艺术家 / Artist
策展人 / Curator
王友江 / Wang Youjiang
艺术的发展史是人类文明共同交融发展而成，不可能是一枝独秀，当代艺术家应该站在人类文明的视野去思考问题，才能知道本国的文明高度。对生命的悲悯与尊重是现代文明社会的基本内核，也是艺术家的基本心质。艺术家的作品体现了对生命的关爱，对社会的体验，对世界的认知。在疫情不便之际我通过线上交流展的方式，以"各境与相望"作为展览的主题，让艺术家用艺术作品来沟通彼此、传递关爱、融合文明，让艺术拥抱世界。
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.
艺术家 / Artist
马提亚斯.布兰迪 / Matthias Brandes
德国艺术家
1950 年生于德国波鸿，在汉堡美术学院和汉堡大学攻读艺术、艺术史和艺术教育，1993年起至今生活在意大利。作品曾被意大利威尼斯美术学院美术馆、德国波鸿美术馆等美术馆及官方机构收藏。他的艺术作品常常在讲述一个故事，并且为人们营造着一个个如梦境般的世界。马提亚斯·布兰迪逐渐被国人喜爱和熟知，其作品具有超现实主义的意味和形而上的绘画风格，同样又营造出梦境之感，在真实与超现实之间建立起独具个人特色的语言关联。
1998 年 意大利威尼斯美术学院美术馆个展，作品被收藏
2005 年 德国波鸿市美术馆个展，作品被收藏
2012 年 英国伦敦城市美术个展，作品被收藏
2012 年 韩国光州市 Ecorea Jellobuk 双年展
2014 年 德国威廉港博物馆个人展。作品被收藏。
2017年 奥地利维也纳艺术论坛美术馆个展 作品被收藏
2018年 意大利MAGI900美术馆个展 作品被收藏
他的作品被意大利被帕里西 - 瓦莱马卡尼奥马博物馆收藏，其作品举办个展21场，联展63场，被超过23个美术馆及官方机构收藏。在中国他的作品被37位收藏家收藏
2016年 在布鲁塞尔，伦敦，纽约，新加坡，香港，釜山，首尔，斯德哥尔摩，阿姆斯特丹等地参加艺术展
中国历年参展经历和收藏：他的作品以被37位收藏家收藏
2015年 艺术广东
2016 年 艺术南京 艺术上海
2017年 艺术北京 艺术上海
2018年 艺术北京 艺术上海 成都K空间 艺术深圳
2019年预计参展：
2019年 艺术北京
2019年 021上海
2019年 艺术深圳
2019年9月6日-2019年10月15日 北京东亿美术馆 个展
German artist
Matthias Brandes (geb.1950) ist ein deutscher Maler, der seit 25 Jahren in der Nähe von Venedig lebt. Sein Ansatz und seine Symbolik, die deutliche Bezüge zur pittura metafisica haben, sind jedoch völlig eigenständig: Die Zeit scheint still zu stehen, so als wenn der Übergang von einem Zustand zum andern verewigt würde. Seine Farbe ist rauh und wie Felsgestein, so dass man meint, seine Häuser, Glockentürme und Schiffe, ja auch seine Figuren, seien statt mit dem Pinsel durch Meisselschläge geschaffen worden. Seine Symbolik lebt von Ambivalenzen. Massive Häuser beginnen zu fliegen, Schiffe landen auf Tischen. Oft, inspiriert von der venezianischen Lagune, finden wir Szenen im Wasser. Steigt es oder fällt es? Es ist eine Sprache mit präzisen und harmonischen Rhythmen wie eine musikalische Partitur, die in uns tief verborgene Saiten anklingen lässt. Seine Malerei liefert und sucht keine Erklärungen. Es sind eher Meditationen. Sie zeigen den Zustand eines inneren prekären Gleichgewichtes.
1998 Solo exhibition at the Venice Academy of Fine Arts, Italy, collected
2005 Solo exhibition at Kunsthalle Bochum, Germany, collected
2012 Solo exhibition at City Art, London, UK, collected
2012 Ecorea Jellobuk Biennale, Gwangju City, Korea
2014 Solo exhibition at Wilhelmshaven Museum, Germany. collected
2017 Solo exhibition at Art Forum Gallery, Vienna, Austria, collected
2018 Solo exhibition at MAGI900 Art Museum, Italy, collected
His works have been collected by the Museo Palissimo Valle Macagnolo, Italy, and his works have been exhibited in 21 solo exhibitions and 63 group exhibitions, and are in the collections of more than 23 museums and official institutions. In China his works are in the collections of 37 collectors
2016 Participated in art exhibitions in Brussels, London, New York, Singapore, Hong Kong, Busan, Seoul, Stockholm, Amsterdam, etc.
