Zhe Chen

Chen Zhe is a photographer from Beijing, and a graduate from the school of photography at the Pasadena Art Institute. After documenting her own experience of self-infliction in the 2010 series “The Bearable”, Chen went on to photograph the lives of those with similar histories in her series, “Bees”. The series took a total of four years to complete, with the process involving the completion of tattoos, self-inflicted wounds, and even self-inflicted bodily modifications. Chen called these individuals “Bees”, because “[when] faced with chaos, violence, alienation and irredeemable losses in life, [they] feel propelled to leave physical traces and markings on their bodies.” In order to preserve and corroborate a pure and sensitive mind from within.Over the course of this four year process, Chen found for herself a certain sense of healing. “Bees” got the Inge Morath Award from Magnum Foundation in 2011.Zhe Chen is a fine art photographer originally from Beijing, China and is currently based in Los Angeles, CA. Chen graduated from Art Center College of Design with her BFA in photography in the summer of 2010. Within the past year, Chen’s work has been exhibited in multiple galleries in New York, France, and China. For the past four years she’s been investigating and documenting self-inflicted activities of her own and others. This work is from her Bees project. She writes:To jeopardize existence for existence itself: ‘Bees’ recorded a marginalized group of people in China, who, faced with chaos, violence, alienation and irredeemable losses in life, feels propelled to leave physical traces and markings on their bodies, in order to preserve and corroborate a pure and sensitive mind from within. In 2010, having ‘The Bearable’ (a photo series documenting my own self-infliction in the past 4 years) as my passport, I had the opportunity to develop a close relationship with some of these obstinate souls – the bees. During the process of exchanging secrets with them, I crossed path with certain possibilities that were formerly unachieved but towards which I had struggled greatly in my personal life. I’m struck by the unyielding actions and reactions they carry on with while encountering sudden and acute emotional fluxes, and moved by the recurrent effort they make to recover themselves afterwards. No matter how different our lives seem to be, we undoubtedly shared common psychological experiences.I intend my photographs to inquire upon society’s prejudice and preconception towards this community, and not to become illustrations or pictorial evidence for the topic at hand: every subject is an individual, not just ‘one of them’– his or her life cannot be predicted or dictated by any constructed social code or notion. Not everyone is strong, some are just naturally more sensitive. When the dust settles, some wave their hands and walk away, and others soak it up and digest it. When they feel weak, the bees come up with a rather alternative solution to carry them through the hardships.I hope a first glance of my work conveys the idea of secrecy and sentiments, under which lies information awaiting exposure and recognition: like an index page pointing towards all the unanswered questions. The viewers will never be in direct communication with these bees, unfortunately. They can only see the images and read the words. What is the best way to summarize the reason for our existence? After all, we are only human. I feel responsible to be part of this dialogue.

Lin Zhipeng (NO.223)

Lin Zhipeng aka NO.223, 1979, China, is a photographer based in Beijing who works in a very intuitive fashion. His photography shows the Chinese youth of today with sex and chaotic love as recurring themes. The photographs that are made using a very direct and hard flash, showing a youth culture the way he does, are relatively new to come from a country as China. The "snap-shot" images reveal a new Chinese generation, allowing us viewers to see them while they party, shower, hang-out, kiss and smoke. His work has been published in several books as New Photography in China and in numerous magazines as Vice, S Magazine and Dazed and Confused. He has been exhibited mainly in China, but also in Europe and the USA. The following images come from the portfolios Portfolio 09, Portfolio 07 and Polaroid.

Why you started to work with photography?
In fact, photography is not my work. I just a hobbyist of photography. After I taking a photo for 1 or 2 years, I always can fine plenty of mood in it now. So I keep shooting any kind of photos around my life.
How you can describe your style?
Selfhood, impromptu, sex and young.
How you create an image?
Anytime I can create an image because I carry a camera every day. I don’t use any decoration after I taking a photo. So, the photos you see all are the original image as the moment I taking them.
Can you tell us who is your favourite photographer?
Now is Wolfgang Tillmans.
Can you make sex with photos or you can make a photo with sex ?
If somebody want.. I can make sex with photos.haha. But most of the second one.

Lin’s snapshot aesthetic is the outcome of a spontaneous process: “Most photographers have some idea of what they want to shoot, but I have no idea. I follow the models or my friends, then I follow my mind”. This results in images that are in your face and unforgettable.

