Gu Chunchun

Resume
Born in 80’s Zhejiang province

2008 Graduated from shanghai normal university, Major of oil painting.
Presently, persuing master degree of oil painting

Exhibitions
2008

• "Happiness" the third landscape·scene. National oil painting of people works exhibition Gangtai gallery, Shanghai
• "Everyone’s youth", Young artists invitation exhibition, Shanghai Invisible Gallery, Shanghai

Statement

• New home

I was born in Jiaxing, Zhejiang province. When I was young, I remembered that my home was a small house and we were all eager to built a big house. People in our hometown were all hard workers because we know only through hard work, we could built a bright future. A house that I painted is a dream of our family. A big house manifest our success. The house is still under renovation which is a symbol of hope that our dream will come true.

• Poetry field

This is a painting of a memory of my youth, in my hometown we grow a type of plant similar to the sugarcane. The plant is eaten for it's juice but it is a little longer and thinner. On that day, I saw the plants swaying and dancing with the wind, a little boy and his grandmother were carrying some home. Despite the hardship on the grandmother's face, she and her grandson were smiling with happiness.

• Fun in bridal chamber

It is a tradition in most areas of china that we will make fun of the new wed couple during the marriage ceremony. The jokes are our blessings for wishing them a happy and loving marriage until eternity. There was a paper in the bridegroom’s body, and the Chinese characters are: jingzhongbaoqi. It means be loyal to the bride forever. It is originally adapted from a very famous story during the Song dynasty, there was a very famous general called Yue-Fei. W hen he was young, his mother tatoed four characters on his back: jingzhongbaoguo. It means be loyal to the country forever. After the years, he has achieved as a very famous and successful general. The painting is a humorous way of translating loyalty as compared to the general to his land and the bridegroom to his bride.

Kang Can

Resume
1982 Born in Chongqing, China

2006 Graduating from Workshop 1 of the Oil Painting Department of Sichuan Fine Art Institute with a Bachelor’s Degree
Present Professional artist in Tank Loft- Chongqing Contemporary Art Center


Exhibition
2007

• “Chinese Walls” organized by LotusArt, Amsterdam in the Netherlands

2006

• Exhibition of The Bridges At Art Basel Miami Beach , Miami Beach, United States
• Exhibition of Excellent Works of Graduates from Institutions of Fine Art in China in Beijing Today Art Museum
• Exhibition “Urgence” in Tank Loft- Chongqing Contemporary Art Center
• Exhibition “Zou Jie Chuan Xiang”, Chongqing, China
• The 10th Annual Exhibition of Student Works of Sichuan Fine Art Institute
  

2005

• Second Prize in the 1st Chongqing College Student Art Festival, China Chongqing Art Museum
• Award for Excellence in Exhibition of Basic Course Teaching of Sichuan Fine Art Institute

2004

• The 9th Annual Exhibition of Student Works of Sichuan Fine Art Institute
  
  Publications
  2006 CONTEMPORARY ARTISTS 6／2006
  LOOK YELLOW PAGE 2006.12－1
  New Woman Paper 241
  
  2007 ART China NO.1/2007
  ART China NO.2/2007
  New York Times March 14, 2007
  
  
  
  Statement
  With the rapid development of urbanization and globalization, China is witnessing a process of internationalization with a surprising speed. In this fast developing post-industrial age, we, surrounded by superfluous information and images, are becoming callous and fatigued which bemuses us and set us doubting the reality.
  Thanks to our doubts, we have found a sensitive excitement prompting us to seek our inspirations in this fanaticizing consumption age. Babies, as the symbol of the human purity, came to this world, simple and unadulterated. When put together with typically contemporary symbols in a certain fragment of a narration in a super-realistic way, they will possibly break through the existing notion of pattern of these symbols, creating a brand new meaning.
  However, I would like to make clear that I did not mean to and are not able to create a new type of artistic form. Instead, I would just like to seek a way out for my doubts by means of patterns and transmit them in various channels.
  