Exhibitions and collections in China: his works are in the collections of 37 collectors
2015 Art Guangdong
2016 Art Nanjing Art Shanghai
2017 Art Beijing Art Shanghai
2018 Art Beijing Art Shanghai Chengdu K Space Art Shenzhen
2019 Expected to exhibit in
2019 Art Beijing
2019 021 Shanghai
2019 Art Shenzhen
September 6, 2019-October 15, 2019 Dong Yi Art Museum, Beijing Solo Exhibition
马提亚斯.布兰迪《庭院》 布面油画 / Matthias Brandes - Cortile .100x160cm . olio su tela . 2017
马提亚斯.布兰迪《马》布面油画 / Matthias brandes - horse . 120X140cm . olio su tela . 2017
艺术思考：
有一天，我开始画这些房子，这些房子的普遍概念。世界上的人们所理解的一切都有符号！ 然后，我画了二十年的房子，我继续画这些非常简单的房子。看，有一个入口，一个斜屋顶 和两个窗户。然而在我的画中，它们不再是房子。他们是被施了魔法的生物， 他们是人 类个体。一位伟大的巫师对他们施了一个咒语，说“现在你是一所房子”，所以他们继续以 房子的形式生活和交流。这就是秘密！ 嗯，所有看到我画的人都说：“这幅画好精致，好整洁！”情况可能是这样，但它总是建立在 混乱的基础上。通常，一切都是从某种混沌中诞生的，混沌之后，就会一点一点地出现秩序。 在艺术家的作品中，混乱变成了形状，变成了意义。我不得不弄脏我的手，我只是放手，有 时我会随机选择颜色看看会发生什么，也许会产生一些有趣的东西，这是我之前没想到的。 当你作画时，你面前总是有一个目标。当你去博物馆看大师的作品时，你会与他们进行比较。 你说“天哪，我能做到吗？”然后你尝试改进，改进，改进。然而，最终就像试图到达地平 线。地平线总是在那里，你跑，跑，你必须跑，但地平线总是在那里，所以它永远不会结束
Artistic thinking:
One day, I started to paint these houses, these universal concepts of houses. Everything people in the world understand has symbols! Then, I painted houses for twenty years, and I continued to paint these very simple houses. Look, there's an entrance, a pitched roof and two windows. Yet in my paintings, they are no longer houses. They are enchanted creatures, they are human beings. A great sorcerer cast a spell on them and said, "Now you are a house," so they continue to live and communicate in the form of a house. That's the secret! Well, all the people who see my paintings say, "That's a nice, neat painting!" That may be the case, but it's always based on chaos. Usually, everything is born out of some kind of chaos, and after chaos, little by little, order emerges. In the artist's work, chaos becomes shape, becomes meaning. I have to get my hands dirty, I just let go, and sometimes I choose random colors to see what happens, and maybe something interesting comes out of it that I didn't expect before. When you paint, you always have a target in front of you. When you go to a museum and look at the masterpieces, you compare yourself to them. You say, "Oh my God, can I do that?" Then you try to improve, improve, improve. However, in the end, it's like trying to reach the horizon. The horizon is always there, you run, you run, you have to run, but the horizon is always there, so it never ends.
马提亚斯.布兰迪《别墅》布面油画 / Matthias Brandes - villa . 100X120cm . olio su tela . 2015
马提亚斯.布兰迪《汽船》布面油画 / Matthias Brandes - steamer . 80X90cm . olio su tela . 2015
艺术家 / Artist
邱耿钰 / Qiu Gengyu
中国艺术家
1987年 毕业于中央工艺美术学院陶瓷艺术设计系，并留校任教
1995年 考取中央工艺美术学院工艺美术学系在职博士研究生，专攻“中国现代民间陶瓷研究”
2000年 获清华大学博士学位
现为清华大学美术学院陶瓷艺术设计系副教授，博士生导师、中国美术家协会会员、中国传统工艺研究会理事、中国国际茶文化研究会茶器具文化委员会委员、中国工艺美术学会理论专委会委员
主要展览：
1. 第十一届、第十二届、第十三届全国美术作品展览，2009.9、2014.9、2019.10
2. 韩国世界陶艺双年展，2015.5
3．大道成器——国际陶艺展，2018.4
4. 韩国清州国际双年展，2019.10
多件作品分别被中国美术馆、清华大学艺术博物馆、醴陵陶瓷博物馆、山东美术馆、石湾陶瓷博物馆等机构收藏。
Chinese Artists
1987 Graduated from the Department of Ceramic Art and Design of the Central Academy of Arts and Crafts and stayed on as a teacher
1995 Received a doctoral degree from the Department of Arts and Crafts of the Central Academy of Arts and Crafts, specializing in "Research on Chinese modern folk Ceramics".
in 2000, received his PhD degree from Tsinghua University
Now he is associate professor in the Department of Ceramic Art and Design of Tsinghua University, doctoral supervisor, member of China Artists Association, director of China Traditional Craft Research Association, member of Tea Ware Culture Committee of China International Tea Culture Research Association, member of Theory Committee of China Arts and Crafts Society
Major Exhibitions.
1. 11th, 12th, 13th National Art Works Exhibition, 2009.9, 2014.9, 2019.10
2. World Ceramic Biennale of Korea, 2015.5
3. The Way to Become a Weapon - International Ceramic Art Exhibition, 2018.4
4. Cheongju International Biennale, Korea, 2019.10
A number of works have been collected by the National Art Museum of China, Tsinghua University Art Museum, Liling Ceramic Museum, Shandong Art Museum, Shiwan Ceramic Museum and other institutions.