Photographer, artist and magazine creator, LIN ZHIPENG is a leading figure of new Chinese photography for his ability to capture the volatile, primal energy of the Chinese youths of today.
He has contributed to numerous popular lifestyle and fashion magazines in China as editor and writer and has produced photo shoots for magazines such as Vice, Glass, City Pictorial and more recently for S Magazine. In 2007 he published the independent fashion magazine project TOO and in 2005, 2006 and 2010 published three volumes of photography entitled My Private Broadway. His curatorial work includes the exhibitions TOO SHOT! Fashion×Photography in Get It Louder, Eco-matter,(2008) at ARRTCO in Beijing and vision music show Time, Dust, Hormone (2009) at Mao Live House in Beijing.

Muge (Muge Huang Rong 木格)

Muge Huang Rong (aka: Muge, 木格) was born in 1979 in Chongqing, China. He graduated from Sichuan Normal University in 2004 and now lives and works in Chengdu.
Contrary to most peoples first impression, Muges work is not photo-journalistic, but rather autobiographical, and is focused around the main theme of longing and belonging. His most prolific efforts up to now have been two series titled Go Home and Silence, both of which consist of black and white square-formatted photographs of people from the Three Gorges area, along the Yangtze river. Against the background of an area he calls home and that has suffered great changes over time (due to the construction of the biggest hydroelectric river dam in the world), Muges photographs addresses the relationship between a persons sense of home as a place and the concept of space undergoing constant 
He is currently a lecturer at the College of Radio and Film at Chengdu University of Technology.  Mu Ge has held solo exhibitions at Zen Photo Gallery in Tokyo and Anastasia Photo Gallery in New York and has participated in Contemporary Chinese Photography.  Katonah Museum of Art.NEW York (2012).festivals including PhotoOff (2011), France; Savignano Immagini La Fotografia (2010), Italy; Caochangdi PhotoSpring festival (2010), China; Arles Photography Festival (2010), France, and Format International Photography Festival Biennale 2009, UK. In 2011 he was nominated for the Foam Paul Huf Award in the Netherlands. His photographs have been featured in publications such as The New York Times, EYEMAZING, Le Monde magazine, LIFEMAGAZINE, FOTO 8, and Chinese Photography. Muge's work is included in the permanent collection of the Museum of Ontario Toronto Canada, Muge In 2011 he was nominated for the Foam Paul Huf Award in the Netherlands.


Adou (b. 1973, Mianyang, Sichuan Province) graduated from the Fine Arts Department of the Sichuan Aba Normal College in 1995. Following graduation, he worked as a design and creative director in the advertising field for nearly a decade.
Inspired by the documentary photography of Julia Margaret Cameron, Robert Frank, Sally Mann and August Sander, Adou began photographing the people and places around him. The Samalada series, for example, depicts the Yi ethnic minority on Da Liang Mountain in the artists native Sichuan Province. Adous portraits and landscapes do not seek to portray individuals or illustrate specific moments, but collectively represent a visual expression of his culture and, by extension, of the photographer himself.
Adous photographs have been shown throughout China and Japan in exhibitions including Chengdu Photographers Three Person Exhibition at the International Photography Festival in Pingyao (2005), the Lianzhou Photography Festival in Guangdong Province (2006), Outward Expressions, Inward Reflections at the Three Shadows Photography Art Centre in Beijing (2007), and the MIO Retrospective Exhibition in Kyoto (2007).
Adou is the recipient of the Grand Prize at the Japan MIO International Young Photographers Competition for his series Public Buses & Chinese People (2005) and the KLM Paul Huf Award in the Netherlands (2007).
A monograph of Adous work is included in the multi-volume set Outward Expressions, Inward Reflections (Three Shadows Press, 2007).
Adou lives and works in Chengdu, Sichuan Province, China

