藝術的發(fā)展史是人類文明共同交融發(fā)展而成，不可能是一枝獨秀，當代藝術家應該站在人類文明的視野去思考問題，才能知道本國的文明高度。對生命的悲憫與尊重是現(xiàn)代文明社會的基本內核，也是藝術家的基本心質。藝術家的作品體現(xiàn)了對生命的關愛，對社會的體驗，對世界的認知。在疫情不便之際我通過線上交流展的方式，以"各境與相望"作為展覽的主題，讓藝術家用藝術作品來溝通彼此、傳遞關愛、融合文明，讓藝術擁抱世界。

   The development history of art is the integration and development of human civilization, which can not stand alone. Contemporary artists should think from the perspective of human civilization in order to know the height of their own civilization. Compassion and respect for life is not only the basic core of modern civilized society, but also the basic essence of artists. The artist's works embody the love for life, the experience of society and the cognition of the world. At a time when the epidemic situation is inconvenient, I use the online exchange exhibition to take "all environments and facing each other" as the theme of the exhibition, so that artists can use their works of art to communicate with each other, convey love, integrate civilization, and let art embrace the world.

中國 藝術家

1956年生于上海，中國畫院畫師、上海美術家協(xié)會會員、上海林風眠藝術研究協(xié)會會員，現(xiàn)任上海大學美術學院水墨緣工作室副主任、水墨緣畫刊副主編。

2002年 “第九屆海平線繪畫雕塑聯(lián)展”（劉海粟美術館）

2003年 參加“第三屆全國畫院雙年展”（北京·中國美術館）作品由上海中國畫院收藏。

2004年 “第十屆全國美術作品展上海展”（上海美術館）

2006年“非常水墨-2005當代中國畫名家邀請展”（北京·今日美術館）

2007年 “中國畫觀摩個展”(上海中國畫院）

2009年 “第十一屆全國美術作品展”(上海展覽中心）

2012年 “上海中國畫院作品展”（巴黎中國文化中心、柏林中國文化中心），作品由上海中國畫院收藏

2013年“上海美術作品進京展”（中國美術館）

2013年“樣式—上海水墨的十個個案”（上海張江當代藝術館），作品由張江當代藝術館收藏

2014年 參加“節(jié)點——明圓水墨藝術年度邀請展”（上海明圓美術館）

2017年2月 《城市人物系列》等參加“五屆全國畫院美術作品展“江蘇南京

2017年“水墨·季—季平都市水墨畫展”（程十發(fā)藝術館）

2017年 作品《都市人物系列組畫》獲第九屆上海美術大展暨第五屆白玉蘭美術獎沈柔堅藝術基金獎（中華藝術宮）

2018年“《穹林》季平花鳥畫作品展” （張桂銘藝術館）

2018年《穹林·2》季平都市花鳥新作展（朵云軒）

2019年 作品參加《藝術新世界》胡潤藝術薈2019國際巡回展澳洲悉尼站

2019年 作品參加《意象江南—慶祝新中國成立70周年藝術大展》（蘇州美術館）

2019年 作品《春不遙遠》參加第十屆上海美術大展  （中華藝術宮）

2020年羽衣·霓裳一2020季平紙本作品展（上海鴻一美術館）

Chinese artist

Born in Shanghai in 956. He is a painter of Shanghai Chinese Academy of painting, a member of Shanghai Artists Association and Shanghai Lin Fengmian Art Research Association. He is now the deputy director of the ink edge studio of the Academy of fine arts of Shanghai University and the deputy editor in chief of the ink edge magazine.

2002 "the 9th joint exhibition of painting and sculpture on the sea level" (Liu Haisu Art Museum)

In 2003, he participated in the third National Academy of painting Biennale (Beijing · China Art Museum), and his works were collected by Shanghai Academy of Chinese painting.

