Beijing Contemporary Art Expo 2023: REUNION

28 April - 1 May 2023 
Booth. C3
A Thousand Plateaus Gallery is participating in Beijing Contemporary Art Expo REUNION from April 28 to May 1 in the galleries sector, showcasing works of the following nine artists: Bi Rongrong, He Duoling, Li Changlong, Pang Maokun, Rao Weiyi, Wang Chuan, Yang Shu, Zhai Liang, Zheng Yunhan. Booth C3.
Bi Rongrong
Bi Rongrong's works in recent years are closely associated with walking and collecting. According to Bi Rongrong, urban skin can be carved on buildings, fabric patterns wrapped around the body, poster messages posted on street walls, and vegetation rooted in the corners of the city. Bi Rongrong collects them from different time and space, integrates them into her unique creative context, and processes them manually or digitally, thus forming a comprehensive creative technique including painting, collage, fabric, video, etc., field-specific installation and other media. The fragmented patterns that appear in her work are detached from their original context and grow themselves in another way, constantly transforming into new pictorial landscapes in new areas.
He Duoling
He Duoling is a representative of contemporary Chinese lyrical realism oil painting artists. He Duoling's art has poetic characteristics, emphasizes painterliness, estheticism, elegance and sentimentality. What he pursues is unrestrained freedom. His artistic modeling skills are solid and comprehensive. Where he writes, characters and scenes in his paintings are full of vitality. His sense of simplicity in formal language is similar to that of traditional Chinese ink painting. It is meticulous after refining and complex in simplicity, showing a detached spiritual realm and deep-seated artistic pursuit.
Li Changlong
Li Changlong's large-scale paintings are derived from his thinking on global issues, involving complex contemporary issues such as identity, immigration and geopolitics. He separates historical and realistic images into language symbols, and completes the integration of artistic language under a confrontational structural tension. Regardless of the continuous generation of modeling language or color, Li Changlong does not make presets in advance. Instead, he pursues natural growth inside the picture. Under the name "geopolitical landscape", we can also see that Li Changlong tries to connect the formal expression and aesthetic taste of the picture with the visual structure and aesthetic habits of traditional Chinese painting.
Pang Maokun
In the mid to late 1980s, Pang Maokun has devoted himself to the research and exploration of classical oil painting language. In his nearly 40 years of creation, he was also one of the representative artists who maintained the most complete aesthetic temperament originating from classical language. In fact, when we talk about "classicism", it essentially has a broad extension, not only including language and creative methods, but also involving visual reproduction and viewing mechanisms. Language is the most important entrance to Pang Maokun's painting world. Along the channel of language, images, narratives, and landscapes come to the audience one after another, becoming a natural outcome. Although starting from language, language is not the end of painting. For Pang Maokun, the true goal is to integrate contemporary visual, viewing, and cultural experiences into classical discourse, so that they blend together seamlessly.
Rao Weiyi
Rao Weiyi has been striving to rebuild a "harmonious coexistence" method channel between classic painting and consuming images that constantly deconstruct their own meanings in the post internet era where images are rampant, in order to solve the expression discomfort and lack of meaning caused by multiculturalism and multiple narratives in painting. As an emerging painter of new era, Rao Weiyi transformed the unique texture of network images into experimental painting language, highlighting the visual logic of fragmentation from the characteristic feature such as lack of clarity, collage, and absurdity of network images. At the same time, he restores the electronic texture of images through painting, using strokes and pigments to replicate the visual features of pixels, bringing different combinations of colors, textures, and compositions, thus turning painting into a creative visual "replica".
Wang Chuan
Wang Chuan is a key figure in the Scar Painting movement. He began his early career as a successful realist painter and turned to abstract painting during the 1985 New Wave period. In the late 1990s, sudden illness brought Wang Chuan to a turning point that helped transform his practice. The energy at work in his more recent work arises from contrasts of scale, density, line and surface. This introspective and self-reflective way of working has enabled Wang Chuan to achieve insights, especially through the contemplation of oriental philosophy, The formal resources of his work are both rich and complex. There is the line as inherited from traditional Chinese art but transferred into oil on canvas; there is graffiti; doodling; drawing in paint; and there are elements of both abstraction and figuration. It is as if Wang Chuan is suspicious of the purity of abstraction and he is equally suspicious of the power of figuration.
Yang Shu
Yang Shu is an early explorer of experimental painting in China. His inherent styling talent and steady academic sketch helped him to form the deep cognition of abstract structure and color from the perspective of classical aesthetics. Since 1990s, Yang Shu’s work has been gradually transformed from the non-figurative art that influenced by the expressionism to the present visual creation with the unique “Yang Shu” glamour. His work not only sheds lights on the changes of the physical world, but also integrates the critical spirit and the aesthetic creation; it transforms the structural damage into the composite-materials reconstruction, and condenses the cold yet fully poetic explosive-force.
Zhai Liang

Knowledge serves as a nutrient for painting, flashing before us spontaneously, or acting as a suitable background that can incite the imagination of the artist. Whether it's a story or a word: eventually they all take on this role of incentive. Within his bulky, diversified knowledge system, Zhai Liang takes a hopping approach to his selection of themes. Based on a previous painting he then further infers how a new piece should be done, which results in a visual logic. Hence, every work is brimming with freshness and life, reflecting the clumsiness and modesty of the artist with respect to any new painting. As for the works among themselves, some are large and some are small, but all of them share a similar orientation of interest. By means of gradual, substantial and personal experience of the artist himself, his paintings contribute to the forging of an unbridled visual system.

 

Zheng Yunhan

Zheng Yunhan has created an intermediate space that connects the past and the present, making the invisible or disappeared past becoming visible and perceptible again. Starting from individual experiences which trigger common memories in people's hearts, forming links and resonance. The finished image is cropped according to the contour and embedded in cement, and the collectivity behind the realism means is also sealed into the wall. As his painting creation goes on, the images in the cement gradually blurred from visible to visible, and finally disappeared completely. As long as we delve deeper in iconography, we can identify various origins behind Zheng Yunhan's illustrations, which are organically integrated into the current theme, achieving a unique expression of this moment, this place, and this matter.

 

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