  
  KANG CAN and ANDY WARHOL
• (comments taken from www.vcfineart.com/exhibitions/chinese_neo-pop.html#kangcan)
• Andy Warhol and Kang Can both comment on societal issues through the use of a singular image taken from popular culture. Warhol's work elevated people and everyday objects to celebrity status, employing images from pop culture, as opposed to the elitist styles of the Abstract Expressionist movement. Kang Can works against these same pressures, using images from his own popular culture, and fighting the traditional Chinese style to present his own unique vision. Like Warhol, a certain celebrity status is implied through the single figure of a baby, struggling to conquer the larger than life pressures of contemporary society.
  

Zhang Dachuan

Resume
1984 Born in Shandong
2006 Information on the artist was chosen to be in the Shanghai Museum of Art’s Young artist Archive
2008 Graduated from Shanghai Normal University majoring in traditional Oil Painting department

Exhibitions
2008

• Popcorn, Contemporary Art Exhibition, shanghai M50 Xianghai Gallery, Shanghai

2007

• “Stop 30 Seconds”Contemporary art exhibition, Shanghai Zhengda Museum of Modern Art, Shanghai
• 129 Contemporary art exhibition Shanghai Fei Art Centre, Shanghai
• “Passing by” ,Young artists invitation exhibition ,Shanghai Invisible Gallery, Shanghai
• Selected as nominee of new Chinese artists Of Art Alliance, Art Alliance
  

2006

• "The heckle of era" , Painting Exhibition, Shandong Museum of Art
  
  
  Statement
  In my series "Peony with stones," "Neutral Person", are created in the summer of 2008, most of my works are based on the beliefs of the Confucian culture. I like to express in my works, the spirit of young people who are full of vitality, love and hope. I am fond of reading essays on consciousness as I believe the consciousness are the primary human intelligence where awareness exist. I hope to achieve the awareness of consciousness from my works.
  

Liu Jie

Resume
1967 Born in Qiqiher, Heilongjiang Province
1990 Graduated from Shanghai Theatre Academy
1991 Worked in Harbin Opera House after graduation
1997 M.A degree in Shanghai Theatre Academy

Selected Group exhibitions

2007

• Participated in Chinese International Gallery Exhibition in Beijing

2006

• Face Value, LotusArt –World Art Delft, the Netherlands

2005

• Shanghai Visual Art Exhibition, Shanghai
• Exhibition of Ten Men Painting, Shanghai

2003

• New Art Exhibition, Shanghai

2002

• Nanjing Additional Art Exhibition, Nanjing

2000

• China Mainland Fine Arts Exhibition, Hong Kong

1999

• Joint Art Exhibition of Shanghai and Hangzhou, Shanghai

1998

• Shanghai Fine Arts Exhibition of College Students, Shanghai
• Six Men Exhibition, Shanghai

1997

• Shanghai Art Exhibition of College Teachers, Shanghai

1994

• Annual Exhibition of China Oil painting, Beijing

1992

• Exhibition for Sino-Korea Art Exchange, Harbin

1991

• Heilongjiang Fine Arts Exhibition, Heilongjiang

1990

• My dear Northeast Hometown, Shenyang

1987

• Shanghai Youth Art Exhibition, Shanghai

Statement
“Our soul is at search for tranquillity amidst the madness of the crowd of today’s society.”

Liu Jie´s paintings reflect his point of view, his commentaries on living in this new society. His work inspired by Maoism comes from his understanding of contemporary Chinese culture. He claims that the society is forgetting their natural identity and is constantly being polluted by the superficial attitude of the new modern era. He uses the traditional form of Mao and the Chinese woman, to project the pure identity of the Chinese heritage and strong traditions against the post-modern fish-butterfly which is to manifest the development of genes hybrid and transformation. He finds China facing a complex situation at present. The China today is in rapid changes which of its negative effect is the dissipating traditional values and morals.

Wang Shu Hui

Resume and Exhibitions
1977

• Born in Shandong

2000

• Went to South Korea to have an international ceramic skill exchange in 2000

2001

• Graduated from Jingdezhen Ceramics Institute in 2001. Many art works were collected by the school for permanent collection

2002

• Established the Tree Pottery Studio in 2002

2004

• Visual art one-person exhibition of pottery in Shanghai
• Natural element “Gold, wood, water, fire, earth joint exhibitions” Shanghai

2005

• “Shanghai international sculpture pair of year unfolds” Shanghai
• “Shanghai international creativity industry week” Shanghai
• “Shanghai folk custom art festival” Shanghai

2006

• “Shanghai spring artistic” Shanghai
• “Shanghai arts exposition” Shanghai
• “The second Shanghai international creativity industry week” Shanghai
• “The eighth session of national ceramics innovation
• “Shanghai youth artists commending exhibition” Shanghai
  

2007

• Chinese Walls, LotusArt, Amsterdam, The Netherlands

Live presently in Shanghai, artist and manager of pottery laboratory of Shanghai Jianqiao College.