邱耿钰《复原”系列-不是马踏匈奴》古陶残片、铜 / Qiu Gengyu - restore Series-not hot horse riding Hun . 75x75x20cm . Fragments of ancient pottery, copper . 2018
邱耿钰《复原”系列-撅着 》古陶残片、铜 / Qiu Gengyu - restore Series-Pouting . 32x50x15cm. Fragments of ancient pottery, copper . 2001
艺术思考：
“复原”系列作品---说明
受文物修复方式的启发，我创作了“复原”系列作品，但这里的“复原”并非真的复原，而是一种借题发挥式的再创作。我利用这些古代陶塑的残片，重新构思，使其成为作品的一部分。在尽可能突出残片的部分同时，有意拉大与补缺部分距离，如在表现题材、造型形态、材料运用以及塑造手法上等方面，追求两者反差。
在有些作品中，我有意保留明显的泥触和塑造过程的痕迹，使作品有一种未完成的效果。或有意淡化人物的性别特征，以便留给人更大的想象空间，使作品具有一种超现实的意味。并将一些看似不相干的因素有机组合在一起，使观者的观察和思考处于一种不断跳跃的状态，从而产生一种新的视觉体验。
马或人物的造型或静止，或跃动，但都尽可能舍弃不必要的细节，运用夸张的手法，使造型简练、概括以至于抽象，以求表现出整体的气势和意境，最终体现一种观念上的差异和超越。
“复原”系列作品，使用了金属、玻璃、树脂等富有现代感的材料。我认为，材料只是表达观念的一种物质媒介，现代艺术创作更关注观念的体现，并不太受材料的限制，综合运用各种材料，充分发挥材料特性，可能正是现代艺术的一个重要特征。
Artistic thinking:
"Restoration" Series - Description
Inspired by the process of restoration, I created the "Restoration" series, but the "Restoration" here is not a real restoration, but a kind of re-creation by borrowing the theme. I use the fragments of these ancient ceramic sculptures and reconstruct them to make them part of the work. While highlighting the fragments as much as possible, I intentionally widen the distance between the fragments and the missing parts, such as pursuing the contrast between the two in terms of expressive subject matter, shape and form, material use, and shaping techniques.
In some works, I intentionally keep obvious traces of clay touch and shaping process, so that the works have an unfinished effect. Or I intentionally play down the gender characteristics of the characters to leave more room for imagination and give the works a surreal meaning. And some seemingly disparate elements are organically combined to make the viewer's observation and thinking in a state of constant jumping, thus producing a new visual experience.
The horses or figures are either static or moving, but all of them abandon unnecessary details as much as possible and use exaggerated techniques to make the shapes concise, generalized, or even abstract, to express the overall momentum and mood, and ultimately reflect a conceptual difference and transcendence.
The "Recovery" series uses modern materials such as metal, glass, and resin. I believe that materials are only a material medium for expressing ideas, and modern art creation is more concerned with the embodiment of ideas and is not too restricted by materials, and it may be an important characteristic of modern art to use all kinds of materials and give full play to their characteristics.
邱耿钰《复原”系列-女马也敢尥蹶子 》古陶残片、铜 / Qiu Gengyu - Restore Series-female horses dare tokick . 69x50x16cm . Fragments of ancient pottery, copper . 2009
邱耿钰《复原”系列-仗剑》古陶残片、铜 / Qiu Gengyu - Restore Series-Zhangjian . 125x33x30cm . Fragments of ancient pottery, copper . 2009
艺术家 / Artist
朴雄珪 / Park, Woongkyu
韩国艺术家
1970 生于韩国全罗南道珍岛郡
1996 韩国国立全南大学美术学院西洋画系毕业
1996-98 中国北京中央美术学院油画系进修
2001 中国北京中央美术学院油畵系硏究生毕业
现为，定居北京，光州市立美术馆北京创作中心负责人，艺术家
个展
2015 一念，798韵画廊，北京，中国
2012 一念·一即多， 多即一，798一单元画廊，北京，中国
2004 画出心境-蛋彩画展，炎黄艺术馆， 北京， 中国
主要联展
2021 五月十象，宋庄这美术馆，北京，中国
2020 与12位国际艺术家的对话，今日Art杂志网络，北京，中国
地方-国际 515艺术创窟艺术季，515创窟美术馆，四川，中国
2019 东方冥想指南-中韩当代艺术交流展，远洋乐堤港空中美术馆，杭州，中国
位移，维度-当代艺术实践集合，Hea1023空间，北京，中国
柳暗，花明-当代艺术邀请展，798蔓空间，北京，中国
接脉与变道跨越2018，上上国际美术馆第五空间，北京，中国
2018 滚动中的雪球〮南京，南京艺术学院美术馆，南京，中国
一〮身，草场地壹空间，北京，中国
不浪费型，阿登高原国际艺术中心，北京，中国
布拉格中欧国际双年展〮丁村特展，山西丁村，中国
正经的外乡人，炎黄艺术馆，北京，中国
沉浮之力-E116︒+N39︒92’中韩艺术展，柒〮7Space, 北京，中国
泉州国际当代艺术展2018，海丝两岸青年三创基地，泉州，中国
