 2004 to 2012, she taught at the School of Modern Handcraft at Shandong University of Art and Design. She went to the Ecole Nationale des Beaux-Arts de Lyon, where she was a visiting scholar(2007-2008). Her works have been exhibited in important art institutions in China and abroad, including the National Art Museum of China (2004), Today Art Museum (2012), Shanghai Art Museum (2004), Shanghai Minsheng Art Museum (2012), Shanghai Himalayas Art Museum (2021), Guangzhou Grand Theater (2016), Grand Palais (2017), Ambassade de la République Populaire de Chine en République Française (2008), etc. In 2020, her short film won the Outstanding Work Award at the 1st Yage Literary and Art Awards in the United States. And In 2004, Her Design Works have won the Bronze Award at the 10th National Fine Art Exhibition of China.

严隐鸿 (Yinhong Yan)

*鸿磨坊*系列之三《肉色问号》

“Hong’s Moulin Rouge” Series 3: The Question Mark of Meat Color

直径232cm 2023 (油彩综合材料)

严隐鸿：女性具有一种可以孕育和创造生命的非凡性，自古以来连接人类本性里的神性与兽性，以及性别基因对社会命运的影响始终关系着我的创作方向，因而性别身份在作品中自然地沁透。《鸿磨坊》系列作品中矛盾荒诞的气质，与严肃性交织在一起，构成了我作品的整体面貌——类比一个华丽而悲怆的世界。“用自己的名字‘鸿’与‘歌舞厅’联系在一起，在虚拟的视觉叙事中，将具有性别特征符号的现成品玩物镶嵌于作品中，戏谑地导出一个沉重的主题：女性身体是被消费的对象。”引述佟玉洁《中国女性主义艺术》

Yan Yinhong: Women have an extraordinary nature that can breed and create life. Since ancient times, the connection between divinity and animality in human nature, and the influence of gender genes on social destiny have always been related to my creative direction. Therefore, gender identity naturally permeates in the works. The contradictory and absurd temperament in the series of “Hong’s Moulin Rouge ", woven with seriousness, constitutes the overall appearance of my works - an analogy to a gorgeous and pathetic world. "With her own name 'Hong' and 'Song and Dance Hall', in the virtual visual narrative, the ready-made toys with gender characteristics are embedded in the works, and a heavy theme is playfully derived: female body is the object of consumption." Tong Yujie's "Chinese Feminist Art" is quoted

严隐鸿,出生于浙江。1989年毕业于中国美术学院，现居北京。八十年代学生时期即在中国美术馆举办个展。九十年代初加盟圆明园艺术家村。她的创作游刃于水墨、油画、装置、行为、影像、戏剧之间。以自然人的存在方式体味人生。用似我与非我的触角，切入当下社会。

Born in Zhejiang. Yan Yinhong graduated from China Academy of Art. Living in Beijing. During the 1980s as a student, she held a solo exhibition at the National Art Museum of China. She has involved in the well-known Yuanmingyuan artists group in early 1990s. Her works involve ink painting, oil painting, installation art, performance, video and drama. She savors life in the way of natural person's existence, The works reflect social problems with the feelings of self and non self experience.

杨柳 (Liu Yang)

星河02，物影摄影，2021年

Galaxy 02,Photography，2021

一直困惑我的问题就是宇宙里到底有没有外星文明，他们到底在哪里，我不知道这辈子能不能得到答案，但我已经开始了我的想象与创作之旅。关于我想要描绘的外星世界，我希望继续通过物影摄影来创作和表达，我沉迷于那一部分不可控的不确定性带来的新鲜感。一年来我的生活环境发生了很大的改变，创作过程变得更复杂，成本更高，但我已经搭建好了工作室，准备好了在暗房里继续探索光、物体、相纸之间各种有趣的可能性，希望自己在新的艺术语境中突围。

The question that has always puzzled me is whether there are alien civilizations in the universe and where they are. I don't know if I can get the answer before I die, but I have already started my journey of imagination and creation in art. Regarding the alien world I want to depict, I hope to continue to create and express it through photogram. I am addicted to the freshness brought by the uncontrollable uncertainty. Over the past year, my living environment has undergone great changes, and the creative process has become more complicated and costly, but I have set up a studio and am ready to continue exploring the interesting possibilities of various aspects of light, objects, and photographic paper in the darkroom. Hoping to break out in a new artistic context.