Artist Statement
“During my creation, what I think the most is how to express a kind of culture to people through a piece of my art, not only providing a kind of enjoyment of beauty visually.”

When I carried on the creation revolving the theme of “foods”, I chose Jiaozi (dumplings) as the symbol because it represents the Chinese foods and has many beautiful moving fables. Jiaozi is the Chinese widely known folk good food, is symbolizing the reunion, the jubilation. The Chinese, at holidays, kindly treat relatives and friends, always make Jiaozi to eat. Especially on the lunar New Year's Day, after the whole family’s paying a New Year call, they sit together in a circle, make Jiaozi while chatting every happened, often bring in the happy talk and laughter, has meaning of greatly the endless enjoyment. Therefore people often regard Jiaozi as the symbol of propitious and happy reunion.

I was born in the township of ancient civilization which carries the history of Jiaozi—Shandong Province. People in my hometown eat Jiaozi to celebrate the joyful reunion since when I could memory. I like the traditional culture, like the folk custom, likes the common social practice. A succession of thing, forms each one symbol in my heart, is flooding the idea which I create. However an accidental Jiaozi feast, enable the thoughts in my mind to come into existence, giving birth to my art work-- blue-and-white Jiaozi. This art work selects the Chinese glorious history ceramics and the Eastern tradition blue-and-white design in the style of antiquity, crystal clear, the bright vitrified pot real has manifested Jiaozi perfectly clear, and the noble friendship between people. The blue-and-white design is the symbol of propitious pleasant, and the Winding branches are the link of peace, it not only represents the jubilation and the blessing, but also is the symbol of world peace and reunion. Not only this has released my mood, simultaneously lets the Chinese ancient bright Jiaozi culture, even more carries forward in the new century, also hoped causes the people to recall to the traditional culture, forming a new feeling of traditional culture. From this time on revolved this theme to complete my a series of creations.

Jin Hua

Resume

1976 Born in Shanghai
1992 - 95 Major: Animation, Shanghai YF Vocational & Polytechnic School Huashan

2000 Creative Director, RongShuXia, Computer Co., Ltd.
2003 Freelancer / Designer
2003 – 06 Art Director, Nitro Group (International advertising agency)
Currently resides in Vancouver and study Fine Art at Emily Carr University

Solo Exhibition

2008

• Untold, Potential Gallery 798 Dashanzi Art Center, Beijing, China

Group Exhibitions

2008

• PIP - Pingyao International Photography Festival, PingYao, China
• Centre A's 9th Anniversary Fundraising Auction, Vancouver, Canada

2007

• Presence, National Forum for Culturally Diverse Organizations, Toronto, Canada
• Chinese Walls, LotusArt/Walls Gallery, Amsterdam, Holland
• Restless - Contemporary Photography and New Media, Museum of Contemporary Art Shanghai, China

2005

• SHANGHAI 1800-0600 - LOMO Photography Exhibition, EPSON Gallery, Shanghai, China
• China – Azure, AG - ART Space, Hangzhou, China
• Lomo Photography Exhibition, Top Art Gallery, Shanghai, China
  Statement
  The smell of Shanghai is a kind of exploration. An attempt at unique experience of the individual during the city night, through one specific or multiple channels, the usual elements repeat and overlap, transform the visual stimuli to form a non-concrete images. Non-concrete images cause an anxiety in the visual focus, reflecting the silent and subtle suggestions made upon the mind of the public by the city night. The sense of loss in the night, the siege of temptation, the blind obedience of sight, as well as the habitual feeling of being grabbed and driven by some nameless thing, transform unspoken sentiments to visible images, and these visual vibes that emanate from these images, do they not stimulate your sense of smell? Can you not find these smells in the night of this city?