2004 "the 10th National Art Exhibition Shanghai Exhibition" (Shanghai Art Museum)

2006 "extraordinary ink painting - 2005 invitation exhibition of famous contemporary Chinese painters" (Beijing Today Art Museum)

2007 "solo exhibition of Chinese painting" (Shanghai Academy of Chinese painting)

2009 "the 11th National Art Exhibition" (Shanghai Exhibition Center)

2012 "Shanghai Chinese Painting Academy Works Exhibition" (Paris Chinese culture center, Berlin Chinese culture center), the works are collected by Shanghai Chinese Painting Academy

2013 "Shanghai Art Exhibition in Beijing" (China Art Museum)

In 2013, "style - ten cases of Shanghai ink painting" (Shanghai Zhangjiang Contemporary Art Museum), the works were collected by Zhangjiang contemporary art museum

In 2014, he participated in the "node - Mingyuan ink art annual Invitation Exhibition" (Shanghai Mingyuan Art Museum)

In February 2017, the series of urban characters and others participated in the "Fifth National Academy of Fine Arts Exhibition" Nanjing, Jiangsu Province

2017 "ink painting season - Jiping urban ink painting exhibition" (Cheng Shifa Art Museum)

In 2017, the series of urban figures won the Shen roujian Art Fund Award (China Art Palace) of the 9th Shanghai Art Exhibition and the 5th Magnolia Art Award

2018 "dome forest" Jiping flower and bird painting exhibition "(Zhang Guiming Art Museum)

New works exhibition of Jiping urban flowers and birds in 2018 (duoyunxuan)

In 2019, his works participated in the "new world of art" Hurun Art Fair 2019 International Tour Exhibition Sydney, Australia

In 2019, his works participated in the "image of Jiangnan - art exhibition celebrating the 70th anniversary of the founding of new China" (Suzhou Art Museum)

In 2019, his work "spring is not far away" participated in the 10th Shanghai Art Exhibition (China Art Palace)

2020 feather clothes and neon clothes season I flat paper works exhibition (Shanghai Hongyi Art Museum)

季平  作品:  心語 / The language of the heart . 紙本水墨 / Lnk painting on paper. 180X90cm . 2020

季平  作品：宋詞略說 / Song Ci trans;lation  . 紙本水墨 / Lnk painting on paper  113x200cm  2020

《無人之境》

文/王劼音

   我觀察一個藝術家首先看他有沒有獨立思考的能力，有沒有敢為天下先的反潮流精神。這種能力和精神來自藝術家自身生命的需要，幾乎是優(yōu)秀藝術家的一種本能，完全不同于那些頭腦活絡之人為博取快速成功而趕時髦制造出來的噱頭。

   季平的花鳥畫完全打破了固定的程式。自古以來直至今日畫壇似乎從未見過這種“季平模式”的寫意花鳥畫。其實對他而言形成這種風格是自然的事。是從內心深處自然流淌而出，也是他長期藝術探索的自然結果。并不是為了追求“可識別性”而生硬造將出來的東西。

   花鳥畫是完全不同于西方的一種藝術樣式。中國花鳥畫家以平等的心態(tài)去描繪一莖小草或一蟲一鳥。在這里人不再是主宰世界，傲視萬物的霸王，普世博愛的精神躍然紙上，反映了中國人的自然觀和價值觀，我們可以從中體悟到中國哲學之魅力。

季平筆下的花鳥顯然出自傳統(tǒng)。我們甚至可從他的某些畫面中找出古畫中的原型。然而，他又不是在照搬復傳統(tǒng)。他從傳統(tǒng)出發(fā)，卻走上了一條自己的路徑。

   簡而言之，季平的花鳥畫屬于“瞎畫”一路。他在人物畫領域中就有“瞎畫”的實踐基礎，一旦運用到花鳥畫中似乎更是得心應手，恣意縱橫，無拘無束，真正進入了“無人之境”，有痛快、直率、淋漓之感。

季平筆下的花鳥，有時甚至有些難看，但畫面是美的。這是很奇怪的矛盾組合。很多人無法接受這種“難看的美”。人們樂于看畫中所描繪對象之美，而從不關注畫面之美。這種對畫面結構之美、氣韻之美、內蘊之美的漠視，正是我們今天欣賞現(xiàn)代美術作品中的一個“坎兒”。設想一下，讓我們跳出欣賞繪畫作品的思維定勢，或許就能獲得進入現(xiàn)代藝術王國的簽證。

   藝術家所取得的成就，往往和他的學術選擇有很大的關系。有的藝術家本該堅持自己的學術定位，卻心猿意馬，朝三暮四，嘗試著各種新的花樣，這樣的“創(chuàng)新”其實和他的基因并不匹配，卻又丟失了原先擁有的深厚基礎，兩頭落空，一事無成。