杨柳 1976年出生，1998年哈尔滨工业大学毕业。2017年开始探索无相机摄影，创作超现实摄影作品，梦的三部曲《梦境》《植梦》《另一个星球》。现工作生活在美国。《梦境》发表在2020年9月《中国摄影家》杂志；2020年9月平遥摄影节十佳优秀作品奖；2020年12月 钟南山银盐馆《温存的颗粒－摄影百年原作群展》；2021年3月 798映画廊《聚合》；2021年《植梦》第28届全国摄影艺术展；2021年12月《非此非彼》群展， SEE＋画廊；2022年9月《另一个星球》个展，美国皮奥里亚

Liu Yang was born in 1976 and currently lives and works in the United States. She graduated from Harbin Institute of Technology in 1998. In 2017, she began to explore camera-less photography, and created surreal photogram works<The trilogy of dreams>: "Dream", "Dream Inception" and "Another Planet". Spet. 2022, Another Planet, solo exhibition, Peoria Art Guild, USA；Dec. 2021, Neither-Nor, SEE+ Gallery China；Dream Inception, shortlisted in 28th China National Photography Exhibition Contest；Mar.2021 Aggregation Exhibition, 798 Ying Photo Gallery, China； Dec. 2020, “Gentle Particles- A hundred Years Photography Original Works Show” , Zhongnanshan Silver Salt Gallery, China；Sept. 2020, 20th Pingyao International Photography Festival. China Ten Excellent Works Awards；Sept.2020, DREAM works were published in Chinese Photographers Magazine.

张容 (Rong Zhang)

爱神维纳斯 布面油画 90x60cm 2021

Venus, God of Love, oil on canvas 90x60cm 2021

去年参加过“时间的突围” 这么一个展览，在疫情的不确定中期盼着突围出当时的困境。其实回望自己这么多年来不是一直都处在突围的境遇之中么？

现代的女艺术家不乏非凡伟大的人物，她们对艺术的理解与创新让人耳目一新。不管是 Agnes Martin 的平静神秘还是Joan Mitchell的狂野奔放，我都沉醉其中。但我知道我要找的是什么，我最想发出的声音是什么。何为伟大？艺术何为？面对这样宏大的话题，我们有自己的思考，我们有自己最想说出来的话。坚韧是我看到的身边不少女艺术家的特质，她们的勇气与韧性往往让男性汗颜，现实的艺术生活状态塑造了她们，她们也为现代艺术增添了光彩！

Last year, I participated in such an exhibition as "Breakout of Time", and looked forward to breaking out of the predicament at that time amidst the uncertainty of the pandemic. In fact, looking back at myself for so many years, haven't I always been in the situation of breaking through?

Modern female artists have many extraordinary and great figures, and their understanding and innovation of art are refreshing. Whether it's the quiet mystery of Agnes Martin or the wildness of Joan Mitchell, I'm obsessed with it. But I know what I'm looking for, what sound I most want to make. What is great? What is art for? Faced with such a grand topic, we have our own thinking and what we want to say most. Toughness is the characteristic of many female artists I see around me. Their courage and tenacity often make men ashamed. The real art life has shaped them, and they have also added luster to modern art!