Ma Liuming

Ma Liuming began making his nude performance pieces in Beijing in the early 1990s, usually in front of a small circle of friends. With long hair and feminine features, he uses his androgynous look as an important part of his art and wears make-up to transform his face into his female alter ego, Fen. In the earlier works he would sit naked on a platform, while in later works, such as Fen Ma Liuming in Lyon (France) from 2001, he is also drugged with sleeping pills that render him essentially motionless. Those in attendance are then invited to come on stage and take a picture with the artist. Some pose at his feet, others disrobe and sit next to him, most engage the limp body as a prop. Audience reaction varies from country to country. Their expressions vary from amusement to challenge to adoration, but their awareness of the camera (and its importance in provoking their reaction) is never in question.\par
Ma Liuming was born in 1969 in Huangshi, Hubei Province, China. He graduated from the Hubei Academy of Fine Arts, Hubei, China in 1991 with a focus in oil painting. He has performed and exhibited work internationally, including such countries as Switzerland, Italy, Austria, China, the Netherlands, New Zealand, Norway, and the USA. Between 2000 and 2003 alone he has had solo performances and exhibitions at Soobin Art Gallery, Singapore; Tensta Konsthall, Sweden; Gallery Q, Tokyo, Japan; Studio 303, part of Festival Art Action Actual, Montreal, Canada; Les Subsistances TM, part of Polysonneries Festival, Lyon, France; Kunsthallen Brandst Kladefabrik, part of 3rd International Performance Festival, Odense, Denmark; Imperial Mint, part of the 7th International Isanbul Biennial; Dilston Grove Church, part of Span2 International Performance Art, London; Teater Utan Kayu, Jakarta, Indonesia; Kwangju Biennale, Kwangju, Korea; Kunstraum, Germany, part of Performance Art in NRW 2000; and Baan Chao Praya, part of the 3rd International Performance Art Festival, Bangkok, Thailand. He currently lives and works in Beijing

Ma Liuming (born 1969 in Huangshi, Hubei province) is a contemporary Chinese painter and pioneer of performance art. He is known most of all for his exploration of the power and poetry of public nudity in China, where such behavior was strictly forbidden. That is why he has been the target of government censorship, unable to perform in his own country for most of his career.
In 1981 Ma Liuming started to study oil painting with tutor Cai Erhe. He graduated from Hubei Institute of Fine Arts in 1991 (MFA) in the Oil Painting Department. Two years later, he was one of the founders of Beijing East Village, an artists colony on the outskirts of Beijing. In the early 1990s it became a Mecca for experimental art forms. One of Ma Liumings first performances was called "Fen-Ma Liumings Lunch 1", a collaboration with Zhang Huan and Zhu Ming in 1994. He sat, completely nude, sucking a plastic tube that was attached to his penis. In 1994 Ma Liuming was arrested for a period of two months because of works like this. Many of the artists of the Beijing East Village fled in response to this police action.
In order to match his own uniquely androgynous appearance Ma Liuming developed his own performance persona Fen-Ma Liuming, a hybrid figure of male and female components.
Next to performances painting is a key component in his works. Since 2000, he has developed his "Baby series", in which the face of Fen-Ma Liuming appears on infants bodies. It is a surrealistic image that is both disturbing and laughable. Throughout different mediums such as performance, painting and photography Ma Liuming continues to investigate the limits of provocation, seducing his audience into an inquiry of more intriguing matters.

Cai Zhisong

Like most people, I was constantly admonished to “establish far-reaching ambitions”, “realize my self value” and “struggle to change my destiny” since I was a child. Full of fantasies about the future, I tirelessly strived for these goals. I had faith that all of my efforts would be rewarded one day.

In a time of great social flux, where decades of social upheaval have contributed to a frequently contradictory cultural identity, Cai Zhisong’s sculpture looks back to the stability of the past. His is not a banal reiteration of Chinese history however, but a reaffirmation of the past and its relevance to contemporary times. Cai entitles his series ‘Motherland’, a word which is synonymous with pride and nationalism. As we shall see however, the themes in his work cannot be limited to one nation and are universal in nature.Whether figurative or not, an ongoing concern with time pervades all of Cai’s works and is coupled with an awareness of the change that accompanies it. What is of particular interest to the artist, however, is that which does not change; the unerring presence of human emotion, and in particular the existence of suffering. In looking at Cai Zhisong’s warriors one is given an immediate impression of the hardship that they appear to endure, this being particularly evident when gazing at the nude figures in the ‘Ode’ series. We see their strong, physical bodies being slowly crushed by an intangible, indecipherable weight. This inner torment is something that relates to all of us, as Cai states: “Pain is universal, no matter who you are, everyone feels pain at some point.” This has, of course, held true throughout history, with external phenomena constantly changing, but the same emotions continuing to exist. Cai is acutely interested in the individual’s response to emotional pain and the way in which the intensity of the emotion varies depending upon the manner that one chooses to deal with it. Certain situations, without doubt will cause negative emotions, but Cai argues that it is necessary for one to realise that no one event can be held responsible.
As he sees it, the cause of significant pain is a collection of small events that combine to become forceful enough to have an adverse effect upon the subject. It is possible, therefore, to dismantle the causes that precipitate pain and observe them not as a severe whole, but as a gradation of lesser events. When this has been achieved, and the causes have been fractioned and worked into their smallest possible components, the events, now seen in isolation, appear insignificant enough to seem nonexistent. When it is also remembered that situations in the world are never constant, it is possible to perceive these negative feelings as being irrelevant. This process, although possessing the potential to relieve suffering, is not, as Cai states, one which comes naturally to people, and as such, many allow their suffering to consume them. This occurs when pain is left unchecked. It perpetuates itself, continuing in an unrelenting cycle that becomes increasingly difficult to break free from and as this happens, we become further removed from the foundations of our distress and are left only with the negativity that it has engendered. We can see this state, this continual cycle of torment, represented in Cai’s warriors who, like many others, are trapped in an interminable state of suffering.
 Cai has given these theories on pain and its nonexistence much time and consideration, incorporating his ideas into his work and continuing to explore the theme in his various forms. They are ideas which were briefly touched upon by Confucius, but Cai is careful not to portray himself as a philosopher. Rather, he puts his care and attention into his painstaking processes, creating compassionate works that capture the innate suffering of the world. Our observations of his insightful and visually striking sculptures leave one feeling emotionally affected and contemplative. These reactions are brought about in such a subtle and gentle manner however, that one is never quite sure what it is that has touched them. In his finely articulated works we see Cai proudly but sensitively continuing the legacy of an ancient Chinese culture, whilst also reminding us of the universal qualities that tie everyone and everything, including the past and the present, together.