   有的藝術家經(jīng)過長期努力，形成了自己的風格語言和塑造手段。但有了一套之后卻再也不敢越雷池半步，束手束腳，跳不出自己固有的窠臼，變成一個沒有活力的藝術家，終究淹沒在習慣的守勢之中。

a place where there is no one

Text / Wang Jieyin

   I observe an artist first to see whether he has the ability to think independently and whether he has the anti trend spirit of daring to be the first in the world. This kind of ability and spirit comes from the needs of the artist's own life. It is almost an instinct of excellent artists. It is completely different from the gimmicks made by those active minded people to catch up with the fashion for quick success.

  Ji Ping's flower and bird painting completely broke the fixed procedure. From ancient times to today, the painting world seems to have never seen this "Ji Ping mode" freehand flower and bird painting. In fact, it is natural for him to form this style. It flows naturally from the depths of his heart and is also the natural result of his long-term artistic exploration. It's not something that's hard to make in pursuit of "recognizability".

  Flower and bird painting is an art style completely different from the West. Chinese flower and bird painters depict a stalk of grass or a worm and a bird with an equal attitude. Here, people are no longer the overlord who dominates the world and despises all things. The spirit of universal love is on paper, which reflects the Chinese people's outlook on nature and values, from which we can understand the charm of Chinese philosophy.

Ji Ping's flowers and birds are obviously from tradition. We can even find the archetypes in ancient paintings from some of his pictures. However, he is not copying tradition. Starting from tradition, he embarked on his own path.

  In short, Ji Ping's flower and bird paintings belong to "blind painting". He has the practical basis of "blind painting" in the field of figure painting. Once applied to flower and bird painting, he seems to be more handy, arbitrary and unrestrained. He really entered the "no man's land" and has a pleasant, straightforward and incisive feeling.

   The flowers and birds in Ji Ping's works are sometimes even ugly, but the picture is beautiful. This is a strange combination of contradictions. Many people cannot accept this "ugly beauty". People are happy to see the beauty of the objects depicted in the painting, but never pay attention to the beauty of the picture. This indifference to the beauty of picture structure, charm and connotation is just a "Kaner" in our appreciation of modern art works today. Imagine that if we jump out of the mindset of appreciating paintings, we may be able to get a visa to enter the kingdom of modern art.

  The achievements of an artist are often closely related to his academic choice. Some artists should have insisted on their own academic orientation, but they were distracted and tried all kinds of new tricks. In fact, such "innovation" did not match his genes, but lost the deep foundation they had, and failed at both ends.

  Some artists have formed their own style language and shaping means after long-term efforts. However, after having a set, he never dared to step beyond the thunder pool, tied his hands and feet, unable to jump out of his inherent pattern and become an inactive artist, which was eventually submerged in the defensive of habit.

季平  作品:  殘照花開之二 / The second of flowers blooming in the afterglow   紙本水墨 / Lnk painting on paper  200x113cm  2020

季平  作品:   依依素影 / Yiyisu shadow 紙本水墨 / Lnk painting on paper   96x168cm  2020

美國 藝術家

Fall 2016 - Spring 2020 中央美術學院(CAFA)

Fall 2014 - Spring 2016 芝加哥藝術學院(SAIC)

Fall 2012 - Fall 2013 Raritan Valley Community College (RVCC)

展覽

2021 TB Artbyss 網(wǎng)上 后網(wǎng)絡/前矩陣

2021 赤金美術館 網(wǎng)上 跳出三界外，不在五行中年

2020 濟南雙年展 網(wǎng)上 家園一一融合之境

2020 I+Media 網(wǎng)上 不一樣的希望與重生

2019 維歐美術館 北京 老師展覽

2019 Buraby Exhibition Center 哈薩克 Legends of Buraby

2019 所見畫廊 北京 Taxi Scheme

2019 十方藝術中心 重慶 駐留展覽

2019 上海藝諾美術館 上海 大藝家夏李展

2019 奧地利大使館 北京 Maslows Dream

2018 威尼斯售貨機 利物浦 泰特利物浦美術館

2018 炎黃美術館 北京 正經(jīng)的外鄉(xiāng)人

2018 韓國文化中心 北京 色

2017 RVCC Gallery 新澤西 Alumni Exhibition

2017 Crystal Gallery 芝加哥 Path of Totality

2017 中國美術學院畫廊 杭州 中國經(jīng)歷

2017 炎黃美術館 北京 合法的外鄉(xiāng)人

2016 Charlie James Gallery 洛杉磯 The Fourth Wall

2016 Nippon Steel 芝加哥 Juried Exhibition

American artist

EducationFall 2016 - Spring 2020 Central Academy of Fine Arts(CAFA)