张容：四川省绵阳市人，2003年本科毕业于四川美术学院；2015年至2018年就读于首都师范大学美术学院表现性工作室，获艺术硕士学位；参展经历：2021年12月 “2021：时间的突围”20位艺术家作品展 千年时间画廊　北京；2021年11月 “她力量”天趣全球女性当代艺术线上展；2019年9月“视觉进行时”2019北京国际设计周设计之旅专题邀请展 千年时间画廊　北京；2018年7月 “开敞”表现性绘画作品展 北京798艺术区悦美术馆；2018年2月 大连中山美术馆年度馆藏油画作品展 大连 中山美术馆；2017年4月 “沧海迷境” 三人作品展 共同艺术中心 北京

Rong Zhang, born in Mianyang City, Sichuan Province, graduated from Sichuan Academy of Fine Arts in 2003; from 2015 to 2018, She studied in Expressive Oil Painting at Duan Zhengqu Studio of Academy of Fine Arts of Capital Normal University and got MFA. Exhibitions include: December 2021 "2021: Breakthrough of Time" Exhibition of 20 Artists Works of Millennium Time Gallery Beijing; November 2021 "Her Power" Tianqu Global Women's Contemporary Art Online Exhibition; September 2019 "Visual Progressive Time" "2019 Beijing International Design Week Design Tour Thematic Invitational Exhibition Millennium Time Gallery Beijing; July 2018 "Open" Expressive Painting Exhibition Beijing 798 Art District Yue Art Museum; February 2018 Dalian Zhongshan Art Museum Annual Collection Oil Paintings Exhibition in Zhongshan Art Museum, Dalian; April 2017 "The Lost Land of the Sea" three-person work exhibition, Common Art Center, Beijing

周巧云 (Qiaoyun Zhou)

《浓雾1201》，86cmX65cm，纸本水墨， 2022年

Dense Fog 1201 86cmX65cm Ink on paper 2022

在一段较长时间脱离现有环境之后又重新回到当前的环境中，有一个重新适应的过程，对政治经济、精神信仰、文化伦理、审美意识等各个领域都有深浅不同的视觉切换，带来不同价值观和意义生发的重新认识，再以更宏观的视野来审视并拓展自己的艺术体系。似乎是在获得越来越多的自由，但同时也在面对一个比以往任何时候都要更为复杂的现实环境，对原有的创作形式，视觉符号，观念语言，媒介材质等诸多方面都有一个重新审视的过程。这个重新认知和重新审视的过程也是自身在艺术创造和艺术思想上突围的过程，在突围中探索自我与外界限制的和解。

After leaving the current environment for a long time and returning back, there is a process of re-adaptation. With the perspective changes in my view for Political economy, spiritual belief, cultural ethics, aesthetic consciousness and other fields, I have gained a new understanding of the values ​​and meanings, which then helped me to examine and expand my own art system from a more macro perspective. I have gained more freedom, but at the same time, I am facing a reality that is more complex than ever, there is a process of re-examining the original creative form, visual symbols, conceptual language, media materials and many other aspects. This process of re-cognition and re-examination is also a process of breaking through in

artistic creation and artistic thinking, a process of exploring the reconciliation between self and external restrictions in the environment.

周巧云，出生于中国湖南，任教于中国中南大学建筑与艺术学院，定居长沙。她的作品在中国、美国、日本、泰国等多个画廊和博物馆展出，以及获得多个美术馆的收藏和众多私人收藏。曾策划过国际女性艺术展，作为驻地艺术家于2018年在第八届富山国际当代艺术展期间驻留日本半个月，2019年在北京上苑艺术馆驻留半年，2021年12月-2023年1月访学美国纽约州立大学。

Qiaoyun Zhou was born in Hunan, China and is now on faculty at the School of Architecture and Art, Central South University of China. Zhou works and lives in Changsha, China. Zhou's works have been exhibited in many galleries and museums in China, the United States, Japan, Thailand, etc., and have been collected by many art museums and many private collections. She also curated the International Women's Art Exhibitions, and gained fellowships to stay in Japan for half a month as a resident artist during the 8th Toyama International Contemporary Art Exhibition in 2018, and as residential artist in Beijing Shangyuan Art Museum for half a year in 2019; from December 2021 to January 2023 she was the visiting scholar at the State University of New York.

