绘画的细小差别 The Painting Of Small Difference
YU XIAO
余晓
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前
言
抽象到颜色（此标题不点题）
黄燎原 我最早对余晓感兴趣，是源于她那组绿色的作品。她在不同的材料上使用同一种绿色，由于材质不同，绿色所呈 现的“颜色”也不同，我觉得这不仅仅是机灵，也是处理材料和研究色彩的一种方法和智慧。每一个艺术家都需要 找到一个他个人的、 “进入”艺术的方法，特别是从技术、技巧、材料等“艺术本身”的角度切入。我特别欣赏艺术 家在技术层面的研磨，比如探讨颜色之间的关系、直线和斜线的夹角、灰度的比例等等。
抽象绘画肇始之初是“去内容”，干掉所有题材的干扰，专注点线面和颜色，是以“纯洁绘画”为己任的。而当塔特 林（Vladimin Tatlin）等人将抽象绘画用于共产国际身上，抽象绘画似乎就不再那么“纯粹”了。之后，很多抽象艺 术家都用抽象 “表达” 什么什么， 抽象绘画的社会属性越来越强烈， 甚至当抽象在上世纪一家独大时 （抽象表现主义、 极简主义时期），整个艺术圈的舆论导向都被它左右，非抽象的艺术就根本不能称为艺术，于是抽象艺术变得极端 政治化了。虽然也有评论者认为余晓的绘画中有“表情”甚至是“政治”的东西，但我觉得她还是属于比较纯粹的 那类抽象艺术家， 她还是以探讨颜色、 材料、 线条和空间为己任的。 余晓的绘画里里外外都在绕， 就跟她的人一样 （此 处偷笑），她打开一扇窗，就关闭一扇门，让无限的可能性在有限的空间里冲突、纠结、旋转、重复，以至无穷。她 所探讨的就是物质的本体， 本源和形而上所生发的现象， 心随物游， 物由心生 （这里或许有某种王阳明心学的味道） ， 一切所得皆出于本体，还于本体。
我看余晓的作品，总有一种对称感很强烈，这种对称或许并不明显地显现于画面，而是一种观看心理。这也或许 是中国人的观看心理，对中国人而言，阴阳也是对称的，也就是说表面上的东西和隐藏的东西也可以是对称的。我 觉得余晓线条背后，开放性的东西还是很多的，这符合中国人含蓄的性格和含蓄的表达，又契合抽象艺术的方式， 只是“弦外之音”对“传统”的抽象艺术来说似乎有些多余，但管他呢，我们做的是当下的“当代艺术”。
对于余晓艺术的解读还有多条路径，我们慢慢来。
Foreword Abstract on the Color (This title does not bring out the theme) Huang Liaoyuan I started to be interested in Yuxiao because of the serial of green works. She put the same kind of green color on different materials. Since the materials are different, green is presented as different “colors”. To me, this is not just her smartness, but also a research method and wisdom in handling the materials and colors. Every artist needs to find the approach of their own to “enter” art, especially through such perspectives of “art itself” as technology, techniques, material, etc. I particularly appreciate the artists who study intensively the technology, such as exploring the relationship between colors, the angle between the linear and diagonal lines, the proportion of grayness, and so on. Abstract painting, from the very beginning, was to “remove content”, to get rid of interfere from all themes, and to focus on points, lines, surface and colors. It is devoted to “purify painting”. When Vladimin Tatlin used abstract painting on the Comintern, abstract painting seemed to be not so “pure”. After that, a lot of abstract artists “expressed” something by abstract painting. The social attributes of abstract painting became more and more intense. And even in the last century when the abstract painting gained the dominance in arts (during the period of Abstract Expressionism and Minimalism), the public opinion of the entire art world was guided by abstract painting. The non-abstract arts would not be called arts. And thus, abstract arts then became extremely politicized. Although critics think that there are “expressions” or even “political” things in Yu Xiao’s paintings, I think she is still a relatively pure abstract artist. She is mainly devoted to explore the colors, materials, lines and space. Yu Xiao’s paintings are turning around, just like herself (titter here). She opens a window and then closes a door, so that the infinite possibilities would collide, tangle, rotate and repeat in the limited space, till the infinity. She focuses on exploring the thing-in-itself, its origin and metaphysical phenomenon. The heart follows the material and the material comes from heart (Perhaps there is some taste of the Study of Heart by Wang Yangming). Everything comes out of the thing-in-itself and return to the thing-initself. Looking at the works of Yu Xiao, I can feel the strong sense of symmetry, which might not be presented on the surface but the emotion of the viewer. This may also be the viewing psychology of Chinese people. For Chinese, the yin and yang are also symmetric. That is to say, both something on the surface and that hidden can be symmetrical. To me, behind the lines of Yu Xiao, there is much openness, which is in line with the Chinese people’s subtle character and subtle expressions and fits the way of abstract art. Nevertheless, the “implied meaning” seems to be redundant for the “traditional" abstract art. Anyway, what we do is the current “contemporary art”. There are many other approaches to interpret Yu Xiao’s arts. Let us take our time.