Ma Han

Ma Han is a Chinese visual artist who was born in 1968. Ma Han has had several gallery and museum exhibitions, including at the Pearl Lam Galleries, Beijing and at the Beijing Tokyo Art Projects. Numerous works by the artist have been sold at auction, including 'Plan of the Ants - Red' sold at Sotheby's Hong Kong in 2008 for $62739. Han Ma 1968 born in Hunan, China Lives and works in Beijing, China 
1994 Graduated from the Department of Oil painting of the China National Academy of Fine Arts, Hangzhou, China
Solo Exhibitions
2009 "Permeating: A Visual Experience With No Place to Hide" Ma Han's Solo Exhibition
1994 The Installation Performance Art Exhibition by Ma Han , Exhibition Hall in China National Academy of Fine Arts, Hangzhou.
Group Exhibitions
2009 Hong Kong International Art Fair- Installations Exhibition, Exhibition Center, Hong Kong
2008 Escape, Today Museum, Beijing
Hypallage \endash  The post-modern mode of Chinese contemporary art
Hua Museum, Shen Zhen
Biennale d'Arte di Sabbioneta, Sabbioneta,Italy
Unpack, The museum of China National Academy of Fine Arts, Hangzhou
Dialogues at Art Dubai, Contrasts Gallery in Dubai Art Fair
3.15- Consumption. Xin Dong Cheng Space for Contemporary Art, Beijing
2007 Rewind <<Remix>> Fast-Forward: Chinese Contemporary Art.
Contrasts Gallery, Shanghai
China onward: the Estella Collection : Chinese contemporary art,1996-2006,
Louisiana Museum, Denmark; Israel Museum, Jerusalem
Chinese Contemporary Social Art, The State Tretyakov Museum, Moscow
2006 Comtemporary Art from China, Marchina Arte contemporanea, Brescia, Italy
Crossovers: beyond art & design, Contrasts Gallery, Shanghai
Made in China, Vecchiato Gallery, Padova, Italy
2005 From Jingdezhen to PVC, Chinese Contemporary Gallery, Beijing
Dream Producers (IV/VI)-The Imaginary Museum of Chinese Contemporary Art,
Xin Dong Cheng Space for Contemporary Art, Beijing
China- Dynamics of the Public Space, L.A. Galerie Lothar Albrecht, Germany
2004 Art-Space-China, Schwaebisch Hall, Germany Distance, Aomori Contemporary Art Center, Aomori, Japan
1st Beijing Architectural Biennial, The program exhibition hall of china, Beijing
Asia factory, Bologna Museum of Contemporary Art, Bologna, Italia
One to One-Visions, Chambers Fine Arts, New York
I like Lille, I like eating Lille, Lille Contemporary Art Center, France
2002 Beijing Afloat: Beijing Tokyo Art Project - Opening Exhibition, Beijing
Transit, Gallery Steiner, Erlach, Switzerland
Long March- A Walking Visual Display, kunming, zunyi
Welcome China, Gallery Soardi, Nice, Miami
2001 Take Part II - Chinese Contemporary Art, Galerie Urs Meile, Luzern, Switzerland
Visibility, China Art Archives &Warehouse, Beijing
Crossroad: Artistic Scenario Exihibition on the Urban Public Environment, Chengdu
Disorientation: Photography & Video in China Today, Chambers Fine Arts, New York
New Starting Point Art Exihibition, Artist Storehouse, Beijing
2000 Post-Material: Interpretations of Everyday Life by Contemporary Chinese Artists,
Red Gate Gallery The watchtower, Beijing
1998 he Report of Mahan's Studio, Beijing