艺术苏州，联合国教科文组织世界文化遗产园林，苏州，中国
第三届江西当代艺术展，景观2018国际艺术交流展，699文化创意园艺术中心，南昌，中国
2017 一张棉花纸，宋庄山海美术馆，北京，中国
往来8000︒C-中外艺术家联展，C+空间，北京，中国
2016 第三届南京国际美术展主题展-HISTORICODE 萧条与供给，百家湖美术馆，南京，中国
可见者的交错-国际艺术交流展, 晓美术馆开馆展, 南昌, 中国
798艺葩, 艺术工厂, 北京, 中国
调和乐也-国际当代艺术展, 天津美术馆, 天津, 中国
光州市立美术馆'新收藏品2016展’，光州市立美术馆，光州，韩国
艺术巴黎2016，巴黎大皇宫，巴黎，法国
2015 L7·第7环-转喻的材质，宋庄7道空间，北京，中国
首届内蒙古当代国际艺术交流双年展，内蒙古大学南校区艺术学院展厅，呼和浩特，中国
艺术家的办法-韩国当代艺术展，万营艺术空间，石家庄，中国
再别黑桥，黑桥艺术区，北京，中国
艺术趴Art Party, 黑桥1号院艺术区C10，北京，中国
艺之见-中韩艺术家9人展，798XYZ画廊，北京，中国
跨越文化，跨越世界-Dialogue，宋庄99美术馆，北京，中国
Artist, KCAA画廊，北京，中国
2014 微艺术博览会，宋庄玖层美术馆，北京，中国
Touch展，798 Art Park画廊，北京，中国
2013 中韩当代绘画展，水平空间，北京，中国
首届长沙(国际)艺术品博览会, 湖南省展览馆,长沙, 中国
第八届宋庄艺术节，上上美术馆，北京，中国
方法之外，大象艺术空间馆/花莲文化创意产业园区展览馆/台湾台北艺术博览会，台中/花莲/台北，台湾
2012 桌子是桌子-光州双年展纪念展，光州市立美术馆常绿分馆，光州，韩国
美丽的地平线，峰会艺术中心， 北京，中国
2011 手头上的创造-第三届国际当代艺术光州艺术前途展，光州双年展展览馆，光州，韩国
光州! 北京!, 北京! 光州! - 韩国光州和中国北京国际交流展, A+A+ 艺术中心, 北京, 中国
光州市立美术馆北京创作中心国际交流展，驻华韩国文化院，北京，中国
自然与现代形式，明园文化艺术中心，上海，中国
2010 感觉移动展，驻中国韩国文化院，北京，中国
“Something Different- 春”，Gallery Red-Art，北京，中国
艺术北京2010，农业展览馆新馆，北京，中国
国际艺术与设计工作室开放日-环铁艺术城工作室开放展，环铁艺术城，北京，中国
光州市立美术馆北京创作中心开馆试及工作室开放展，光州市立美术馆北京创作中心，北京，中国
2009 光州市立美术馆'新收藏品2008展’，光州市立美术馆，光州，韩国
2007 环铁国际艺术展，酷房环铁国际艺术城，北京，中国
第3届中国宋庄文化艺术节国际展，宋庄艺术区，北京，中国2005 北京国际艺术营展，素家村艺术区，北京，中国
2005海外靑年艺术家展，艺术的殿堂-Hangaram美术馆，首尔，韩国
第二届亚洲青年美术祭，Changwon Sungsan Art-hall，昌原，韩国
2004 中·韩美术八人展，加拿大大使馆，北京，中国
韩国美术的办法及表现，中央美术学院美术馆，北京，中国
2002 第2届十月谈畵展，世纪翰墨画廊，北京，中国
1999 十月谈-十人畵展，国际艺苑美术馆，北京，中国
1995 脱Image10周年记念-'热情的岁月10年’，宫洞Gallery/仁济Gallery，光州，韩国
全艺PRINT95，南道艺术会馆，光州，韩国
1994 全国大学美展获铜奬，首尔，韩国
作品收藏； 光州市立美术馆，大象艺术空间馆，万营艺术空间及个人
Korean artist
1970 Born in Jindo, Chonnam, Korea
1996 B.F.A in Painting, Chonnam National University, Gwangju, Korea
1996~98 General Scholar in Oil Painting, Central Academy of Fine Art, Beijing, China
2001 M.F.A in Oil Painting, Central Academy of Fine Art, Beijing, China
Present; Manager of Beijing Residency Gwangju Museum of Art&Arttist in Beijing
SOLO EXHIBITIONS
2015 One thought, Yun Gallery798, Beijing, China
2012 One thought-One is all, All is on, Unit One Art Space798, Beijing, China
2004 Draw the state of mind-Tempera Exhibition, YanHuang Art Museum, Beijing, China
GROUP EXHIBITIONS AND MAIN ACTIVITIES
2021 May-Ten Artists, Zhe Art Museum, Beijing, China
2020 Conversations with 12 International Artists, Master & New Prominent, Beijing, China
Local-International 515 Creative Art Village Art Fair Opening Ceremony, 515 Art Museum, Sichuan, China
2019 Soul Meditation from the East-Contemporary Art Communicative Exhibition between China and Korea, Sky Line Museum, Hangzhou, China
Dimensionality, Hea1023Space, Beijing, China
5-2 Contemporary Art Exhibition, The Fifth Space of Sunshine International Art Museum, Beijing, China
New Vista-Contemporary Art Exhibition, GM Gallery798, Beijing, China
2018 Rolling Snowball〮Nanjing, AMNUA, Nanjing, China
One〮Body, Caochangdi 1Space, Beijing, China
No Waste, ADGY International Cultural Center, Beijing, China
China-Europe International Art Biennale of Prague Special Exhibition of Dingcun, Shanxi, China
New Legal Aliens, Yan Huang Art Mueseum, Beijing, China
The force of floating-E116︒+N39︒92’ Chinese and Korean art exhibition ,7Space, Beijing, China
Quanzhou International Contemporary Art Exhibition2018，Three bases for young people on both sides of Hess, Quanzhou，China
Art Suzhou2018, UNESCO World Heritage Garden, Suzhou, China
Spectacle2018 International Art Exhibition, 699Art Center, Nanchang, China