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关于余晓的一些评论
Some comments on Yu Xiao and her paintings
余晓的作品起初在表像上看具有一定的迷惑性。
The appearance of Xiao’s paintings are at first deceptive. At a glance they appear to relate to constructivism with roots in Malevich,Kandinsky and Mondrian. However with closer inspection they revealthemselves to be far stranger. Xiao’s paintings seem to contain a mood of deadpan emptiness, even sadness describing the fading urban modernist architecture and abandoned industrial building of today. The mood is sometimes closer to the abjection of Raoul De Keyser but contains a contradictory element of euphoria and nostalgia, a twist of science fiction. A white needle shape from the world of computer gaming plunges into a beautiful uplifting rich green mental maze.
作品第一印象使人感觉起源于马列维奇，康定斯基和蒙德里安的构成主义。然而近距离的端详后，作品的呈现却 完全不同。余晓的作品包含的是一种面无表情的空虚感，她描述了当下城市现代主义建筑风格的衰退，以及那些 废弃的工业建筑。 画境有时接近于拉乌尔·德凯泽那种落魄感，然而同时又包含了一种幸福的快乐感和怀旧感之间的矛盾，一种在 科幻小说中呈现的扭曲，就像一个在电脑游戏世界中的白色针形物体陷入一个极富感染力又华美的绿色精神迷宫， 这种绿色在她的许多作品中都有运用。这些与众不同的绘画是希望建立一个新的对抽象绘画的叙述或讨论，也许 带有她作为一个生活在伦敦的中国艺术家，那种耳目一新的多文化元素。
Green is everywhere in many of the paintings these unusual paintings are hoping to establish a new narrative or discussion around abstract painting but perhaps with the freshness of her transcultural context. ——Andrew Stahl（UK well known for the large figurative painting, Director and head of painting at Slade school of Fine Art）
——Andrew Stahl（英国当代著名大具象画家，伦敦大学史莱德艺术学院绘画系主任）
居住在伦敦的艺术家余晓在今年的皇家艺术学院夏季展上展出了她的作品，这是一个非常严肃，经过层层筛选的 年度艺术盛会。艺术家的作品带有中国传统画的特点，同时又受到不仅来自西方生活学习的影响，还受到各种艺 术形式交织的国际性影响。 余晓的作品展现出对细节的关注和精妙的技法，是展现画家思考和对艺术理解过程的一个窗口。近期高潮迭起 的抽象画展览在中国大陆、香港和台湾都有举行，这就引出许多有关艺术的评论，是否这标志着中国长达很多世 纪的传统艺术会被慢慢瓦解，甚至背离。 当然在西方，诱惑很少被抵制解释了在西方框架下中国当代艺术的趋势，这样是好的，因为这样西方的观众容易 接受来自中国的新艺术，但这并不是说就必然有一个合理而又有效的方式去理解中国的艺术作品。 余晓的作品可以看成一种非凡的新艺术，她强有力的视觉冲击力和高超的技法是需要得到赞赏的，而不是一种仅 仅的中国元素艺术简单狭窄的转化。 ——Sajid Rizvi（英国 EAP 艺术杂志创办人／主编，艺术评论家）
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London-based artist Yu Xiao is showing her work in this year's Royal Academy Summer Exhibition, a rigorously vetted annual feast for the senses. The artist's work is informed as much by Chinese tradition as the experience of living in the West and being exposed to myriad influences that are not just western, but international on a vast scale. Yu Xiao's work reveals an attention to detail and technical finesse that's a window on the artist's intellect and thought processes. The recent upsurge in abstract painting in the Chinese world -- China, Hong Kong, Taiwan and Chinese communities worldwide -- has set off a lot of speculative art criticism which asks predictable questions as to whether this signifies a departure or -- worse -- a rejection of traditions embedded in centuries of painterly practice in the Chinese sphere. In the West, of course, a temptation seldom resisted is to interpret trends in modern Chinese art within a western frame, which is fine as a user-friendly device for western audiences drawn to new art from the Chinese world, but not necessarily a sound or valid approach to understanding whatever is afoot in artistic production from that world. Yu Xiao's work needs to be seen in the singular context of new art and appreciated for its visual strength and technical achievement, rather than in the narrower context of Chinese art in transition from home to diaspora. ——Sajid Rizvi （UK EAP Art Magazine Founder/Chief Editor, Art Critic）
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绘画是一种特殊的可视物，是物质性（颜料，画布，画框）和非物质性（空间，视像，精神内涵）一对矛盾体。余晓 对画布表面，画框，甚至画布背面细致入微的关注，似乎在对观者叙说这对矛盾体不可思议的奇妙。 ——张弘星（英国伦敦 V&A 博物中国馆馆长和高级策展人）