Fall 2014 - Spring 2016 The School of the Art Institiute Of Chicago(SAIC)

Fall 2012 - Fall 2013 Raritan Valley Community College (RVCC)

Selected Exhibitions

July 2021 TopBidder Artbyss Cryptovoxels Post-internet

 MatrixMarch 2021 Chi Jin Museum Cryptovoxels Not Here Not There

December 2020 Jinan Biennial Online Home Realm of He

April 2020 I+Media Online Hope and Rebirth

December 2019 VO Art Museum Beijing Teacher’s Exhibition

September 2019 Buraby Exhibition Center Kazakhstan Legends of Buraby

August 2019 Visible Gallery Beijing Taxi Scheme

August 2019 Dimensions Art Center Chongqing Solo Exhibition

June 2019 Shanghai Yinuo Art Museum Shanghai Summer Show

March 2019 Austrian Embassy Beijing Maslow’s Dream

July 2018 Venice Vending Machine Liverpool Tate Liverpool

May 2018 Yanhuang Art Museum Beijing Legal Aliens

May 2018 Korean Cultural Center Beijing Se

October 2017 RVCC Gallery Branchberg Alumni Exhibition

September 2017 Crystal Gallery Chicago Path of Totality

June 2017 China Academy of Art Gallery Hangzhou Experience China

April 2017 Yanhuang Art Museum Beijing Alienation

September 2016 Charlie James Gallery Los Angeles The Fourth Wall

May 2016 Nippon Steel Chicago Juried Exhibition

艾倫  作品:  社區(qū)音樂會 / Community Concert Acrylic and wax marker on tar paper . 51 cm x 92 cm 2021

艾倫  作品:  命運黑幫 / Fate Gangsters Acrylic and wax marker on tar paper  . 163 cm x 92 cm  . 2021

藝術思考：

我的作品以抽象的字體開始，作為更復雜成分的結構基礎。這些信件構成了單詞和句子，將故事作為我個人歷史的交替記錄。夢幻般地扭曲著我所知道的人和地方，哀嘆著那些已經(jīng)改變和消失的人，把他們的記憶保存在這些理想化的、但暫時的空間里。我是一個溝通藝術家，了解物理和數(shù)字公共空間。在這兩個層面之間漂泊，我的作品既為檔案的永恒而奮斗，也為適時的衰敗而奮斗。從這個意義上說，短暫的繪畫行為產生了比我更長久的東西，而記錄過程產生了比藝術對象更長久的記憶。

Artistic Thinking:

My work begins as abstract letterforms which serve as a structural basis for more complex compositions. These letters form words and sentences, to make stories as alternate records of my personal history. A dreamlike warping of people and places I have known, laments those that have changed and disappeared, preserving their memory in these idealized, yet temporary spaces. I am a communication artist, informed by physical and digital communal spaces. Drifting in between these planes, my work strives for both an archival eternity, and a timely decay. In this sense the ephemeral act of drawing produces something which can outlive me, and the process of documentation produces a memory which can outlive the art object.

艾倫  作品: 可能是什么 / What Might Have Been . What Might Have Been  Wax marker on tar paper . 92 cm x 52 cm.  2021

艾 倫  作品；  雪夜的記憶 / Memories of Nights in the Snow . Acrylic and wax marker on tar paper   147 cm x 92 cm  2021