2017 One Cotton Paper, Mountain&Sea Museum, Beijing, China
Connection 8000︒C International Exchange Exhibition, C+Space, Beijing, China
2016The 3rdNanjing InternationalArt Festival-HISTORICODE:Scarcity&Supply, Baijia Lake Museum, Nanjing, China
The crossing of visible-International Art Exchange Exhibition And The Opening Exhibition of Xiao Museum, Xiao Art Museum, Nanchang, China
798EPARTY, 798Art Zone, Beijing, China
The Gwangju Museum of Art “New Acquisitions 2016 ” , Gwangju Museum of Art, Gwangju, Korea
Harmony-International Contemporary Art Exhibition, Tianjin Art Museum, Tianjin, China
Art Paris2016, Grand Palals Paris, Paris, France
2015 Recombination and Motation of Gene - The1st International Biennial of Contemporary Art of Inner Mongolia, Hohhot, Inner Mongolia, China
Methods of Artists, Wanying Art Museum, Shijiazhuang, China
Art Views-Group Exhibition of Korea&Artists2015, 798XYZGallery, Beijing, China
Dialogue, 99Art Museum, Beijing, China
Artist, KCAA Gallery, Beijing, China
2014 Micro-Art Exposition, Beijing Ninth Floor Museum, Beijing, China
Group Exhibition 'Touch’, Art Park Gallery798, Beijing, China
2013 Exhibition of Chinese and Korean Contemporary, Level Space, Beijing, China
The 8 rd China Songzhuang Culture & Art Festival, Shangshang Museum, Beijing, China
Outside Method, Da Xiang Art Space/Hualien Cultural Creative Industries Park/Taipei World Center，Taichung City/ Hualien City/
Taipei，Taiwan
2012 A Table is a Table- An Anniversary Exhibition of 2012 Gwangju Biennale, Gwangju Museum of Art, Gwangju, Korea
The Beautiful Horizon-Inaugural International Artists Exhibition, Summit of The International Classical Art Collection, Beijing, China
2011 “The 3rd International Contemporary Art Gwangju Art vision Exhibition”,Gwangju, Korea
Gwangju Korea and Beijing China International Exchange Exhibition, A+A+Art Senter, Beijing, China
Gwangju Museum of Art Beijing Residency Studio International Exchange Exhibition,Korean Cuitural Service-China, , Beijing, China
Nature and Its Modern Forms, Mingyuan Art Center, Shanghai, China
2010 “Traveling of sense”, Korea Cultural Service-China, Beijing, China
“Something Different- Spring” ,Gallery Red-Art, Beijing, China
Art Beijing 2010-Contemporary Art Fair, new Agricul tural Exhibition Hall, Beijing, China
Artist Studios Opening Day, Huantie Art City, Beijing, China
Beijing Residency Gwangju Museum of Art Opening Ceremony &Open Studios, Beijing, China
2009 The Gwangju Museum of Art “New Acquisitions 2008 ” , Gwangju Museum of Art, Gwangju, Korea
2007 Huantie International Art Exhibition, Huantieguojiyishucheng, Beijing, China
The 3 rd China Songzhuang Culture & Art Festival, Songzhuang, Beijing, China
2005 Beijing International Art Camp Exhibition, SuoJiaCun , Beijing, China
The Young Korean Overseas Artists Exhibition 2005, Seoul Arts Center Hangaram Art Museum, Seoul, Korea
The second Festiual of Young Asian Artists for 2005 using all of Changwon Sungsan Art-hall, Changwon, Korea
2004 The Art Exhibition of Eight Chinese and Korean, Canada Embassy in Beijing, China
Method and Expression of Korean Art, CAFA Gallery, Beijing, China
2002 Second Show of “Dialogue in October”, Hanmo Gallery, Beijing, China
1999 “Dialogue in October” Ten Men’s Exhibition, International Art Palace, Beijing, China
1995 Escape form times of Passion, 10 years ago, InJae & GungDong Gallery, Gwangju, Korea