Zhou Jun

Zhou Jun, is born in Nanjing, Jiangsu Province, China and graduated from the Nanjing Normal University, Academy of Fine Arts, Photography Department. He currently lives and works in Nanjing.  The last thirty years of the Chinese economic miracle has led to unprecedented changes, perhaps the most obvious being the metamorphosis of the numerous Chinese capital cities. At times marveled for their engineering endeavors and glamourous makeovers, these metropolises have equally been the focus of much debate as a result of the demolition of ancient architecture and heritage sites that stood in the way of this transformation. The result is a new modernity that bears testament to the contradictions and contrasts of the new China today. As a photographer, Zhou Jun seeks to reveal through his unique brand of black and white photography the socio-historical narration of some of these sweeping changes. Like the works of Bernd and Hillar Becher who photographed the abandoned mineshafts and silos in post-war Germany, Zhou Jun is dedicated to immortalizing the icons of China s architecture in their states of glory, construction and isolation. With a distinct palette of greys, deliberately devoid of strong blacks and whites, Zhou Jun is constantly exploring and redefining with heightened sensitivity this constantly evolving landscape. He constructs a brave new world almost devoid of human existence where imposing buildings dominate and engage with one another. While a Northern Song landscape painting in accordance with Taoist principles pays homage to Nature by reducing the presence of human existence to an insignificant proportion, Zhou Jun creates a contemporary universe where the human condition  kowtows instead to a concrete jungle that has taken a life of its own. The viewer is struck immediately by the red overlay that has become the artists trademark and by its multifaceted symbolism. The rouge quote  that is an awe-inspiring political symbol continues to shape and leave an indelible mark on a society where the old confronts the new and conflicting ideologies co-exist in a delicate equilibrium. Zhous works is available at Gallerie Paris-Beijing in Paris ( see bellow the presentation ) that we invite you to take in ocnsideration, as they pay a really big attention on contemporary chinese artists, so you will be astonished of the quality of art you can see exposed there.

Lu Chunsheng

Particularly generative aspect of Lu Chunsheng's work is the way it breaches the boundary between documentary and fiction. His conceptual and methodological coherence broadens and extends the inquiry into everyday life rather than merely illustrate it. Lu Chunsheng is now focusing on photography and video art. In his work, he articulates a surrealistic and neutral attitude in his videos. Using fixed camera positions, endless drawn-out shots and unprofessional shooting techniques, he documents human behavior in bizarre situations. But unlike many of his fellow artists emerging from the same generation, he does not focus on the alienation following an accelerated urbanization (including its stream of rapidly moving images and perplexed inhabitants). Instead, he has developed an oeuvre that consists of characters in bizarre situations. The absurdity takes its form in a series of photographs entitled "Water" (2000), where a man stands motionless in a nightgown while growing seawater accumulates at his feet. This is documented in progressive stages without any recognizable narrative or explanation. Similarly strange, the large-scale photograph "I Want to Be a Gentleman" (2000) depicts nine men standing on tall plinths in front of a run-down industrial building like statues on display in a museum.
In a recent series of photographs entitled "Carlin", Lu Chunsheng strikes a balance between documentary realism and filmic aesthetic encounter. The quasi-documentary directness is created consciously with respect to a given site. These pictures are beautifully composed with a strictly demarcated horizontal line resembling traditional landscape photography, playing on foreground and background. However, this reading is subverted by a human figure riding a broom, as if it was an imaginary horse. The interpretive process is thus one of deferral or unraveling.
Lu Chunsheng graduated from China National Academy of Fine Arts, Department of Sculpture. He has exhibited widely in China and abroad. He resides and works in Shanghai. Recent exhibitions include PERSPECTIVES: LU CHUNSHENG, Arthur M. Sackler Gallery, Washington D.C, U.S.A.(2011); Moving Image In China : 1988-2011, Minsheng Art Museum, Shanghai(2011); Lu Chunsheng, Part of Everybody Knows This Ss Nowhere: A Programme of International Moving Image, Stephensons Work, Newcastle, U.K.(2010); The Materialists are All Asleep, A Retrospective of Lu Chunsheng, The Red Mansion Foundation, London, U.K.(2008); 10th International Istanbul Biennial , Not only Possible, But also Necessary-Optimism in the Age of Global War, Istanbul, Turkey(2007); China Contemporary Art, Architecture and Visual Culture, Museum Boijmans van Beuningen, Rotterdam(2006), The Thirteen: Chinese Video Now, P.S.1 Contemporary Art Center, New York(2006), Out of Sight, De Appel Foundation, Amsterdam(2005), Double Vision, 1st Lianzhou International Foto Festival, Guangdong(2005) and Zooming Into Focus: Chinese Contemporary Photography and Video from Haudenschild Collection, National Art Museum, Beijing(2005) and subsequently in Mexico City and Shanghai.