中國藝術家

1991年天津美院油畫系本科畢業(yè)獲學士學位

1995--1997年就讀于中央美術學院第九屆油畫創(chuàng)作高研班

天津美術學院油畫系教授、碩士生導師

個展

2008年北京酒廠國際藝術園舉辦“對話失語”個展

2012年北京今日美術館舉辦“風花雪月”個展

聯(lián)展

2021年   川美國際邀請展——2020年以來的自畫像

2021年 《眾妙之間》上海中歐藝術邀請展  

2020年  《中國表現(xiàn)大展》中國上海

2020年  阜陽繪事/國際藝術邀請展

2019年  《藝術承德》國際當代藝術展——雙個展

2019年  《藝術山西》當代名家邀請展

2019年  《表現(xiàn)的形狀》中國美術館——天津美術學院油畫系教師進京展

2018年  《日出·日入》布拉格中歐國際藝術雙年展

2018年  中國山東威?！稛o界—走近當代藝術史》

2017年  中國內蒙古呼和浩特《中國西部國際雙年展》

2016年  中國北京歐盟使館區(qū)《第二屆歐盟藝術展》

2016年  中國廣東《藝術未來2016（中山）第三屆青年藝術博覽會》

2016年  中國山西《心靈之舟·人說山西好風光》當代油畫邀請展

2016年  中國北京悅美術館《歸途—當代藝術家蔚縣之行邀請展》

2016年  中國北京中國美術館《天津美院110周年教師作品展》

2016年  中國北京798 閎約當代藝術中心《“C-語言”中國當代油畫藝術家聯(lián)展》

2015年  中國北京798 圣之空間美術館《國風·中國當代藝術國際巡展啟動儀式展》北京、瑞典、俄羅斯

2015年  《美麗中國·2015中國當代藝術聯(lián)展》北京、上海、廣州、石家莊

2015年  中國天津美術館《第四屆中國油畫展》

2015年  中國廣東《2015國際青年藝術博覽會》（廣東）

2015年  中國寧波《春有約新當代藝術展》（浙江）

2014年  中國山東美術館《吾土吾民》中國油畫協(xié)會油畫藝術邀請展（山東）

2011年臺灣《移動的社會主義》邀請展（中國）

2009年  馬來西亞吉隆坡第24屆亞洲國際藝術展（馬來西亞）

收藏作品

《舞動中國》    收藏單位：中國奧林匹克委員會

《對話融合三》         收藏單位：第24屆亞洲國際藝術展組委會

多件作品被中外美術館及私人收藏

Chinese artist 

In 1991, he graduated from the Oil Painting Department of Tianjin Academy of Fine Arts with a bachelor's degree

From 1995 to 1997, he studied in the 9th Oil Painting Creation Advanced Research Class of the Central Academy of Fine Arts

Professor of oil painting department of Tianjin Academy of Fine Arts, master tutor

Solo exhibitions

In 2008, Beijing Distillery International Art Park held a solo exhibition of "Dialogue Aphasia"

In 2012, The Today Art Museum in Beijing held a solo exhibition of "Wind and Snow Moon"

Exhibition

2021 Chuanmei International Invitational Exhibition - Self-portrait since 2020

2021 "Between the Wonderful" Shanghai Sino-European Art Invitational Exhibition

2020 China Performance Exhibition, Shanghai, China

2020  Fuyang Painting /International Art Invitational Exhibition

2019 "Art Chengde" International Contemporary Art Exhibition - double solo exhibition

2019 "Art Shanxi" Contemporary Masters Invitation Exhibition

2019 "The Shape of Expression" National Art Museum of China - Tianjin Academy of Fine Arts Oil Painting Department Teachers Enter beijing exhibition

2018 Sunrise Nichiren" Prague Central European International Art Biennale

2018 Weihai, Shandong, China, Boundless: Approaching the History of Contemporary Art

2017 Hohhot, Inner Mongolia, China

2016 The 2nd EU Art Exhibition in the EU Embassy District, Beijing, China

2016 Guangdong, China "Art Future 2016 (Zhongshan) 3rd Youth Art Fair"

2016 Shanxi, China, "The Boat of the Heart" People say that Shanxi is a good scenery" contemporary oil painting invitation exhibition

2016 Yue Art Museum, Beijing, China, "Homecoming - Invitation Exhibition of Contemporary Artists' Trip to Weixian"

2016 National Art Museum of China, Beijing, China, "Exhibition of Teachers' Works for the 110th Anniversary of Tianjin Academy of Fine Arts"

2016 798 Hong Yue Contemporary Art Center, Beijing, China, ""C-Language" Group Exhibition of Chinese Contemporary Oil Painting Artists

