——文森特·梵高（1890 年 7 月24日未寄出的草稿，是梵高离世时在他身上发现的。）
"Frankly speaking, painters can only speak with pictures."
—Vincent van Gogh (Unsent draft of 24 July 1890, found on Van Gogh at the time of his death.)
Art speaks for itself, but text and image are intricately entangled. The texts written about a work of art by artists, patrons, admirers, critics, and outsiders are not insignificant. These texts add meaning and construct myths, but there are also texts that have the power to form ambiguity, resolution, and contradictions. All of these have become part of our perception and memory of works and artists.
"Indescribable verbs" is a small experiment. 16 artists spanning all ages and artistic disciplines were invited to write texts about themselves and art, such as creative inspiration, physical process, sensory response, emotions, ideas, or even a small story. Let the hands and brains that create images capture words and create texts, and see what results can yield. Creating a work of art requires a series of erratic inspirations, imagery, imagination, thinking, hand-brain coordination, experiential skills, and a free heart. Some people are calm, or even distant; some are nervous, slightly drunk, and freewheeling in nature. Some people do it in one go, and eloquently; some are unkempt and need a long chronology for their project. And trying to write down the coincidences of such creations undoubtedly requires the use of many verbs, names, adjectives, adverbs, interjections, and ellipses in the language system...to weave through the fabric of that language.
The picture is not enough, the words are not enough
Then let the indescribable
Avant-garde Art Projects
Curator: Zelene Jiang Schlosberg
September 1, 2023
蒋贞蕾 (Zelene Jiang Schlosberg)
学术支持 ACADEMIC SUPPORT
郭桢 (Zhen Guo) | 蒋奇谷 (Qigu Jiang)
郭桢 (Zhenguo）| 黄敏 (Min Huang) | 黄庆军 (Qingjun Huang) | 黄梅 (Mei Huang)
花花 (Hana Jiang) | 蒋贞蕾 (Zelene Jiang Schlosberg) | 金楠稀 (Nanxi Jin)
桔多淇 ( Duoqi Ju) | 李心沫 ( Xinmo Li) | 刘月会 (Yuehui Liu) | 潘凯章 (Kaizhang Pan)
谢雯 (Wen Xie) | 张明 (Ming Zhang) | 魏琳 (Lin Wei) | 沃欣雨 (Xinyu Wo)
于艾君 (Aijun Yu)
郭桢 (Zhen Guo)
《地上的蝴蝶》,⼤地艺术, 铁管，轮胎，⽊桶，铁桶 ，红⾊丝带, 纽约, ⻑岛Hephzibah有机农场, 2023
"Butterflies on the Ground", Land Art, iron pipes, tires, barrels, iron barrels, red ribbons, New York, Hephzibah Organic Farm, West Island, 2023
《地上的蝴蝶》细节,⼤地艺术, 铁管，轮胎，⽊桶，铁桶 ，红⾊丝带, 纽约, ⻑岛Hephzibah有机农场, 2023年，郭桢
"Butterflies on the Ground" details, Land Art, iron pipes, tires, barrels, iron barrels, red ribbons, New York, Hephzibah Organic Farm, West Island, 2023,Zhen Guo
郭桢 3 / 25 / 2023
butterfly on the ground
a butterfly on the ground
with a steel skeleton
those attached to the tip of the rebar
Colored lines of wind dancers
wriggling like prayer flags
Like playing a sad folk song?
A body composed of a group of iron barrels and wine barrels
Lying straight in the row of steel bar arcs extending gracefully
like a huge twisted thing
Still looking forward to the surging vitality
butterfly out of cocoon
elegant and beautiful
Who says she looks forward to bing praised?
Also longing for eternity?
Zhen Guo 3 / 25 / 2023
郭桢，艺术家，策展⼈。是活跃在国际艺术界的女性⽔墨艺术家，美国亚裔当代女性⽔墨艺术开拓者，参加过多个国际艺术展，并⻓期致⼒于国际当代女性艺术的研究和探索。苏富比等国际⼤拍卖公司多次推动其作品。近⼏年先后策划和参加了: 中国⻓沙的“存在”国际女性艺术展、美国莫纳当代美术馆的“请触摸，⾝体边界”⼤型展览。 韩国全北道立美术馆“亚洲女性艺术家展览”等。 现在⼯作和⽣活在纽约。
Zhen Guo, artist, She is a female ink artist active in the international art world and a pioneer of American Asian contemporary female ink art. Participated in many international art exhibitions, and has long been committed to the research and exploration of international contemporary female art. International auction companies such as Sotheby’s have repeatedly promoted their works. In recent years, she has curated and participated in: the “Existence” International Women's Art Exhibition in Changsha, China, and the
“Please Touch, Body Boundary” large-scale exhibition at the Mona Museum of Contemporary Art in the United States. "Exhibition of Asian Female Artists” at Jeonbukdo Museum of Art, Korea, etc. Now, she is working and living in New York City.