Liu Bolin

Liu Bolin is a young Beijing based artist who has exhibited primarily in China until last year’s solo show at Paris’ galerie Bertin Toublanc and a group show with the gallery in Miami. He recently finished up a show at Eli Klein fine art in New York showcasing a variety of his pieces including some form the series ‘camouflage’. This series is an exploration of human nature and animal instincts which features Chinese citizens painted to blend into their surroundings.
Liu works on a single photo for up to 10 hours at a time, to make sure he gets it just right, but he achieves the right effect: sometimes passers-by don’t even realize he is there until he moves. Bolin spends about 10 hours being painted for each work so he perfectly matches the background.
The talented Liu Bolin says his art is a protest against the actions of the Government, who shut down his art studio in 2005 and persecutes artists. It’s about not fitting into modern society. Despite problems with Chinese authorities, Liu’s works are appreciated at an international level.Spots he has chosen in China and the UK include a phone box, a cannon and even earthquake rubble.
Liu Bolin is the amazing artist who paints himself into any background.He has been disguising himself to blend in urban or nature backdrops, creating the illusion of a human chameleon or a ghost.
One of Bolin's recent projects includes painting fashion designers to visualize how other creative people – such as Angela Missoni and Jean Paul Gaultier – get lost in their work. But Bolin's most famous project is 'Hiding In The City' with installments in Beijing, New York and Venice.

Zhang Peng

Zhang Peng
All of the young girls in Zhang Peng's artworks are delicate and helpless. Their big, sad eyes are filled with tears and seem to appeal to the audience. What kind of pain and sadness are these girls, who are supposed to be the purest souls in the world, hiding? 
Carefully examining Zhang Peng's artworks, you can sense a feeling of sadness which is different from that of most other artworks. It is different from the solitude and suppressed sadness of Zhang Xiaogang's Family Series. Zhang Peng's young girls do not reveal their sadness and pain. Seeing their awkward jewels and makeup on their small and slender bodies, they seem sad although they are not crying and are splendid yet miserable.

Zhang Peng was born in 1981. He lives and works in Beijing. Zhang Peng’s photography takes young, vulnerable women and girls as its central theme. There is a profound sense of sorrow and empathy that is evoked in his haunting images of doll-like girls sitting timidly on richly-colored settees and in bloody bathtubs. Their indescribable expressions of hurt and vulnerability leave the viewer unsettled, disconcerted and heavy hearted.
Zhang Peng’s work looks gorgeous! This is going to be a super exhibition. It will feature new photography, paintings and watercolors. At 27, Zhang Peng is considered to be one of China’s most talented, interesting and promising young artists. It is still early in his career, yet he has already received attention from important collectors and media throughout the world. Images of his work have appeared in Newsweek, The New York Times online and have graced the covers of numerous art magazines.
Zhang Peng said that he spends more time looking out to the world than staying in his studio to actually create art. He is an innocent and courageous artist who intends to capture the truths and contradictions of this world in his art. 

Zhang Peng converted his art from painting to photography in 2006. The term of 'convert' might be too restraining to Zhang Peng. When asked why he 'converted' to photography, the artist expressed that there was no special season with a perplexed face. "There is no special reason. When I changed my genre from painting to photography, many people were just like you. They were curious as to why I changed my media so suddenly and kept asking me why. However, all I wanted was to express many thoughts and emotions in my mind through more diversified means." He states that photography, which can capture a moment of an event and sensibility, is more suitable for him compared to painting that offers only a limited time to express all of his thoughts. However, his photography is not as simple as his humble statement. He makes flawless compositions, carefully arranged as theater sets and elaborately controls the lighting effects to create dramatic scenes. Furthermore, there are computer manipulations to make abnormally big eyes and slender bodies. His work has not become any easier than painting. Zhang Peng's previous paintings and full-color photographs were strongly attached to red - red flowers, red blood, and so on. "Red symbolizes either China itself or blood. As the national economy grows, each individual within it becomes relatively small. Red implies the meaning of this duality."
His recent black-and-white photographs do not reveal red, but the omission of red seems to add brutality and subtlety to his art. We can clearly see blood on the glass in front of the girl who is holding a knife, half-naked in a barber shop, which is a place dominated by males. Seeing the expressionless face of girls, holding colorful jewels they obtained by dissecting a swine, we are urged to think about who is responsible for not being able to protect the innocence of these girls. Classification between painting and photography, or color and black-and-white is only a package that limits Zhang Peng's art. For a young artist who has just made his first step into the battleground of society and art sector, endless experimentations with various genres and media are only a process of finding himself. Zhang Peng displays a young, passionate contemplation beyond genre and media.