ChonYe 1995 Print Art Exhibition, NamDo Art Center, Gwangju, Korea
1994 Korean University Art festival Bronze Award, Seoul, Korea
Collection
Gwangju Museum of Art, Daxiang Art Space, Wanying Art Museum and Individual
Add; Park Woong-kyu Studio, Beijing Residency Gwangju Museum of Art, no.10 Renzhuangdonglu Songzhuangzhen Tongzhou District, Beijing, China
朴雄珪《一念 》布面丙烯、香 / Park, Woongkyu - One thought .72.7X90.9cm.Cloth surface propylene, incense 2016
朴雄珪《一念 》布面丙烯、香 / Park, Woongkyu - One thought .112.7X145cm.Cloth surface propylene, incense 2019
艺术思考：
一念系列 l 2011-现在
世上的一切， 从细小的事件再到大的事件，它的开端都有某一人的某一个想法，根据它来说话和行动。还有成为驾驭他自己的能源动力。 这每一时期发生的某一想法和行动又是从那人的最初始源的某种想法即世界观，哲学中来。 所以当看到某个人的某一句话， 一个行动可推测出那人最初的某一想法。 所以是 一念· 一即多，多即一。
作品'一念’ 系列是通过在香上着色，裁断，焚烧，粘贴的劳动过程制作而成，这可以说是单纯行为的反复。 这种单纯行为的反复使我对某种事物进行深思和冥想。 制作作品的过程中不断进行自我提问我的一念，我最初的某一想法是什么？ 这种思索首先从离我最近的周边开始扩大到民族观点，国家观点，亚洲观点，人类史观点，宇宙观点中，也会反过来进行思考。 在这种反复的过程中感受到活到现在， 在创作过程中和自己问的问题还有复杂的诸多想法逐渐明确起来，最终归结到一个想法上来。
在这里无法把大量的想法具体地讲完， 但要说结论的话，可以说其一个想法就是对古代圣人们讲过的爱，慈悲，任和德，弘益人间等的了解吧。即， 对他们最后得出的叫'爱’这个词真正意义上的了解吧。 欲进步，得自由， 要民主，愤怒的理由，成为有创意性人，我生活的理由，想做艺术的理由， 最终也都是想为世界，为人的。
作品的材料选择香的理由是我想它具有能使人进入思索的连接体功能。我认为在寺庙敬香，给关羽敬香，父母敬香祈福的行为等都属一种祈祷。祈祷有着与神照面的层面， 但最终还是与自己会面的过程， 就是与自己成为一体的过程。我想这是通过思索和冥想达到'一念’的过程。如此香本身即使不加以说明也已包含着浓缩了的意义，符合传达我所感觉到的一念的概念和感觉。
我坚信一念的完成就是自己的完成。 有了自己的完成才可能诞生自己的艺术，也才有真正意义上的与世界沟通。
石涛讲过'一画论’。说最初的一笔划，一个行为使得进行一个作品。 所有的事物就是如此。 写文章，作曲，去某个地方都是从第一个动作开始的。这个动作的方向决定最后的着落点。 我说，最初的一个动作前都有最初的第一个想法。就因为有最初的这一个想法才决定最初的第一个动作， 随着某方向一路走最终决定结果。所以可以说这最初的第一个想法就是他的一切。 也可以说活着的生命体。
虽然拥有自己最初的一个想法，但不为此行动，去实践也就没有意义。 所以我尊敬拥有自己的一个想法为此去实践的世上诸存在。
Artistic thinking
One Thought Series l 2011-now
Everything in the world, from small events to big ones, starts with a certain thought of someone who speaks and acts according to it. And it becomes the driving force of his energy. The idea and action that occurs in each of these periods come from a certain idea of the person's initial source, i.e., worldview, philosophy. So when one sees a word or an action of a person, one can deduce the initial thought of that person. So it is One Thought - one is many, many is one.
The 'One Thought' series is made through the laborious process of coloring, cutting, burning, and pasting incense, which can be described as the repetition of a simple act. The repetition of this simple act makes me think and meditate on certain things. In the process of making the work, I am constantly asking myself the question, what is my initial thought? This contemplation begins with my closest surroundings and expands to include the national viewpoint, national viewpoint, Asian viewpoint, human history viewpoint, cosmic viewpoint, and vice versa. In this iterative process, I feel that I have lived until now and that the questions I ask myself during the creative process and the many complex ideas gradually become clear and finally come down to one idea.
It is not possible to give a specific account of the many ideas here, but if I were to conclude, I would say that one of the ideas is the understanding of love, compassion, harmony, and virtue that the ancient sages spoke of, and the benefits to the world. In other words, I would like to understand the real meaning of the word 'love' that they finally came up with. The reason for wanting to progress, to be free, to be democratic, to be angry, to be creative, the reason for my life, the reason for wanting to make art, is ultimately the reason for the world and people.