黄敏 (Min Huang)
from "View-Review" series, 218x1600cm oil on canvas,2010, Min Huang
from "View-Review" series, details, 218x1600cm oil on canvas,2010, Min Huang
As an artist, I think that my only weapon is artwork. Because real life has too significant an impact on me, I use art to respond or resist. You could also put it this way; art can never again be purely aesthetic. Art is deeply rooted in the relationships between the individual, society, politics, and culture, becoming an instinctual need of life and existence, related to how we exist, feel, and think. So I'm working on several different themes at the same time. In 2007, Wang Min 'an made an analysis from another perspective in his review articles on the series of "View-Review ":
"It is not just like this that Huang Min gradually puts these worldly figures into the background of Chinese landscape painting – which is painted by oil painting techniques – of course it is not a creation, but these landscapes form a virtual setting: contemporaries become revived, they obviously occupy the center of the pictures and demonstrate their daily life habits. The playful relation adopted by the figures and landscape of Traditional Chinese Painting is subverted here. Figures are inserted into the center of landscape background, but don’t constitute a corresponding relation to the landscape background. People do not enjoy landscape, but they seem involved in their own reality, in their own status quo. Though they are besieged by such classic atmosphere, they are not contaminated by a bit of classic temperament. So, the whole pictorial surfaces show dramatic contrast: realist figures vs. virtual background, free-hand techniques vs. perspective techniques, and today vs. past; elegant literati quality vs. vulgar reality; present life hardship vs. classic aesthetic leisure – all these contrasts make whole pictures be imbued with a sense of conflicts. Correspondingly, landscape and figures insist on their own views stubbornly and contradict each other. It is by these conflicts that these contemporaries collapse these poetic myths of landscape and conversely, landscape also turns down these realist myths."
黄敏，1975年生于四川 ，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。 2015年，在德国的中国8当代艺术大展中，被德国媒体评价为：“中国最令人惊喜的女性艺术家。”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。”
Huang min 1975 Born in Sichuan of China，1998 OGraduated from Oilpainting department of SiChuan Academy of Fine Arts with bachelor’sdegree.2006 Graduated from Oilpainting department of Central Academy of Fine Arts with master degree.Now work and live in BeiJing. In 2015, she was praised as "the most surprising Chinese female artist" by German media during the China8 Exhibition in Germany. “In huang Min's paintings, there are both reflections on China as a whole and observations on a specific region. Her works focus on the living conditions and desires of ordinary Chinese people, and the subject matter will change in stages. However, she is more and more conscious of finding problems from the perspective of contemporary civil rights and expressing them with simple and powerful figurative methods. The work is strong and powerful. Formal languages and materials are rich and varied. ”（by Duxiyun)
黄庆军 (Qingjun Huang)
Tian Bin the Comedian 2021.12,Ultra Giclee, 75cm*100cm,（Ed.2/8）,Qingjun Huang
Tian Bin the Comedian 2021.12 details, Ultra Giclee, 75cm*100cm,（Ed.2/8）,Qingjun Huang
田斌+逗你玩 25岁，山东莒县任家庄村 直播地点：家中杂物间 直播间面积：40平方米 最重要的直播间家当：直播用的桌子——一张老式课桌 山东小伙子田荣国从小醉心周星驰的喜剧，梦想成为演员。长大后，他搬过砖，干过美发，也编段子，拍短视频，做直播，但这些都没有让他热血青年绝地逆袭的美梦实现。直到2021年6月，在快手的直播间中，他被一个“梗”意外砸中，从此爆红，粉丝量突破700万。如今他是一身灰色长衫、头戴破洞草帽的“导师田斌”，直播间里到处塞着宝贝：大金链子、没镜片的迷彩望远镜、玻璃做的大钻戒、破镜子，两个摞在一起的快递盒用来固定手机，七扭八歪的木架子上面支着环形灯……这些，最终改变了他的命运。
Tian Bin the Comedian 25 years old, from Renjiazhuang, Juxian, Shandong Province Streaming room: His storage room at home Room area: 40㎡ The most important 'stuff' for streaming: His desk for streaming—an old-fashioned classroom desk Tian Rongguo is a young lad from Shandong Province. Influenced by Stephen Chow’s comedies, he has been dreaming of becoming an actor from a young age. When he grows up, he has tried various occupations: Worker, barber, comedy writer, short video maker and live streamer. However, none of these jobs helped the youngblood realize his comeback dream until he came across a meme on the Internet in July 2021. With the help of the meme, Tian acquires 7 million followers and becomes famous overnight. Tian claimed himself to be ‘Tian Bin the mentor’, a funny figure dressed in a grey long shirt and ragged straw hat. Moreover, there are so many hidden treasures in his streaming room: Fake gold chains, binoculars without lenses, a fake diamond ring made by glass, a broken mirror, two cardboard boxes to get his phone fixed and loop lamps set up on twisted wooden shelves. These strange funny figures provide him with a chance to change his destiny.
The internet has equalized the channels through which both cities and rural areas acquire information, enabling more people to transmit energy through the web. Where one lives has become less significant...