2015 798 Shengzhi Space Art Museum, Beijing, China,"Guofeng, China Contemporary Art International Tour Exhibition Launching Ceremony Exhibition", Beijing, Sweden, Russia

2015 Beautiful China: 2015 Group Exhibition of Chinese Contemporary Art, Beijing, Shanghai, Guangzhou, Shijiazhuang

2015 The 4th China Oil Painting Exhibition, Tianjin Art Museum, China

2015 Guangdong, China "2015 International Youth Art Fair" (Guangdong).

2015 Ningbo, China "Spring Covenant New Contemporary Art Exhibition" (Zhejiang).

2014 Shandong Art Museum, China "My Soil and My People" Invitation Exhibition of Oil Painting Art of China Oil Painting Association (Shandong).

2011 Taiwan "Mobile Socialism" Invitation Exhibition (China)

2009 24th Asia International Art Exhibition in Kuala Lumpur, Malaysia (Malaysia)

Collect works

"Dancing China" collection unit: China Olympic Committee

Collection unit of "Dialogue and Fusion III": Organizing Committee of the 24th Asian International Art Exhibition

Many of his works are in the collection of Chinese and foreign art museums and private individuals

劉軍  作品 ： 冷幻之一 / Cold fantasy one. 鈦金綜合材料 / Comprehensive materials  200×100  2017

 劉軍   作品 ： 冷幻之二 / Cold Fantasy II   . 鈦金綜合材料 / Comprehensive materials  200×100cm  2017

藝術思考：

劉軍畫中的情境，有著人與人，親情與親情之間的那種陌生關系。這正是人們所忽略的一個問題，劉軍試著把這些融入畫中，期待著引起人們的理解和關注。正是這個有著敏感神經(jīng)的人，給我們帶來了全新的視覺境界，窺探著摸不著的靈魂，進行深層次的心理發(fā)掘，這種心靈的揭示，正是一種彌補，是一個藝術家的真情回報來彌補現(xiàn)代文明所造成的心理裂痕和創(chuàng)傷。

Artisic thinking:

The situation in Liu Jun's paintings has the strange relationship between people, between family and affection. This is exactly a problem that people overlook, and Liu Jun tries to integrate these into the painting, hoping to attract people's understanding and attention. It is this person with sensitive nerves that brings us a new visual realm, peering into the untouchable soul, carrying out deep psychological exploration, and the revelation of this soul is exactly a kind of compensation, an artist's true return to make up for the psychological cracks and trauma caused by modern civilization.  

 劉軍  作品：  冷幻之五  / Cold fantasy five . 布面油彩綜合材料 / Comprehensive materials  . 180×100cm  2019

劉軍  作品：   冷幻之六   / Coldfantast six . 布面油彩綜合材料 /   Comprehensive materials  . 180×100cm  2019

韓國藝術家

1973 出生于韓國忠北永同

2015 全南大學研究生院美術系西洋畫專業(yè)畢業(yè)

個展 12回

首爾，光州，全州，高興，長城，潭陽 等

 主要群展

2021 金善姬 & 洪恩標雙個展，010畫廊，光州，韓國

2021 廣域市+濟州特別自治道 文化藝術交流展，大田藝術家之家，大田，韓國

2021 風之氣息，詩畫村金鳳美術館，光州，韓國

2020 Good Morning 2021 收藏，仁寺洞 Ruben畫廊，首爾，韓國

2020 五月來臨，楊林美術館，光州，韓國

2019 Juan美術館策劃5人展 - Artkiga，Juan美術館，光州，韓國

2019 藝術光州: 19，金大中會展中心，光州，韓國

2019 為成年人的動物幻想展 - 狼 EYE，無等畫廊，光州，韓國

2018 戊戌年年畫展 - 只走花路，光州市立美術館，光州，韓國

2016 日韓藝術交流展，江之子島文化藝術中心，大阪，日本

2016 越南國際展，光州市立美術館 常綠展館，光州，韓國

 獲獎及駐地項目

2020 光州市立美術館北京創(chuàng)作中心 駐地藝術家

2011 Usquare文化館 錦湖畫廊 輕年藝術家 評選

2011 大邱攝影雙年展財團 青年美術項目征集 評選

2010 Art Value藝術展 評選藝術家

Korean artist

1973 Born in Yeongdong, Chungcheongbuk-do, Korea

2015 Graduated from Chonnam National University Graduate School, Department of Fine Arts (M.F.A)

Solo Exhibition-12 individual matches

Seoul, Gwangju, Jeonju, Goheung, Jangseong, Damyang, etc.