Lu Zhengyuan

Born Dalian, Liaoning, 1982

Lu Zhengyuan says he loves colour, but in his group of Mental Patients (2006), the only colour is the red flower in an old woman’s hair. Everything else—the seven patients, the bed, the hospital cabinet—is grey. “If you dilute any colour enough, you get grey. And if you mix all the colours together, you get greys,” the artist says. He recalls reading somewhere that “Grey is not associated with a flower. As a mental state it is indecisive. As an emotion, it calls for pharmaceuticals.” He made the sculptures from memory after spending two weeks in a mental hospital, taking care of a friend who had had a nervous breakdown. The World Health Organisation estimated in 2009 that about 1.8 million Chinese have a mental illness; the Chinese government has admitted that Beijing alone has 150,000 mentally ill residents and just 7000 psychiatric beds. Chinese citizens’ frantic race to improve their economic health has no meaning for Lu Zhengyuan’s subjects. While their country changes around them at breakneck speed, in the half-light of the hospital nothing changes at all. Living in perpetual limbo, these people could be citizens of any country—or of none.

“There is a boundary between life and art, but the boundary is not very clear or rigid.” 

Li Shan

Li Shan has undergone many stylistic changes throughout his unique artistic career but has never lost his ability to express internal sensibilities as well as external reluctances. The latest paintings in his "Rouge" series show mutant beings with butterflies as ears or as part of their faces. They seem to evoke the two contradictory strains that entail humor, laughter and self-mockery on the one hand and a cynical undercurrent of criticism on the other. "Rouge" is based on the principle of ambiguity. Li Shan attempts to find an evolving form that can address the problem of trying to extract the recognizable out of the unrecognizable. 
Most recently in a series entitled "Reading" (2005), he created computer images of various insects and plants. Closer viewing reveals that these insects are composed of human body parts like fingers, ears and genitalia. Through his uncannily realistic representation of interspecies insects, Li Shan questions the hypocrisy and lack of equality of human values in today's politically informed bio-scientific experiments. In terms of artistic style, he has adopted decorative methods similar to those of folk art, thus creating intimate, eccentric and oddly organic objects. Indeed, they seem to be mutant creatures from some hypothetical textbook on horticulture. The synthesized insects are constructions of digital imagery morphed into abstracted pictures. He raises the question of whether it is still possible to identify the boundaries between any particular organism and the world it inhabits. Li Shan's seemingly infinite variety of work reveals a sort of consistency upon closer inspection. All the works evoke a tension within the idea of the yet unknown. He manages to reconcile opposites in a way that leaves them un-reconciled, allowing viewers to reach their own conclusions.

Li Shan was born in Lanxi County in Heilongjiang province and graduated from the Shanghai Academy of Drama in 1968. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery-a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been "neutered" by the combined social effects of knowledge, language and authority. Li Shan is one member of "New Art From China: Post-1989" and become internationally Known as his Political Pop style.

 Li Shan's work has been exhibited in many important exhibitions such as Painting the Chinese Dream: Thirty Years of Chinese Contemporary Art, Minsheng Art Museum, Shanghai(2010); The First Guangzhou Trienniale - Reinterpretation: A Decade of Experimental Chinese Art (1990 - 2000), Guangdong Museum of Art, Guangzhou(2002); Chinese Art 30 Years after the Revolution, that traveled through America, ending at the Brooklyn Museum, Inside Out, New Chinese Art, Exhibition of Art from China, Taiwan and Hong Kong, Asia Society Galleries; PS1, New York; SFMoMA / Asian Art Galleries, San Francisco etc.(1998); 22nd International Biennial of Sao Paulo, Brazil(1994); China's New Art, Post 1989 Art Centre, Hong Kong(1993) and the 45th Venice Biennale(1993) etc.