黄庆军，艺术家、摄影师。获富士胶片2022 GFX Grant Challenge全球资助奖，2021丽水摄影节特别收藏奖等。他的代表作品包括从2003年至今的“家当”系列及分支系列“网购家当”、“无家可归者的家当”和“主播的家当”。他目前正在创作“家当USA”系列。BBC在过去十年中四次报道了这些作品。多个国际媒体、杂志、摄影书、展览和摄影节都对这些作品进行了报道。即将举行的展览是在国际红十字和红新月博物馆（位于日内瓦）举办的“Human•Kind”展览。
Qingjun Huang, artist, photographer. He was born in China, currently lives and works in Peoria, IL USA. Fujifilm 2022 GFX Grant Challenge Winner, 2021 Lishui Photography Festival Award winner. Representative works are Family Stuff from 2003 to present. Sub-series includes “Online Shopping Family Stuff”, “Homeless People’s Family Stuff”, and “The Stuffs of Live Streamers”. Currently working on “American’s Family Stuff” series. BBC featured these works four times in past ten years. Various international medias, magazines, photo Albums, exhibitions, photo festivals have covered these works. Upcoming exhibition is HUMAN.KIND at International Museum of the Red Cross and Red Crescent, Geneva.
黄梅 (Mei Huang)
20000 +，装置 影像 摄影 行为, 黄梅
20000+， Installation, Video, Photography and Performance, Mei Huang
20000 + ， 装置 影像 摄影 行为, 黄梅
20000+， Installation, Video, Photography and Performance, Mei Huang
影像只有一句台词：我的真正生命是从我患晚期癌症开始的 ......, 22年走过去了……伴随了必须使用20000 个这样的造袋子。约2分钟的影像呈现了22年前手术、医院、挣扎、断发、22年伴随20000个造口袋，每一个都是血印，每一个都是疼痛，每一个都是压抑，每一个都是打击，每一个都是疲倦，每一个都是排泄物的肮脏，每一个都是敲击在心灵的无奈，就像影像的配乐，锤子敲打沉重的金属的一声声。
Echoes from exhibition in Germany and Hong Kong: The audience saw two photography works measuring 100x200cm, one with an invincible new era femininity and a sense of future. The other one is like a soft oil painting, as serene as the Virgin Mary. The most important thing is that the audience is amazed by the purity, transparency, and dreamlike beauty of the material in the work, and this material is unique in daily life. The audience is curious to ask what material is it? With such curiosity, the audience continued to see dozens of streamers hanging in the air, each naturally slightly curved, resembling a skirt edge and containing energy. These streamers are created using the same material.
There is only one line in the video: My true life began with my terminal cancer, 22 years have passed... accompanied by the need to use 20000 such bags. The image of about 2 minutes presents surgery, hospital, struggle, hair loss, and 20000 artificial pockets 22 years ago, each with blood marks, pain, suppression, blow, fatigue, fecal filth, and helplessness hitting the heart, just like the soundtrack of the image, the sound of a hammer hitting heavy metal.
When the audience finally watched the video, many people expressed discomfort and felt pain, but it was a positive energy pain that prompted them to reflect. After watching the video, the audience seemed to understand more than half of it.
黄梅，自由策展人。近年从事 “生命艺术”创作，其作品在德国柏林/杜塞尔多夫/中国香港等地多次展出。现任德国艺术与教育国际交流促进会主席。主持柏林mmae720 动感冥想生命艺术体验空间。北京大学毕业、美学大师李泽厚先生硕士、德国法兰克福大学艺术教育博士。其策划的展览在世界各地著名场馆如中国美术馆、上海油画雕塑院、今日美术馆、瑞士苏黎世Helmhaus美术馆、卢塞恩美术馆、布拉格国际展览中心举行。其自传文学《向死而爱》2018年中国《天地出版社》出版，该书的德文、英文、法文、俄文、希腊文部分内容已经在相关国家文化界引起关注， 2020年该书的英文版由澳大利亚Heartspace出版社出版。
Huang Mei is an international author, curator, scientist and translator who has been living in Germany for more than twenty years. Engaged in the creation of “life art” in recent years
She graduated from Peking University where she had studied aesthetics under Master Li Zehou. In 1997, Dr. Huang received her doctor’s degree in art education from Goethe University Frankfurt am Main.
She contributes to the realization of a large number of exhibition projects, most recently in 2018 and 2019 as organizer and curator of the project tour The Silk Road Exhibition and in 2020 as curator of the group exhibition Scars and Annual Rings at the renowned Berlin Haus am Lützowplatz.
In 2018 the extended edition of her biography, “Love Until Death”, was published in China, the English translation will be published in Australia in 2020. Her third autobiographical novel, “10 years – I am happier than B… and M…”, is in progress, a French publisher has expressed interest in its release.