Painting is a special visual object. Material (the paint, canvas and frame) and non-material (spatial, visual, and spiritual connotation) are a pair of contradictions. Yu Xiao pays meticulous attention to the surface of the canvas, the frame, or even the back of the canvas. It seems that she wants to tell the viewers that this pair of contradictions is incredibly wonderful. ——Zhang Hongxing (Director of Chinese Department of Victoria & Albert Museum, senior curator)
余晓的小尺寸系列作品是一个很好的例子，它证明不仅只有大尺寸作品才能表现出的活力和力量感。 ——Tess Jaray（英国当代著名抽象绘画艺术家，英国皇家艺术院院士）
余晓的绘画受益于新英国艺术的影响，作品兼具理性与情感，在构成和分割中呈现了空间和深度，以具体和抽象 的方式探讨单纯、简明和轻快的风格特质。
Yu Xiao’s serial of small-size works is such a good example of work that does not have to be large in order to be dynamic. —— Tess Jaray (Contemporary well-known British abstract painter, Royal Academician)
Yu Xiao’s painting benefits from the impacts of the new British arts. Her works are full of both ration and emotion, and present space and depth with the structure and division. They try to explore simple, concise and lively style through the concrete and abstract ways. ——Ye Yongqing (Well-known Chinese contemporary artist)
——叶永青 （中国当代著名艺术家）
作品中有系统地探索复杂的视觉空间和表象的相关性 , 通过假设视角的多面性，突破画布的局限，使之呈现多面 和类似透视的效果，打破了原有绘画元素组合的局限，并通过进一步的观察及重组，在视觉上有意地误导观众。 从限制和经济的角度看，作品第一印象是纯粹的几何图像。 瀑布式的绘画表现形式持续出现在几何空间的画面里，正是余晓在思考动静、刚柔平衡的迹象，情感和自然这对 相对对立的主题可以通过尖锐的空间图形表现出来。探索绘画的平衡性和情感的敏感性是作品的最终目标。 ——Roberto Manowski & Marek Kowarek (WSA 美术馆馆长和策展人，BBC 导演 )
Yu's intricately methodical paintings are an exploration of the relativity of seeing and representation of space. By assuming a multiplicity of viewpoints, Yu explodes the boundaries of the canvas into a multitude of planes and perspectives which combine to challenge a pictorial reality. Through restraint and economy, Yu's paintings on first appearance seem to represent and investigate pure geometrical form. However, on closer inspection and contemplation, it appears that Yu misleads us intentionally. The recurring motif of the waterfall set amongst the geometrical spaces is a sign that emotion and nature offer a counterpoint to the particular intellectual discipline embodied by the sharpness of spatial forms. Exploring emotional sensibilities emerges as an equal objective of the work. In a further part of the exhibition an installation made of two-sided paintings hangs in space and rests on the floor challenging the preconceived ideas within painting, and an examination of the relationship between the original and the derivative. ——Roberto Manowski & Marek Kowarek (Curator & director of WSA Galleria, BBC director)
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绘画的细小差别 The Painting Of Small Difference
YU XIAO
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余晓
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海拔 No.2- 装置（正面）/ Elevation No.2-Installation(front) 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print
12 100x100cm (14 件 /pieces) 120x100cm (3 件 /pieces) 160x100cm (2 件 /pieces) 2012-2013
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海拔 No.2- 装置（背面）/ Elevation No.2-Installation(back) 14
布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm (14 件 /pieces) 120x100cm (3 件 /pieces) 160x100cm (2 件 /pieces) 2012-2013
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海拔 No.2 - 1:19 / Elevation No.2 - 1:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 2:19 / Elevation No.2 - 2:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 3:19 / Elevation No.2 - 3:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 4:19 / Elevation No.2 - 4:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 5:19 / Elevation No.2 - 5:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 120x100cm
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海拔 No.2 - 6:19 / Elevation No.2 - 6:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 7:19 / Elevation No.2 - 7:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 8:19 / Elevation No.2 - 8:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 9:19 / Elevation No.2 - 9:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 160x100cm