周發宜 (Faye Zhou)

黑点#1，2023

Black Dots No1, 2023

突围只是脱离，而非一劳永逸，因此，请先蓄备突围后得以安身立命的条件，让你可以持续自转，能量不灭。请趁早挤进突围的机会缺口，在还富有能量时，与其他高能量体交互，迸发热烈的效应。请觅得一新天地，创造你的舒适围圈，不需一再突围了。往下扎根，往上跃眺。

作为「艺术家」尝试以图像阐述「突围」，直面课题依旧是作为「女性」的生命身分。此次以几何图形作为叙事符号：以天圆地方表示华人社会系统，大至表天下，小至表立家；小圆表示最接近生命核心的亲族；黑圆点代表脑波中的忧郁。

成品显示突围的幻象，离开被压缩的环境，换得孤身的自由；只是分离了圈子，仍是权力失衡的对比。或许要找到随遇而安的智慧，等待桎喾的凋零。

Breaking out is simply an act of breaking away, with no guarantee of happy ending once and for all. Therefore, please prepare the conditions for you to settle down after breaking out, so that you can continue to evolve instead of being exhausted. Please squeeze into the door of opportunities to break out as early as possible, in order to interact with other high-energy bodies while you are still full of energy, and collectively to create a sizzling effect. Please find a new territory and build your own comfort circle upon which. This is for you to stay away from the repetitive pattern to break out again and again. Now, you can root down and look up.

Dealing the subject "breaking out" as an "artist", I present an image mapping of my own biological identity as a "female". In this work, geometric figures are used as narrative symbols: the square canvas and big round circle represent the earth and sky, an symbolic metaphor for Chinese social system, either as big as the society or as small as the family; small circles represent the family members who are supposed to be the most intimate part of life; black dots represent the melancholy readings in the brain waves.

The finished work reveals the illusional optimism after breaking out, even leaving the compressed environment, but what in exchange is the lonesome freedom; it is only the separation away from the troubling circle, which is still a comparison of power imbalance. Perhaps the best resolution is to pick up the missing wisdom to live with the humble situation and patiently wait for the withering of what forced you to pursue breaking out.

周發宜是X 世代，生长于中国台北，主要创作媒材为沉浸式交互多媒体展、数字影像制作、工笔花鸟水墨等。团队多媒体作品曾荣获德国 iF 设计建筑空间大奖、摄影及绘画作品获选收录于美国艺术书籍、画作曾于台北、美国纽约、丹佛、意大利罗马、德国柏林、日本东京、沙迦、中国杭州、湖州、温州、潮州、台州等地展出。周發宜是纽约大学Tisch 艺术学院互动新媒体硕士和台湾大学外文系学士。周發宜曾于纽约艺术生联盟，帕森斯设计学院，视觉艺术学院SVA、杭州中国美院继续教育学院水墨花鸟高研班进修。

Faye Zhou is a member of Generation X who grew up in Taipei, China. Her main creative media are immersive interactive multimedia exhibitions, digital image productions, meticulous flower and bird ink painting, etc. Her team's multimedia work has won the German iF Design Award in Architecture Space Category; her photography and drawing works have been selected into art books published in the USA, and her paintings have been exhibited in Taipei, New York, Denver, Rome, Italy, Berlin, Tokyo, Sharjah, Hangzhou, Huzhou, Wenzhou, Chaozhou, Taizhou and other places. Faye Zhou holds a master's degree in interactive media from the Tisch School of the Arts at New York University and a bachelor's degree in foreign languages & literatures from National Taiwan University. Faye Zhou also attended programs in the Art Students League of New York, Parsons School of Design, School of Visual Arts, and Certificate Program of Ink Flower and Bird at the School of Continuing Education of China Academy of Art in Hangzhou.