花花 (Hana Jiang)
《慧眼识物》布面丙烯，35x 28cm 2019-2023，花花
"Knowing Things with Wisdom Eyes" Acrylic on Canvas, 35x 28cm 2019-2023,Hana Jiang
《慧眼识物》细节，布面丙烯，35x 28cm 2019-2023，花花
"Knowing Things with Wisdom Eyes" details, Acrylic on Canvas, 35x 28cm 2019-2023,Hana Jiang
is a big show
In the chaos, you can know things with wisdom eyes
Hana Jiang，又名 H.J.，出生于中国上海。她曾获得芝加哥艺术学院的美术学士（BFA）学位。 H. J.一直乐意并随时准备探索她生活中新的可能性。 她的职业经历丰富，如诗人，学前教育者、儿童文学作家、图书出版者、房地产开发者和老人护理员等。对H. J.来说，最意想不到的是成为一个画家。 一个人可能一生都没有意识到她或他所拥有的才能，而重要的是勇于不断尝试去寻找隐藏的属于自己的宝藏。
Hana Jiang, also known as H.J., was born in Shanghai, China. She holds a BFA degree from The Art Institute of Chicago. H. J. has been willing and ready at any time to explore the new possibilities in her life. She has countless career experiences, such as poet, preschool educator, author of children’s literature, book publisher, real estate developer, caregiver for the elderly, etc. The most unexpected career for H. J. is to be a painter. One could live one's entire life without realizing the talent she or he processes, and it is important to try to find the treasure that is hidden in oneself. Hana lives and works in Chicago and Ajijic, Mexico.
蒋贞蕾 (Zelene Jiang Schlosberg)
《禁园》，丙烯、帆布，50.8 x 102 x 3.81厘米，2023，蒋贞蕾
“Forbidden Garden”, acrylic and canvas， 50.8 x 102 x 3.81 cm, 2023，Zelene Jiang Schlosberg
《禁园》局部，丙烯、帆布，50.8 x 102 x 3.81厘米，2023，蒋贞蕾
“Forbidden Garden” details, acrylic and canvas， 50.8 x 102 x 3.81 cm, 2023，Zelene Jiang Schlosberg
Facing our ever-changing world, I am amazed and moved. If Cézanne obsesses over how to use paint to capture the “appleness” of apples, I especially want to "visualize" certain structures, tunnels and mazes that fascinate me in the infinite chain of various signifiers from the history of art and culture.
There are two obvious elements in "Forbidden Garden", one is a chair and the other is a rose. Van Gogh painted chairs in an iconic fashion. When I consider adding chairs to my artwork, his name lingers in my mind; when someone dies, his/her empty chair symbolizes death. As for the rose, I seek to pay homage to Umberto Eco, and his “The Name of the Rose.”
In "Forbidden Garden", I also deliberately experimented with the reversal of that notorious gesture that has traditionally gone in only one direction: the gaze. For a long time, art history has been full of women's bodies as objects of viewing, but the only thing that exists in this work is the male body. When the male nude, even in flat silhouette, becomes the object of the gaze, the other sex as the subject of the gaze is empowered by me as the author.
One other detail: I finely cut the canvas in some places, like opening a window in the house in "The Madwoman in the Attic", or opening the "Narrow Doors" of Gide, or opening a dark blue curtain to watch a scene from the Chinese opera, "Peony Pavilion/A Dream in the Garden".
I like to have an inordinately clean (if small) studio space, perhaps going against tradition. Before creating each day, I make sure that the table and ground are immaculate. Even though I enjoy light from the window during the day, making art without staying up all night is unimaginable.
蒋贞蕾出生于中国湖南永州，硕士毕业于北京师范大学。因其大胆的融合绘画和雕塑的艺术创作方式而受到赞誉。个展包括“后城市游荡”/美华艺术协会456画廊 (NYC)、 “悬崖”/伊利诺伊州东中央学院 (IL)、"一个阳光灿烂的下午”/伊利诺伊大学芝加哥分校、 “过渡景观”/密苏里州北中央学院（MO）和“无间之距”/伦敦沃尔特画廊。她的作品《沉思》是格莱美奖获奖乐团“第三海岸打击乐”2023 年最新专辑《呼吸之间》的封面艺术。蒋贞蕾是迈阿密艺术博览会和洛杉矶艺术博览会（2021-2023）的多年参展艺术家。策展项目包括“深刻2022” ， “突围！2023 年度女性艺术家展”等。
Zelene Jiang Schlosberg 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 participated in numerous solo exhibitions and group shows. Her work “Contemplation” serves as the cover art for Grammy-Award winning Third Coast Percussion’s 2023 new album, “Between Breaths” . She was a multi-year participant at Context Art Miami and Los Angeles Art Show (2021-23).
金楠稀 (Nanxi Jin)
“Dancing Script”, Ceramic Installation,2023，Nanxi Jin
“Dancing Script” details, Ceramic Installation, 2023, Nanxi Jin
幸运的是,我有一个美好的童年,父母都很好。 然而,最深的 "童年创伤"--被迫练习毛笔书法的经
When engaging in art critique, people often mention childhood traumas.
Fortunately, I had a wonderful childhood with caring parents. However, the most profound "childhood trauma" - the experience of being compelled to practice brush calligraphy - always strikes a chord with me. I still remember that each time, I had to fill an entire sheet of paper with 100 grids before I could have the chance to go out and play.
Chinese calligraphy begins with deliberate brushstrokes, which then gradually coalesce into form. In this installation artwork, I use thin slabs to mimic the liveliness and intention of brushstrokes in calligraphy. This installation artwork consists of 100 ceramic tiles, and these dynamic brushstrokes serve as the very inspiration for my creation in this installation art.