Major Group Exhibition

2021 Kim Sunhee and Hong Eunpyo's Two-person exhibition, 010gallery, Gwangju, Korea

2021 Six major metropolitan cities ＋ Jeju Special Self-Governing Province Culture and Arts Exchange Exhibition, Daejeon Artist's House, Daejeon, Korea

2021 Breath of the Wind, Geumbong Museum of Art, Gwangju, Korea

2020 Good Morning 2021 Art Collection Exhibition, Ruben Gallery in Insa-dong, Seoul, Korea

2020 May is Coming Exhibition, Yanglim Museum of Art, Gwangju, Korea

2019 Planned by the Juan art museum “Art Kiga” five - member exhibition, Juan         artmuseum, Gwanju, Korea

2019 Mudeung gallery exhibition Support Project - “Wolf Child” five - member            exhibition, Mudeung gallery, Gwangju, Korea

2018 New Year's planning exhibition “Bless you (dog-related)”exhibition, Gwanju          Shinsegae gallery, Gwanju, Korea

2016 Japen ,Korea exchange Exhibition, center, Osaka, Japan

2016 Vietnam international exhibition, Gwangju Museum of Art Sangnok annex, Gwangju, Korea

Career

2020 Gwangju Museum of Art, Beijing Residency

2011 Selected Artist by Mudeung Gallery Selected Young Artist by KUMHO            Gallery in U?square Cultural Center      

2011 Awardee of Young Artist Project Portfolio by Daegu Photography               Biennale Foundation

2010 Selected Artist by 'Art Value' Exhibition

金善姬  作品：  胡說 /  nonsense   布面油畫/ Oil on canvas 53×53cm  2017

 金善姬  作品：  媽媽不在的時候 / When mom is away   . 布面油畫 / Oil on canvas      90.9×72.7cm  2017

藝術思考：

人與動物的交流所具有的美的價值

   寵物不知不覺地進入了我們的生活，而且已有很多人把它們當作同伴。我們給寵物起名，一起分享溫暖，和它們交流從人身上感受不到的特殊的感情。有些人會用不太友善的眼光看待這種景象，認為這是一種奢侈，但有些人卻說，應該更加尊重寵物。我覺得現(xiàn)在正是要考慮如何與寵物自然共存的時機。

小狗不只是單純的寵物狗，它已經(jīng)超越了人和狗這一物種的界限，是能夠溝通和交流的家庭一員。諾貝爾文學獎獲得者'阿納托爾·法朗士’說；“在愛上一個動物之前，我們的靈魂都還未覺醒?！?/p>

Artistic thinking:

  Companion animal is recognized as being incorporated to family. We give a name to companion animal, share warmth and exchange special emotion that cannot be felt among people. Some see it in an unfavorable perspective and consider it a lavish. But, some say that we must respect companion animal more. Now is the time to consider and find a way to coexist with companion animal naturally.

Puppy is not a simple pet. Beyond the border of species between human and dog, it is a member of family that enables to communicate and to sympathize.'Anatole France’ a winner of Nobel Prize in Literature, once remarked that “Until one has loved an animal a part of one’s soul remains unawakened.”

金善姬 作品：完美的日子 / Perfect day  布面油畫 / Oil on canvas   100×100cm  2018

 金善姬  作品：盡管如此  / Nevertheless   布面油畫 / Oil on canvas   . 45.4×53cm  2020

中國藝術家

1981年生于江蘇海安；2007年畢業(yè)于中央美術學院油畫系第二工作室獲碩士學位，2016年畢業(yè)于中央美術學院研究生院（當代油畫方向）獲博士學位，清華大學美術學院博士后經(jīng)歷，清華大學吳冠中藝術研究中心研究員，民進大興第二屆青年工作委員會委員，北京市朝陽區(qū)油畫家協(xié)會理事，副教授，碩士生導師，任教于北京化工大學藝術與設計系。作品曾被中國美術館、恭王府博物館、文化部藝術服務中心、北京市政協(xié)等重要單位收藏。