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海拔 No.2 - 10:19 / Elevation No.2 - 10:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 160x100cm
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海拔 No.2 - 11:19 / Elevation No.2 - 11:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 -1 2:19 / Elevation No.2 - 12:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 13:19 / Elevation No.2 - 13:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 14:19 / Elevation No.2 - 14:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 120x100cm
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海拔 No.2 - 15:19 / Elevation No.2 - 15:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 16:19 / Elevation No.2 - 16:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 -17:19 / Elevation No.2 - 17:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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海拔 No.2 - 18:19 / Elevation No.2 - 18:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 120x100cm
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海拔 No.2 - 19:19 / Elevation No.2 - 19:19 布面丙烯、艺术微喷 / Acrylic on Canvas Ultra-Giclee Art Print 100x100cm
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六十乘六十的 60 度 / Sixty By Sixty & 60 Degree 布面丙烯、布带 / Elastic and acrylic on canvas 76.2x76.2cm ( 30x30inch ) 2014
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七十六乘七十六的 76 度 / Seventy-Six By Seventy-Six & 76 Degree 布面丙烯、布带 / Elastic and acrylic on canvas 76.2x76.2cm ( 30x30inch ) 2014
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三十乘四十的 45 度 / Thirty By Forty & 45 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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四十乘四十的 0 度 / Forty By Forty & 0 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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二十五乘四十的 60 度 / Twenty-Five By Forty & 60 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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四十乘四十的 30 度 / Forty By Forty and 30 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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四十乘四十的 20 度 / Forty By Forty & 20 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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四十乘四十的 70 度 / Forty By Forty & 70 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 60x60cm 2013
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一百乘一百的红点 / One Hundred By One Hundred & Red Pointing 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 120x120cm 2013
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九十六乘九十六的 20 度 / Ninety-Six By Ninety-Six & 20 Degree 纸板、丙烯、粗亚麻 / Corrugated Cardboard, Markpen & Acrylic on linen 120x120cm 2013
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褶皱 / Fold 布面丙烯 / Acrylic on Canvas 40x40cm 2012
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破坏 / Destruction 丙烯、粗亚麻 / Acrylic on linen 100x100cm 2012 注：2012 年 NOAC 英国国家公开艺术大奖提名作品。UK National Open Art Competition shortlisted artist.
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修行的冥想空间 / Meditation space of practice 布面丙烯 / Acrylic on Canvas 115x160cm 2012
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连系 1 / Connection No.1 布面丙烯 / Acrylic on Canvas 40x40cm 2012
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连系 2 / Connection No.2 布面丙烯 / Acrylic on Canvas 40x40cm 2012
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无题 / Untitled 布面丙烯 / Acrylic on Canvas 40x40cm 2012 注：2012 年英国皇家艺术院夏季展入选参展作品。Selected artist in‘Summer Exhibition 2012’ at Royal Academy of Arts.