金楠稀是一位用粘土创作的艺术家。她目前在芝加哥生活和工作。2020 年,她从纽约州立阿尔弗雷德大学陶瓷学院获得艺术设计学士学位。2022 年,她从芝加哥艺术学院毕业。她的作品曾在多个展览中展出,包括 Ceramic Art Avenue Gallery(2019 年)、2021 年纽约设计周期间的NYCxDesign 以及 :iidrr Gallery(2023 年)。她曾获得 2022 年 "石湾杯 "青年陶艺大赛一等奖、第十二届中国陶瓷艺术展银奖和中国民族工艺美术大赛银奖。作品《百变瓶》被广东石湾陶瓷博物馆收藏。
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 2022.
Her works have been exhibited in multiple exhibitions, including Ceramic Art Avenue Gallery (2019), NYCxDesign during New York Design Week 2021, and :iidrr Gallery (2023). She received the First Prize in the 2022 "Shiwan Cup'' Youth Ceramics Competition, the Silver Medal of the 12th Chinese Ceramic Art Exhibition, and the Silver Award for the China Ethnic Arts and Crafts Competition. Her work "Various Vases" has been collected in Guangdong Shiwan Ceramic Museum.
桔多淇 ( Duoqi Ju)
THE ANATOMY LESSON OF DR. PICKLED CABBAGE, conceptual photography，2008
THE ANATOMY LESSON OF DR. PICKLED CABBAGE, details, conceptual photography，2008
The original work is the famous painting "The Anatomy Lesson of Dr. Nicolaes Tulp" created by Rembrandt during the Renaissance. In the painting is a group photo of a doctor's guild. In the era when photography was not widely popularized, the realistic demand of the characters in the painting is to make an advertisement. Each person pays the same amount of money and entrusts Mr. Rembrandt to paint their portraits. Since it is the same investment, each figure should be of the same size. However, there can be a distinction between primary and secondary, so Rembrandt designed a circle from the middle to the periphery. The way the image is processed.
This masterpiece of vegetable collage originated from the fun of skipping class in elementary school. Since it was skipping class, it also subverted the anatomy class itself in the painting.
At that time, when I went to school at noon, I was very sleepy after returning home after dinner. I didn’t want to go to school. I vomited a lot of peanuts by the bed, pretended to be sick and lay on thebed. When my mother came back and saw it, she couldn’t believe it! How do adults see through children?
In this collage, I use the "vicissitudes" of old ginger to describe the "veteran" of the teacher, and at the same time, it is also a metaphor for decay. I use the most common kohlrabi to make the teacher's head, eye sockets, nasolabial folds, and hollow eyes , is just a shadow expression, the sense of comedy is no less than the little happiness that secretly did not go to school that day. The scallions are neatly arranged, and the luster color of silk gradually changes.
Ju Duoqi uses the most common everyday things to construct an art world full of poetry and metaphors. In an extremely popular art context, it brings people who are familiar with and unfamiliar with contemporary art into the fantastic feelings and questions about everyday things. reflect. Different series of vegetable collage works are collected at home and abroad.
Ju Duoqi was born in Chongqing, China in 1973. She graduated from Sichuan Academy of Fine Arts with a major in industrial modeling. She has participated in Los Angeles, Miami Basel, Spain, Beijing Art Fair, etc., and cooperated with Microsoft Surface, Haier, Shanghai Hao Art Hotel and other brands. In 2019, She led the theme exhibition of Cat Art Museum in Beijing 798 Art District.
李心沫 ( Xinmo Li)
Women, 2011, Xinmo Li
“Women” details, 2011, Xinmo Li
Menstrual blood is the most important feature of a woman’s life. Throughout a woman’s life, it comes every month, and it is menstrual blood that determines conception. A woman’s life utilizes blood to anticipate the arrival of a new life. Despite this, in many cultures menstrual blood is viewed as filthy and impure. Li Xinmo created this extremely gendered work by using her own menstrual blood to paint self-portraits once a month, which she will continue to do until she stops menstruating completely. This is a performance piece, but the performance results in works of art on paper. These works deal with experiences of reproduction and pain, but the self-portraits are not as sensitive, pain-filled, or dripping wet with blood as the embodied experiences are. These images are the artist’s self-portraits, and they are also collective portraits of all women. These images are subversive in that she is going against the way women are typically defined in male society. These portraits aren’t beautiful, and they cannot produce joy; at the same time, they also produce feelings of aversion in many men. The meaning of these portraits also resides in the way they proclaim the true existence of women and of motherhood.