展覽：

2021 新學院主義-全國80后油畫學術邀請展  納得美術館 寧波

2018 有風吹過—仲清華繪畫作品展 (個展) 恭王府博物館 北京

2017 “藝術星河”名家寫生油畫作品展 深圳星河國風藝術館 深圳

2017 2017新寫實油畫展 保利藝術博物館 北京

2017 靈·境— 當代青年油畫家邀請展 798橋舍畫廊 北京

2017 色彩中華-2017中國百家金陵畫展 江蘇省美術館 南京

2016 青春盛繪-南通籍青年藝術家邀請展 南通現(xiàn)代美術館 南通

2016 金陵有約-中國當代實力派青年寫實油畫精品展 南京江東美術館 南京

2016 首屆中國美術館收藏青年美術家作品展 中國美術館 北京

2016 可見之詩—第二屆中國油畫風景作品展 十笏園美術館 山東

2015 2015年中國國際文化藝術博覽會 全國農業(yè)展覽館 北京

2013 繪畫的品格·2013中國油畫展 大都美術館 北京

2013 十全十美 ：青年油畫家十人作品展 美麗道國際藝術機構 北京

2013 能動的結構 — 80后新一代年輕藝術家邀請展 芳草地畫廊 北京

2012 2012新寫實油畫展 中國美術館 北京

2010 油畫藝術與當代社會—中國油畫展 中國美術館 北京

Chinese artist

Born in 1981 in Hai'an, Jiangsu Province; He graduated from the second studio of the oil painting department of the Central Academy of Fine Arts in 2007 and received a master's degree. In 2016, he graduated from the Graduate School of the Central Academy of Fine Arts (direction of contemporary oil painting) and received a doctor's degree. He has postdoctoral experience in the Academy of fine arts of Tsinghua University, a researcher of Wu Guanzhong art research center of Tsinghua University, a member of the second youth working committee of Minjin Daxing, and a director of Beijing Chaoyang District Oil Painters Association, Associate Professor, master supervisor, teaches in the Department of art and design of Beijing University of chemical technology. His works have been collected by the China Art Museum, Prince Gong's mansion Museum, the art service center of the Ministry of culture, the Beijing Municipal CPPCC and other important units.

仲清華  作品：蒼石圖 / Cangshi map  布面油畫 / Oil on canvas . 120×80cm 2021

仲清華 作品：園林暮色 / Garden Twilight  布面油畫 / Oil on canvas . 170X150cm  2021

藝術思考：

在我的內心我一直在尋找一個理想式的畫面，她是中國的。作為西方的繪畫表現(xiàn)語言形式之一的油畫，在當代語境下如何將她和中國的繪畫語言相融合是我們當下可以研究的課題。我衷愛西方的古典繪畫，同時我又非常迷戀宋、元、明時期的山水畫和文人畫。我試圖在我的繪畫中找到一個契合點—意境與形式的完美融合。敘事性日常場景、古典式靜謐格調以及現(xiàn)代建筑空間的巧妙融合，這是我常用的表現(xiàn)手法之一。這種現(xiàn)代古典意識與唯美情節(jié)，作品并不刻意追求西方繪畫透視的同時又減弱畫面的空間和時間的關系，以光線，色彩，和畫面的二維分割為手法來詮釋的畫面關系使我自由地游走在視覺與文化的桃花源中。

Artistic thinking

In my heart, I have been looking for an ideal picture. She is Chinese. As one of the language forms of Western painting, oil painting, in the contemporary context, how to integrate it with Chinese painting language is a topic we can study at present. I love western classical painting. At the same time, I am very infatuated with landscape painting and literati painting in the song, yuan and Ming Dynasties. I try to find a coincidence point in my painting - the perfect integration of artistic conception and form. The ingenious integration of narrative daily scenes, classical quiet style and modern architectural space is one of my commonly used techniques. This modern classical consciousness and aesthetic plot do not deliberately pursue the perspective of Western painting, but weaken the relationship between space and time of the picture. The picture relationship interpreted by means of light, color and two-dimensional segmentation of the picture makes me walk freely in the Peach Blossom Land of vision and culture.

仲清華 作品：歸夜 / Return  布面油畫 / Oil on canvas . 160X110cm  2018

仲清華 作品：山居 / House in a mountain area  布面油畫 / Oil on canvas150X80cm 2013

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