The reason for choosing incense as the material for my work is that I think it has a connective function that brings people into contemplation. I believe that the act of offering incense at temp
朴雄珪《一念 》布面丙烯、香 / Park, Woongkyu - One thought .116.8X91cm.Cloth surface propylene, incense 2020
朴雄珪《一念 》布面丙烯、香、手机屏幕影像 / Park, Woongkyu - One thought .60X100cm.Cloth surface propylene, incense ,Mobile screen image . 2021
艺术家 / Artist
王友江 / Wang Youjiang
中国艺术家
1986年毕业于西安美术学院
1997年毕业于中央美术学院油画系第九届研修班
现在北京交通大学建筑与艺术学院 教授
中国美术家协会会员
主要展览：
1985年作品《奥运之火映照五大洲的心》，入选“首届体育美展”获三等奖，组办单位：中国奥林匹克委员会，中国美术家协会；
1989年作品《绿的使者、人类的朋友》入选“全国七届美术展”，组办单位：中华人民共和国文化部，中国美术家协会；
1997年作品《敦煌印象》入选“走向新世纪——中国青年油画展”， 组办单位：中国油画学会；
1997年作品《平房》入选“庆祝中华人民共和国成立五十周年写生展”， 组办单位：中国美术家协会；
2001年作品《痕迹16》入选“研究与超越——中国小幅油画作品大展”，组办单位：中国油画学会；
2002年作品《痕迹系列》入选美国沃蒙特艺术中心“国际交流展”获“全额奖”；
2003年作品《痕迹20》入选“第三届全国油画大展”获“精品”奖，组办单位：中国美术家协会，文化部艺术司，中国油画学会；
2005年作品《痕迹22》入选“自然与人——第二届当代中国山水画展”，组办单位：中国油画学会，中国画研究院。
2011年8月12日三木画廊承办《一路行随笔——王友江油画写生作品展》，组办单位：甘肃省美术家协会；
2012年《写生作品》参加台湾绘画交流展；
2013年6月《王友江绘画作品展——零界》在北京798感叹号画廊举办；
2014年12月《中法水墨交流展》在北京798感叹号画廊举办；
2016年作品参加《中国印象—当代艺术家联展》在美国休士顿美术馆；
2017年作品参加《久别回声——中央美术学院油画系第九届研修班作品展》中央美术学院油画系主办；
2019年作品参加《时代光彩》2019津京油画家邀请展，西洋美术馆举办；
2021年10月作品《虚幻与错位》参加在兰州举办的《北纬36°艺术展》。
作品收藏：中国、美国、印尼、中国台湾、丹麦
Chinese Artists
Graduated from Xi'an Academy of Fine Arts in 1986
1997 Graduated from the 9th workshop of Oil Painting Department of Central Academy of Fine Arts
Currently Professor at the School of Architecture and Art, Beijing Jiaotong University
Member of China Artists Association
Major Exhibitions.
In 1985, the work "Olympic Fire Reflects the Hearts of Five Continents" was selected to win the third prize in the "First Sports Art Exhibition", organized by the China Olympic Committee and the China Artists Association.
In 1989, the work "Green Messenger, Friend of Humanity" was selected for the " 7th National Art Exhibition", organized by the Ministry of Culture of the People's Republic of China and the China Artists Association.
1997 "Dunhuang Impression" was selected in "Towards the New Century - Chinese Youth Oil Painting Exhibition", organized by China Oil Painting Society.
In 1997, the work " The Cottage" was selected in the "Celebration of the 50th Anniversary of the Founding of the People's Republic of China Sketching Exhibition", organized by the China Artists' Association.
In 2001, the work "Traces 16" was selected in the "Research and Transcendence - China Small-Scale Oil Painting Exhibition", organized by the China Oil Painting Society.
In 2002, the work "Traces Series" was selected for the "International Exchange Exhibition" of Vermont Art Center, USA, and won the "Full Award".
In 2003, the work "Traces 20" was selected for the "3rd National Oil Painting Exhibition" and won the "Excellence" award, organized by the China Artists Association, the Art Department of the Ministry of Culture and the China Oil Painting Association.
In 2005, his work "Traces 22" was selected in "Nature and Man - The Second Contemporary Chinese Landscape Painting Exhibition", organized by: China Oil Painting Association, Chinese Painting Institute.
August 12, 2011, Sanmu Gallery hosted the "sketch along the way - Wang Youjiang oil painting sketching works exhibition", organizer: Gansu Provincial Artists Association.
2012 "Sketchwork" participated in the Taiwan Painting Exchange Exhibition.
June 2013 "Wang Youjiang Painting Exhibition - Zero Boundary" held in Beijing 798 Exclamation Point Gallery.
December 2014 " China-France Ink painting Exchange Exhibition" in 798 Exclamation Gallery, Beijing.
2016 works in "Chinese Impressions - Group Exhibition of Contemporary Artists" at the Museum of Fine Arts, Houston, USA.
2017 works participated in "Echoes of a Long Farewell - The Ninth Workshop Exhibition of the Oil Painting Department of the Central Academy of Fine Arts" organized by the Oil Painting Department of the Central Academy of Fine Arts; 2019 works participated in "The Glory of the Times" 2019 Invitational Exhibition of Oil Painters in Tianjin and Beijing, held at the Western Art Museum.
In October 2021 the work "Illusion and Dislocation" participated in the "36° North Latitude Art Exhibition" held in Lanzhou.