李心沫，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、远东博物馆、德国女性博物馆、奥地利萨尔茨堡的现代博物馆（Salzburg Museum der Moderne）、挪威利勒哈默尔美术馆（Lillehammer Art Museum）英国伦敦IPSWICH博物馆(CIMS)等世界重要的美术馆展出；参加加拿大多伦多摄影国际双年展，布拉格中欧国际艺术双年展等。她的作品被瑞典远东博物馆，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。
Artist, critic, feminist theory researcher, Li Xinmo was born in Heilongjiang and graduated from Tianjin Academy of Fine Arts in 2008. Li Xinmo works, based on a variety of media, including performance, painting, video, photography and installations, have been exhibited in Toronto Photo Biennial, Prague Art Biennial, National Museums of World Culture in Sweden, Female Museum in Germany. Many other art museums and galleries in France, Italy, America, Canada and Columbia have exhibited and collected her works. Her work has been documented in academic articles including the "National Fine Arts", "Oriental Art for Everyone" and other art professional publications.
刘月会 (Yuehui Liu)
Berlin Charlottenburg，30x42cm，Ball point pen on cardboard,2023，Yuehui Liu
"Berlin Charlottenburg" details，30x42cm，Ball point pen on cardboard,2023，Yuehui Liu
Berlin's winter is a bit long, it gets dark early, I have been painting in the studio for three consecutive days, and in the evening I went out for a walk, and slowly walked to Berlin Charlottenburg, and from a distance, I couldn't help but be mesmerized by the scene in front of me, Charlottenburg is like a goddess, and the light emitted from it adds some temperature to the winter night, the trees on both sides of it and the thin snow on the ground also become gentle under the light, and the people coming and going wearing thick winter clothes look a bit mysterious in the night. Lights on both sides of the trees and the ground on the thin snow in the light also become gentle, people wearing thick winter clothes, in this night looks a little mysterious, I picked up the camera to capture the scene, decided to draw down Charlottenburg this winter ...
刘月会是一位来自中国山东省的艺术家，定居在在柏林。她从小就开始用水笔画画，至今从未间断。21 岁时，她移居德国，进入德国柏林白湖艺术学院学习。她一直专注于使用圆珠笔画画，她将这一技法运用得炉火纯青，她的作品看起来就像一幅真正的画作。 为了养活自己，她周末在柏林的博物馆岛出售自己的作品。现在，她的作品遍布不同国家，对刘月会来说，艺术是一种表达自我和与他人分享生活故事的方式。
Liu Yuehui is an artist from Shandong Province, China, based in Berlin. She has been drawing with ballpoint pen since she was a child, and at the age of 21 she moved to Germany to study at the White Lake Art Academy in Berlin. She has always specialized in drawing with ballpoint pens, a technique she has perfected to the point where her work looks like a real painting. To support herself, she sells her work on weekends at Museum Island in Berlin. Now, her works are spread across different countries. For Liu Yuehui, art is a way to express herself and share her stories with others.
潘凯章 (Kaizhang Pan)
"Joker" acrylic, oil on canvas, 85cm×85cm, 2023，Kaizhang Pan
"Joker" details, acrylic, oil on canvas, 85cm×85cm, 2023，Kaizhang Pan
Within my heart constantly surge irrational impulses, either bright or shadowed. At times, they arise from a worldly contradiction that violates the inner order; at others, they emerge from the profound depths of human nature, somewhere dark and deep. Such impulses can hardly be expressed by words. However, the process of painting makes me feel much better. It offers me solace, especially during those difficult moments, which is of great importance to me.
My studio is a rented one-and-a-half basement. At night, I always paint while drinking beer and immersing myself in diverse melodies. Some tunes intensify my emotions, but I also remind myself not to rely on alcohol to spark inspiration from time to time. However, I have been used to drinking, which has evolved into a familiar ritual, then a paradox I've yet to reconcile.
I'm especially drawn to completing a piece in a short time, meanwhile allowing my emotions to run through the entire process and completely controlling the artwork within my own intention. I hope that through my paintings, one’s own innate sentiments of inexplicable fear, confusion, anger, and the spectrum of pain to joy can find expression and reconciliation. When sociological elements mix with indescribable personal emotions, and a thick brew of a mingling good and bad overflows like a geyser, such moments are truly moments of bliss.
Pan Kaizhang, male, Han nationality, was born in 1980 in Fu'an, Fujian Province. In 2004, he graduated from China Academy of Art, majoring in Chinese painting. In 2006, he settled in Songzhuang, Beijing as an independent artist. He graduated from China Academy of Art in 2012. He is now an independent painter.
谢雯 (Wen Xie)
"A Room of One's Own" Series II,23.5X31.5cm, Material: Ink and color on paper, 2023,Wen Xie
"A Room of One's Own" Series II,details,23.5X31.5cm,Material: Ink and color on paper,2023,Wen Xie
Only Addicts Leave Their Names
Staying up late and being afraid of the dark are two sides of the same coin.
Because I am afraid of the dark—I dare not close my eyes in the dark night—I procrastinate not to rest—so I stay up all night, and this vicious circle repeats itself, regardless of jet lag. On the other side of the world, I am still a night owl.
If you are afraid of the dark, you can light a lamp, but the black hole in your heart cannot be filled, and you need to use the only little love to resist the doomed nothingness of life. Pessimism is everywhere, and painting is the only way I can resist pessimism. Since I know that death is inevitable, everything will come to an end. I have tried to spend a lot of time looking for the meaning of life, making myself fall in love with this short-lived world. Most of the time, I will spend the long night in a daze, watching movies, reading books, drinking coffee and petting cats. When the sky is getting brighter, I can sleep peacefully. Sometimes, I will also use some mild and non-addictive drugs to help sleep.