周平 (Ping Zhou)

作品《食・浮》 布面油画，木质食器 和纸 2023年作

"Food・Floating", oil painting on canvas, wooden food utensils and paper, in 2023

《食》系列是我面对每日盘中餐时，不时会产生的各种幻想，亦或是错觉，甚至是一些噩梦：我那些自由精灵们--人鳥们在看不见的食桌舞台上发生着“以身为食”，“逃亡”，“诞生”，“轮回”等种种场景......目睹她们命运的我们也许会重新思考我们的“始与终”，“生与死”，什么是所谓真正的精神上的绝对自由......重新思考“我们是谁？我们从哪里来？我们要到哪里去？”

而《食・浮》恰恰映现了受难的人鳥在其个体虚浮无定的生命中，在这个混沌迷茫、多灾多难的时刻，期待仅存的新生命--光与希望之化身的诞生突现。

The "Food" series is all kinds of fantasies, or illusions, or even nightmares that occur from time to time when I face the daily meal on the plate: my free elves, Bird'n Women, have various scenes such as "be eaten ", "escape", "birth", "reincarnation" and so on the invisible table stage... Witnessing their fate, we may rethink our "start and end", "life and death", what is the so-called real absolute spiritual freedom... Rethink, "Who are we? Where are we from? Where are we going?"

"Food ・Floating" just reflects that the suffering Bird'n Woman in her voidable life are looking forward to the birth of the only remaining new life - the incarnation of light and hope, at this chaotic, confused and disaster-stricken moment.

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。

Ping Zhou was 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 Asia-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)

十三君·悦兰, 180厘米×100厘米 布面油画，2014年

The Thirteen Beauty·Yuelan，180x100cm,Oil on Canvas，2014

《十三君》的立意源自《红楼梦》中的金陵十二钗。由于封建礼教对女性的摧残，十二钗都是以悲剧命运收场。画家用“十三”代替“十二”，用“君”代替“钗”，用健美丰腴之态来替代柔弱病态之容，用饱满厚实有力的大手大脚替代纤纤细手和三寸金莲，用宽厚有担当的背膀替代瘦小无力的肩膀，用一丝不挂的裸体替代华服缀饰，用丰满健硕的双乳替代扁平束胸……这些替代就是对封建礼教的唾弃和颠覆，对人性的解救和关怀。画家笔下十三个丰满健硕、从容淡定、充满生命张力的女人体，正是“代表美好、温暖和和平的符号，是象征智慧、勇气、自由、独立的精神载体，是一篇篇面对社会的女性宣言！

The idea of "Thirteen Jun" comes from the twelve beauties of Jinling in "Dream of Red Mansions". Due to the suppression of women by feudal ethics, the twelve hairpins all ended in tragedy. The painter replaces "twelve" with "thirteen", replaces "chai" with "jun", replaces the weak and sick state with a healthy and plump state, replaces slender hands and three-inch golden lotus feet with plump, thick and powerful big hands and feet, Replacing thin and feeble shoulders with responsible shoulders, replacing fine clothes with naked nudes, and replacing flat corsets with plump breasts... These substitutions are the rejection and subversion of feudal ethics, the salvation and protection of human nature. The thirteen plump, strong, calm, and full of life female bodies in the artist's works are just "symbols representing beauty, warmth and peace, and spiritual carriers that symbolize wisdom, courage, freedom, and independence". These are manifestos for women!

赵梦歌生于中国河南，现工作生活于北京，职业艺术家，先后就读于中央美术学院附中、中央美术学院油画系，2011 年美国乔治城大学访问学者，现为中国传媒大学艺术创作院客座教授，北京当代中国写意油画研究院研究员,亚洲女性发展协会理事，欧美同学会留美分会会员。 曾在中国美术馆、今日美术馆、国家大剧院、中华世纪坛、河南博物院、山东美术馆以及美、法、意、德、瑞典、日、韩等国内外艺术机构举办个展和联展六十余次。出版:法国《ART-MAG》2023第一期封面，法国《BOOKS》2019，《今日中国美术高峰论坛展览卷》2019，《中国新闻周刊》法语版《VISION CHINE》2020,《中国油画》2009第六期封面，《中国当代艺术文献2016》，《百年中国艺术》（法语版）2009等; 机构收藏：法国达索家族艺术馆、法国女性主义联盟，北京今日美术馆，山东美术馆，意大利贝纳通文化艺术基金会，河南博物院，河南美术馆，河南大学美术馆，美国乔治城大学，北京大都（国子监）美术馆，台湾观想美术馆，西班牙马努埃尔艺术基金会等。