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方位 / Aspect 布面丙烯 / Acrylic on Canvas 118x158cm 2011
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区 1 / Zone No.1 丙烯、亚麻布 / Acrylic on Linen 80x95cm 2011
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区 2 / Zone No.2 丙烯、亚麻布 / Acrylic on Linen 80x95cm 2011
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视图 1.2.3.4 / Views 1.2.3.4 纸板、丙烯、粗亚麻 / Acrylic on linen & card board 30×30cm (each x4) 2011
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视图 5.6 / Views 5.6 纸板、丙烯、粗亚麻 / Acrylic on linen & card board 30×30cm 2011
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趋势 No.2 / Tendency No.2 布面丙烯和马克笔 / Acrylic & Mark pen on canvas 30×24cm 2011
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纸上谈思 No.002 / Talking thinking on drawing No.002 铅笔 / Pencil 29.7x21cm 2012
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纸上谈思 No.003 / Talking thinking on drawing No.003 铅笔 / Pencil 29.7x21cm 2012
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纸上谈思 No.005 / Talking thinking on drawing No.005 铅笔 / Pencil 29.7x21cm 2012
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纸上谈思 No.011 / Talking thinking on drawing No.011 铅笔 / Pencil 29.7x21cm 2013
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群展 2014
包画廊 , 行为现场 , 阿纳特米博物馆 , 国王学院 , 伦敦，英国 伦敦双年展，SOHO 广场，伦敦，英国 巴塞尔香港艺术博览会 , 香港，中国 新抽象第一回展 , Hadrien de Montferrand 画廊 , 798，北京，中国
2013
ART THAT HEELS, ELLE 中文 25 周年跨界合作 , 上海视界中心 , 莫干山路 , 上海，中国 艺游未尽 , 精品 20 年时尚生活艺术大赏展览 , 孔雀城大湖艺术馆 , 北京，中国 巴塞尔香港艺术博览会 , 香港，中国 再生长 , 首届华人艺术家双年展 , 亚洲之家 , 伦敦 , 英国 水彩 & 纸本博览会 , 英国科学博物馆 , 伦敦 , 英国
2012
UA 艺术家协会冬季联展 , 奥布里画廊 , 艾赛克斯，英国 英国 NOAC( 英国国家公开艺术奖 ) 入围艺术家展 , 王子基金美术馆 , 伦敦 , 英国 中国女性抽象艺术家全球巡展宁波首展 , 宁波 867 创意中心 , 宁波，中国 中国 2012 之舟 , 今日美术馆 , 北京 , 中国 英国抽象艺术家，地穴美术馆 , 挪威广场 , 康威尔 , 英国 Photo by: Pablo Bartholomew
夏季展 2012， 英国皇家艺术院美术馆 , 皮卡地利 , 伦敦 , 英国 我的西湖 , 浙江美术馆 , 杭州 , 中国 思想空间 & 艺术空间 , 英国文化委员会 , 沃克斯豪尔交流中心 , 伦敦 , 英国 英国 第 91 届 UA 伦敦艺术家年度展览 , 孟尼亚画廊 , 萨瑟克街 , 伦敦 , 英国 中断 , 乔治私人空间 , 温莎街 , 布赖顿 , 英国
余 晓
2011
英国华人艺术家设计师联展 , 上海国际展览中心 , 上海 , 中国 催化生成 ,798 艺术园 , 北京 , 中国
教育履历
中英艺术与设计节 2011, 大西部工作区 , 伦敦 , 英国
2010 美术学硕士研究生
2010
中央圣马丁艺术与设计学院 , 伦敦 , 英国
独立宣言 , 今日美术馆 , 北京 , 中国 中央圣马丁艺术与设计学院美术学研究生毕业展 , 中央圣马丁查林十字街校区 , 伦敦 , 英国
2003 美术学本科学士
必要的幻觉 , 驳船仓 , 泰晤士边 OXO 塔楼 , 伦敦 , 英国
杭州师范大学美术学院 , 杭州 , 中国
2009 前
个展 2013 绘画的细小差别 , 余晓个展 , 北京现在画廊 , 草厂地， 北京，中国 2011 方位 , 余晓首个展 ,WSA 美术馆 , 铁街 54 号 , 华沙 , 波兰
瞬间混沌 , 文顶画廊 , 杭州 , 中国 创意市集 , 浙江省国际会展中心 , 杭州 , 中国 美术学本科生毕业展 , 浙江展览馆 , 杭州 , 中国 杭州市青年艺术家群展 , 浙江展览馆 , 杭州 , 中国 冷面寒铁 , 杭州西湖国际博览会 , 吴山城隍阁 , 杭州 , 中国
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YU XIAO EDUCATION & QUALIFICATIONS MA in Fine Art, 2010 Central Saint Martins College of Art & Design, London, UK BA in Fine Art, 2003 Fine Art College of Hangzhou Normal University, HangZhou, China