When you sleep deeply, the dream has a sense of reality, and you don't want to wake up from the dream, just like you don't want to go into the nothingness of the real world. When forced to wake up, the chest cavity is usually filled with great pain and grievances, like a drowning person, unable to breathe, tears will flow down involuntarily...
During the epidemic, I started drinking, although it usually comes at the cost of skin irritation and a few days of groggyness, which is better than being sober. I remember once, from "Bangkok Prison", "Ukiyo-e", "Daydreamer" to "Romance in Love", and finally ended with the famous "Absinthe", as if to collect these names and drink these liquor.
People always want to grab something, so there are all kinds of addictions and addictions, really self-righteous, greedy human beings... (excerpt)
Xie Wen, born in December 1979, is an independent artist. She is from Hangzhou, and his ancestral home is Heilongjiang Province. Postgraduate student, engaged in Chinese painting creation, photography and avant-garde poetry writing, working and living in Hangzhou. Now She is a painter employed by Li Keran Youth Painting Academy, a member of Zhejiang Artists Association, a member of Chinese Feminist Artists Union, a member of Beijing Gongbi Heavy Color Painting Association, a member of Zhejiang Chinese Figure Painting Research Association, a member of Zhejiang Lu Yanshao Art Research Association, Zhejiang Province. SHe is a member of the Provincial Chinese Flower and Bird Artists Association and a member of the Xu Beihong Research Association of Jiangsu Province. Many academic papers and works of art have been published in periodicals and magazines such as "Art Newspaper", "Chinese Painting Magazine","Huzhou Daily","Theoretical and Academic Research","Young Writers".
张明 (Ming Zhang)
"Trace", ink on rice paper, 100cm x 55cm, 2023, Ming Zhang
"Trace" details, ink on rice paper, 100cm x 55cm, 2023, Ming Zhang
The repeated collision of water and ink on raw rice paper often produces many mysterious artistic concepts. Living and working in the southern part of China for a long time, one can often witness the surging rivers after heavy rain, full of the heroic spirit that cleanses everything; I can also feel the dense air, presenting a soft and hazy beauty of emptiness. It reminds me unintentionally that in the long river of history, civilization is a grain of sand, and civilization is also a long river. In the chaotic world, it shines with radiance and leaves imprints, like totems and holy lights.
Zhang Ming, also known as the Yishan Woodcutter and the owner of the Yiyuan Hall, was born in Hunan in 1975. He loved calligraphy and painting from a young age and devoted himself to the art of Chinese calligraphy and painting. He published a monograph titled "Entering Chinese Characters" and his personal calligraphy and painting works have participated in professional academic exhibitions at various levels.
魏琳 (Lin Wei)
《站立的蒙娜琳》 混合媒体，190 x 110厘米, 2022年, 魏琳
“Mona Lin Standing” Mixed Media，190 x 110cm，2022， Lin Wei
《站立的蒙娜琳》局部 “蒙娜琳”, 布面油画, 61 x 46 厘米, 2017年, 魏琳
“Mona Lin” A part of “Mona Lin Standing ”, oil on canvas, 61 x 46cm, 2017, Lin Wei
曾有一度，我十分迷恋油画经典作品，在思考和探索的过程里画了一幅油画《蒙娜琳》，当时没想象到她会成为混合媒体《站立的蒙娜琳》的主要部分。 都知道达芬奇的作品《蒙娜丽莎》数百年来一直“病毒式的传播”，我也忍不住做了个自己的版本。借《蒙娜丽莎》的時尚，认真地使自画像的轮廓、明暗与《蒙娜丽莎》肖像相匹配。 不过《蒙娜琳》的手更强大—以此鼓励用手工作的現代女性； 肤色更深，符合我们的亞洲肤色； 让人开心的是，我顺便把自己负责的旧金山亚洲美术学校也画入了背景。最后需要考虑的一个特征是：微笑。 我不忍心改变它。 在画自画像时，我谦虚地尝试模仿《蒙娜丽莎》的微笑，因为那是感动全世界的微笑。 在油画《蒙娜琳》完成后的几年里，她曾数次参加展览，在最近的一次欢迎她回到工作室时，我找到了一条符合她风格的裙子，和一双红皮鞋。通过这次尝试，油画《蒙娜琳》真的站了起来。 本作品定格与混合媒体，我使用了普通的物品：一个调色板、一条裙子、一双靴子和一只梨，让经典人物的存在超越了传统的框架。
At one time, I was obsessed with classic oil paintings. In the process of exploring this medium and its techniques, I created an oil painting I called "Mona Lin". Knowing that Leonardo da Vinci's "Mona Lisa" had been “viral” for hundreds of years, I couldn't resist making my own version. I borrowed much from the great Leonardo. The self-portrait's contours, and the lights and the shadows are carefully matched to the Mona Lisa portrait. But "Mona Lin" has bigger and stronger hands—I am, after all, a modern woman that works with her hands. I also made Mona Lin’s skin tone darker to match my own Asian skin tone. The most joyful change was to insert San Francisco, and my own Asian Arts School into the background. There was one feature left to be considered: the smile. I could not bear to deliberately alter it. In painting my "Mona Lin" I humbly tried to match Mona Lisa’s smile because that smile inspires people of every race and culture. In the years after I painted her, "Mona Lin" participated in several exhibitions. After one of her absences, I welcomed her back to the studio by finding her a dress that fit her style, and a pair of red leather shoes. With this addition, the oil painting "Mona Lin" stood up and came to life. That’s how "Mona Lin Standing" was born. I have used ordinary objects: a palette, a skirt, a pair of boots and a pear, to animate the presence of a classic figure beyond its traditional frame.