Li Hongbo

“The challenge for Li Hongbo,” says art critic Yin Shuangxi,  “is to explore the cultural significance of paper rather than the craft of manipulating paper.”
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is for him an 
endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering.  The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance. 
“This visual impact had me realize that an alternative possibility existed in the language of paper texture and form: from concrete to abstract; from physical to the intangible; from standardization to liberation; or vice versa. The continuity of paper has thus become a key element in the language expression here; its gathering and dispersing, ups and downs, twists and turns have presented to us a set of unpredictable images.
- Li Hongbo

Born in 1974 in Jilin Province, China, Li Hongbo lives and works in Beijing. He graduated in 1996 from 
the Fine Arts Department of Jilin Normal University with a bachelor’s degree, then went to the Central 
Academy of Fine Arts in Beijing and obtained in 2001 an M.F.A. from the Folk Art Department and an M.F.A. from the Experimental Art Department in 2010. Li Hongbo’s works have entered such prestigious collection as the Sydney based White Rabbit collection and the UBS collection for Americas. The artist’s works have been shown by institutions notably the afore mentioned White Rabbit Gallery in Sydney (2010-11) and in Beijing at the Found Museum in solo (2011) and group shows (2010) and Sishang Art Museum (2010).

Hong Lei

Hong Lei (1960 Jiangsu) is a well-known conceptual and visual artists. His photographs of classical Chinese paintings, doctored and painted to create images of beauty and decay, have been popular here for years and acquired by some of the biggest collectors of Chinese contemporary art. This has been Hong's long-running motif. His technique is said to be superb and the images have an air of authencity and sharpness. he lives and works in Changzhou, Anhui provence now.
Hong Lei specialises in subverting images by careful editing and retouching.  In doing so, he subverts the rule of reason, using eerie juxtapositions to appeal directly to the viewer’s unconscious.  Early in his career, he used photography to recreate classical Chinese paintings, then added bizarre twists.  El Jardín de Senderos Que Se Bifurcan (The Garden of Forking Paths, 2007) is part of a new phase in which, rather than riffing on well-known works, he stages tableaux of his own. The title comes from a 1941 story by Jorge Luis Borges.  One of the first works of “hypertext fiction”, it centres on a Chinese spy and his ancestor, creator of a labyrinthine artwork in which “all possible outcomes occur; each is the point of departure for other forkings”.  Against blank back­drops, Hong Lei’s triptych presents goats, horses and dogs sur­rounded by flies (linked in China with death), butterflies (love and long life), and dragonflies (transience).  Borges’s tale makes no mention of mammals or insects. In borrowing its title, Hong Lei suggests that art and life are both labyrinths, in which anything can happen and each viewer interprets the same event in his own way.

“I just reveal the traditional Chinese culture that exists in my heart, the way I understand it. It’s like a poet once said: ‘I love deeply and also hate the land under my feet.’ ”

He Sen

He Sen emerged during China’s post-Cultural Revolution years of the early 1990s. Initially painting still-life images of objects that epitomized the nation's growing consumer culture, including toys and western music, he eventually began to include figures in his work, creating provocative, large-scale works that considered the effects of global consumerism on Chinese youth.  He Sen’s latest series of photorealist images depicting young Chinese women with stuffed animals continues this exploration
He Sen has been painting young women and soft toys since 1998. The presence of teddy bears aims to create a tension between a certain childishness and the paraphernalia of adulthood that surround the girls. Eyes are significant to He: his first paintings in this series featured young women whose eyes were rubbed out, blurring their expressions. More recently He has chosen to represent the eyes of the young women he paints, and their bored, melancholy or occasionally smiling expressions are rendered in detail. The "blurring" previously attained by the erasing of the eyes can now be seen in the blue-grey cigarette smoke that curls around their heads, or the shadows cast on the monochrome grey background. The soft toys still feature at times, negating the self-consciously grown-up poses of the models. Heavily made up and often provocative, He Sen's young women seem to be caught between childhood and fully fledged adult life
He Sen has been painting young women and soft toys since 1998. The presence of teddy bears aims to create a tension between a certain childishness and the paraphernalia of adulthood that surround the girls. Eyes are significant to He: his first paintings in this series featured young women whose eyes were rubbed out, blurring their expressions. More recently He has chosen to represent the eyes of the young women he paints, and their bored, melancholy or occasionally smiling expressions are rendered in detail. The "blurring" previously attained by the erasing of the eyes can now be seen in the blue-grey cigarette smoke that curls around their heads, or the shadows cast on the monochrome grey background. The soft toys still feature at times, negating the self-consciously grown-up poses of the models. Heavily made up and often provocative, He Sen's young women seem to be caught between childhood and fully fledged adult life.