SOLO EXHIBITION 2013 The Painting of small difference, Beijing Art Now Gallery, Beijing, China 2011 Aspects, Galeria WSA, Warsaw , Poland
SELECTED EXHIBITION 2014
Wrap up the gallery, Anatomy Museum Kings college, London, UK London Biennial,Soho square, Central London, UK ART Basel in HK, Hong Kong, China New Abstraction: Chapter one, Hadrien de Montferrand Gallery, Beijing, China
2013
ART THAT HEELS, ELLE cross border Group show, Vertcenter, Shanghai, China Art Hasn't Given The Full Expression, Peacock city lake art museum,Beijing, China ART Basel HK, Hong Kong, China Regrowing, The First Biennale of UK Chinese artist, Asia House, London, UK Watercolours + Works on Paper Fair, Science Museum, London, UK
2012
UA Winter show, Aubrey Art Gallery, Great Dunmow, Essex, UK NOAC Shortlisted artists group show, Prince's Foundation Gallery, London, UK Abstraction isn’t abstraction, Crypt gallery, Norway square, Cornwall, UK The Boat of 2012, Today Contemporary Art Museum,BeiJing, China Chinese Abstract Artists Global Touring Exhibition, NingBo (first site), China Summer exhibition 2012, Royal Academy of Arts, Piccadilly, London, UK Westlake in my mind, ZheJiang Art Museum, HangZhou, China Space for mind,space for art, Vauxhall gardens community centre, London, UK UK 91st Annual Open Exhibition,Menier Gallery.Southwalk street,London, UK Interruption, George private space,Windsor street, Brighton, UK
2011
The Catalyst, 798 Art distict, BeiJing, China Group show of Chinese artists based in London, Shanghai international exhibition central, ShangHai, China. UK China Art & Design Festival 2011,Great western studio, London.UK Declaration of Independence, at Today Art Museum, BeiJing, China
2010
MA Fine Art Degree Show, Central Saint Martins, London, UK Necessary Illusions, Bargehouse, OXO Tower Wharf, London, UK
Before 2009
A Moment Chaos, WenDing Gallery, HangZhou, China Creation Market, ZheJiang World Trade International Exhibition Center,HangZhou, China BA Fine Art degree show on ZheJiang Exhibition Hall,HangZhou, China HangZhou young artists exhibition. ZheJiang Exhibition Centre, HangZhou, China Lengmian Hantie of Embed wall carved stone line in City God Pavilion on the Wu Hill, Hangzhou West Lake International Expo, China 116
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摄影：赵爽
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策 展 人：黄燎原 编辑策划：羽 镝 美术设计：郑达飞 图片摄影：连 系 坚 子 肖雁群 出版数量：500 本 出版日期：2014.5 Curator: Huang Liaoyuan Editors: Yu Di Design: Zheng Dafei Photos: Lian Xi Jian Zi Xiao Yanqun Editon: 500 copies Pubilshed May 2014 Beijing Art Now Gallery,Beijing,2014 北京现在画廊 - 北京市朝阳区崔各庄草场地红一号院 E 座 Beijing Art Now Gallery - Building E, Red Yard No.1, Cao Chang Di, Cui Ge Zhuang,Chaoyang District, Beijing, P.R. China,100015 Tel: +86-10-51273292 Fax: +86-10-51273291 Email: angallery@vip.sina.com www.beijingartnow.com
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