Lin Wei, a Chinese-American artist, 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.
沃欣雨 (Xinyu Wo)
"Start to loose control", 48x60 inches, Oil on Canvas, 2023, Xinyu Wo
"Start to loose control", 48x60 inches, Oil on Canvas, 2023, Xinyu Wo
For me, the habit of indulging in whimsical thoughts seems to be the main theme of my creative process. Whether it's during my subway commute or in moments of waiting, my mind automatically drifts away from everyday things, allowing fantasy and reality, the past and the future, to engage in a chemical reaction. This thinking habit used to trouble my emotions, as my brain would sometimes get stuck in an unfathomable quagmire. However, it does provide the fundamental soil for my creativity. It's contradictory yet fascinating, and I often find myself wrestling with the joy and frustration brought about by this "special ability." I frequently get caught up in the chaos of jumbled memories from the past, present, and future, which used to drive me crazy. Gradually, I've learned to actively separate my life and work, striving to focus only on the present in my daily life, allowing myself to gain multidimensional life experiences. When it comes to work, I let my mind freely delve into the depths. This balanced approach to life is conducive to the organic evolution of my artistic creations.
沃欣雨（born:1996) 是一位视觉艺术家，现居纽约。她主要的创作媒介为视频和绘画，她相信这两种媒介可以互为补充。她的作品是对荒诞的时代风景以及个人历史的视觉呈现。她喜欢用具象的绘画手法来描述现实，然后赋予它超现实主义的想象力，她愿意称之为社会超现实主义。她擅长用一种批判的，诙谐的视觉语言来描述她作品中的故事。她的不少作品已经在不少的画廊和美术馆中展示，如：南京逸空间，上海喜马拉雅美术馆，以及纽约的VillageOneArt 画廊，她最近的个展是在Object Momento 画廊和纽约的VillageOneArt 画廊举行。
Xinyu Wo (born: 1996) is a visual artist currently based in New York. Her primary mediums of creation are video and painting, as she believes these two forms complement each other. Her works are visual representations of absurd contemporary landscapes and personal histories. She enjoys using figurative painting techniques to depict reality and then infusing it with surrealistic imagination, which she refers to as social surrealism. She excels in using a critical, humorous visual language to narrate stories within her artwork. Many of her works have been exhibited in galleries and art museums, including Nanjing East Gallery, Shanghai Himalayas Museum, and VillageOneArt Gallery in New York. Her recent solo exhibitions were held at Object Momento Gallery-Shanghai, and VillageOneArt Gallery-New York.
于艾君 (Aijun Yu)
《四个岛屿》指接板上综合材料绘画、拼贴和鞋钉 30×40×0.8cm， 2023年，于艾君
“Four Islands”, Mixed-media painting, collage and cobbles on fingerboard 30 x 40 x 0.8cm, 2023, Aijun Yu
《四个岛屿》局部，指接板上综合材料绘画、拼贴和鞋钉 30×40×0.8cm, 2023年, 于艾君
"Four Islands" details, Mixed-media painting, collage and cobbles on fingerboard 30 x 40 x 0.8cm, 2023, Aijun Yu
When I was a kid, I often couldn't stop myself from indulging in scribbling in my textbooks, and not only the margins, but even the illustrations were often scribbled out of shape. Those textbooks didn't survive. Growing up, I've always wanted to go back to that state of affairs in my work, or at least try to make it endearing, if only a little, to the adult, scientific, rational or logical approach of experience. This work belongs to my "Workbench" series. When I work formally on the table, I often put a pad or a piece of paper next to it, so that I can use it to try out my pen or to doodle without any purpose when I take a break, and slowly it develops into a piece of work without any purpose, without any centre, and without any meaning, a piece of work without any purpose, without any centre, and without any meaning.
Yu Aijun graduated from the Oil Painting Department of Luxun Academy of Fine Arts in 2004. Currently lives and works in Shenyang (China).
王怡然 (Exhibition poster designed by Yiran Wang)
The designer of the poster, Yiran Wang, is an artist studying at School of the Art Institute of Chicago. She mainly makes projects about architecture and space art, and also designed most posters for Avant-garde Art Projects. For the poster work this time, she started from “indescribable”, hoped to attract artists thinking and discussing about “verb” from a mysterious vintage-like poster. So, hand which represents “motions” and brain which represents “thoughts” are drawn at the center of illustration.