Mengge Zhao was born in Henan, China, and now works and lives in Beijing. Zhao is a professional artist. She has studied in the Central Academy of Fine Arts High School and the Oil Painting Department of the Central Academy of Fine Arts. In 2011, She was a visiting scholar at Georgetown University in the United States in 2011. She is now a visiting professor at the Art Creation Academy of Communication University of China, a researcher at the Beijing Researcher of the Contemporary Chinese Freehand Oil Painting Research Institute; Zhao is also board member of the Asian Women's Development Association, and member of the American Branch of the European and American Scholars Association. Mengge Zhao has held more than 60 solo and group exhibitions, including in the National Art Museum of China, Today Art Museum, National Grand Theater, China Millennium Monument, Henan Museum, Shandong Art Museum, and domestic and foreign art institutions in the United States, France, Italy, Germany, Sweden, Japan, and Korea.

Publication: French "ART-MAG" 2023 first issue cover, French "BOOKS" 2019, "Today's China Art Summit Forum Exhibition Volume" 2019, "China News Weekly" French version "VISION CHINE" 2020, "Chinese Oil Painting" 2009 Cover of six issues, "Chinese Contemporary Art Literature 2016", "Hundred Years of Chinese Art" (French Edition) 2009, etc. Institutional collections: French Dassault Family Art Museum, French Feminist Alliance, Beijing Today Art Museum, Shandong Art Museum, Italy Benetton Culture and Art Foundation, Henan Museum, Henan Art Museum, Henan University Art Museum, Georgetown University, Beijing Dadu (Guozijian) Art Museum, Guanxiang Art Museum in Taiwan, Manuel Art Foundation in Spain, etc.

张爽 (Stella Shuang Zhang）

灰尘无处不在，覆盖了我们所有人。我试图将个人情感转化为一种视觉语言，以回应与周围环境和记忆的关系以及一个女性的凝视意识。 作品只是一个比喻，不是完整的叙述，因为记忆的背后是复杂的个人机制，是对过去和现在的瞬间交流，它会穿过心灵留下印记。 我们都要面对记忆，而记忆的流动性让残存的片段或是变得清楚或者模糊。 我们无法捕捉到难以留下痕迹的具体事物的真实记忆，但灰色的视觉唤起了对时间和记忆的思考。 专注于记忆会产生深度错觉，并构成反思和回忆的新维度。人的经历不会消失，任何艺术家都无法逃避自己的情感和经历。

Dust floats everywhere and covers us all. I try to translate personal emotions into a visual language that responds to my relationship with my surroundings and memories. My focus now is on what it means to be a woman. The work is just a metaphor, not a complete narrative, because behind the memory is a complex personal mechanism, a response to the past and the present. The experience won’t disappear leaving a mark on my memory. Focusing on memory creates an illusion of depth and constitutes a new dimension of reflection and recall. Some look clear and others less. No artist can escape one’s emotions and experiences.

张爽1965年出生于中国北京。1985年毕业于中央美术学院附中。1989年 毕业于中央美术学院中国画系，获学士学位。1990年 赴日本留学。1992-1994年 就读于日本多摩美术大学日本画科研究生。1996年 毕业于东京艺术大学日本画科大学院。获硕士学位。2003年 移居美国。2016-2017年 斯坦福大学驻场艺术家。2016-2017年 客座执教于斯坦福大学。2018-2019年 客座执教于中央美术学院。现工作和生活在美国旧金山。

Stella Shuang Zhang was born in Beijing, China in 1965.1990: Moved to Tokyo, Japan;2003: Moved to the United States. Stella Shuang Zhang has MFA from Tokyo Art University, Tokyo, Japan and BFA from Central Academy Of Fine Arts, Beijing, China. A frequent participants of international art exhibitions, she also teaches at universities. Her teaching experience includes: 2018-2019 Guest teaching at Central Academy of Fine Art (China);2016-2017 Guest teaching at Stanford University (USA).

展览海报设计：王怡然

Poster Designed by Yiran Wang