Works Collection: China, USA, Indonesia, China Taiwan, Denmark
王友江 《虚幻与错位-反射》布面油画 / Wang Youjiang-Illusion and dislocation-reflex . 200x142cm . Oil on canvas . 2019
王友江 《戏剧的约见》布面油画 / Wang Youjiang-Illusion and dislocation . 200x142cm . Oil on canvas . 2018
艺术思考：
我的绘画采用象征性艺术手法来表达内心意愿，不是直接面对现实场景的描绘，是以感受到现实的虚幻与错位，以荒诞的表达方式指向主题的实质，让观众自己体会作品象征的含义，来启示对人性善恶、爱恨、欲望、真诚、虚伪的思考，去唤醒人性中的理想。作品对美好事物的赞颂，对理想境界的追求，或对旧恶事物的讽刺，抨击不合理的现象，还有对生存状态以及对个体意志尊重的思考。我们往往感知到的事物不一定是真实的，人们往往用鲜花来粉饰不堪的现实，用美丽的外表装扮不堪的灵魂，迷茫的人生分裂的人格，如同变色龙一般随着环境事态的变化而改变自己的意志，不考虑自己的灵魂应该在哪里。人性中的欲望与无奈，自私与贪婪、仇恨与卑劣，如果没有坚定的信仰或不去干预控制，人性就会堕落到野蛮。人性除了自我修道，还有环境的影响，环境的状态会造就人性特征，人性特征又反映社会特征，所以我们对人性的思考一定会影射对社会的思考。
我创作主体对象主要是人物、塑料模特和动物,以含蓄隐喻的象征方式对情节进行编排，超越现实表面的情节次序，并非是戏剧性的事件，编排出有寓意性的指向，给观者提供多角度思考的可能性。我崇尚逻辑关系支撑情感的表达，从具体感受到抽象思维，再转化为有寓意性的指向性，对艺术情感追求和逻辑关系的把握，逻辑关系是对事物结构及本质理性的判断，会使意志和情感更加明确而坚定。绘画是逻辑关系与情感的呈现载体，根据内心的诉求去创作具有审美价值的艺术表达形式。
我的绘画形式融合了二维与三维的表现特征，背景采取虚幻的平面空间，在平面空间中构成了错位空间，将人物及物体在空间中构成了错位的视觉效果，使视觉形式的感受转化为对内容的寓意，在错位空间中身份与角色有了不确定性含义，传达出更多的可能性。
塑料模特、猴子成为我画面的主要角色。在我的画面中塑料模特具有象征主题内容的含义，塑料模特是人工制造出来的理想，是对人们的欲望诱惑与心理反射，人为的给塑料模特装扮了各种角色，同时她也给我们装扮了各种角色,对她赋予情感，赋予经历，她成为我们生活中的一员又超越了生活本身，寓意人性中欲望是虚幻和假象，在这种偏差中我们的价值观常常被质疑。猴子和人有着原始的关联性，也许是形态、也许是基因，象征着对原始的重复，或与野蛮并行的危险。动物的欲望仅是吃喝、生殖生理满足，贪婪是人类特有的词汇，超越了动物的本能。
Artistic proposition.
My paintings use symbolic art techniques to express the inner will, not directly facing the depiction of realistic scenes, but to feel the illusion and dislocation of reality, to point to the essence of the subject with absurd expressions, to let the viewers experience the meaning of the symbols of the works themselves, to reveal the reflection on human good and evil, love and hate, desire, sincerity and hypocrisy, to awaken the ideal in human nature. The works celebrate the good things, the pursuit of the ideal realm, or the satire of the old evils, attacking the unreasonable phenomena, as well as the reflection on the state of existence and the respect for individual will. We often perceive things that are not necessarily real, people often use flowers to whitewash the unpleasant reality, use beautiful appearance to dress up the unpleasant soul, confused life split personality, like a chameleon that changes its will with the change of environment and state of affairs, without considering where its soul should be. Human nature with its desires and helplessness, selfishness and greed, hatred and meanness, without firm faith or without intervention to control them, human nature degenerates into barbarism. In addition to self-monasticism, human nature is also influenced by the environment. The state of the environment will create human characteristics, and human characteristics will reflect social characteristics, so our thinking about human nature will definitely reflect our thinking about society.
The main objects of my creation are mainly characters, plastic models and animals, and the plot is arranged in a subtle and metaphorical symbolic way, transcending the realistic and superficial plot sequence, not dramatic events, and arranging allegorical points to provide the viewer with the possibility of thinking from multiple perspectives. I admire the logical relationship to support the expression of emotion, from concrete feelings to abstract thinking, and then transformed into allegorical pointing, the pursuit of artistic emotion and the grasp of logical relationship, logical relationship is a rational judgment of the structure and essence of things, which will make the will and emotion more clear and firm. Painting is the carrier of the presentation of logical relationship and emotion, creating artistic expression forms with aesthetic value according to the inner demands.
My painting form combines two-dimensional and three-dimensional expression characteristics, the background takes the illusory plane space, and constitutes a dislocation space in the plane space, which constitutes a dislocation visual effect of characters and objects in the space, so that the feeling of visual form is transformed into the allegory of content, and the identity and role in the dislocation space has an uncertain meaning, conveying more possibilities.
Plastic models and monkeys become the main characters of my images. In my picture, the plastic model has the meaning of symbolizing the content of the theme. The plastic model is an artificially created ideal, which is a temptation and psychological reflection of people's desires. In this deviation, our values are often questioned. The monkey has a primitive connection with man, perhaps in form, perhaps in genes, symbolizing the repetition of the primitive, or the danger of parallelism with savagery. The animal's desire is only for food and drink, reproductive physiological satisfaction; greed is a uniquely human term that transcends animal instincts.
王友江 《虚幻与错位-看不清的视线》布面油画 / Wang Youjiang-Illusion and dislocation . 200x142cm . Oil on canvas . 2019
王友江 《虚幻与错位-无聊的下午》布面油画 / Wang Youjiang-Illusion and dislocation . 200x160cm . Oil on canvas . 2019
艺术家 / Artist
咸景洛 / Ham, Kyungrak
韩国艺术家
1971出生于韩国光州市
1998 毕业于国立全南大学校艺术大学韩国画专业获学士学位
2003 毕业于天津美术学院中国画系获硕士学位，师从何家英教授
2003-2009年任教于天津美术学院中国画系 现生活，工作于天津，职业艺术家。
个展 2020 He-story '望’ 中意发展创意中心 昂利艺术馆 （中国，天津）
2021He-stoy”望“2鹿人画廊（中国，苏州）
2019 Art Revolution Taipei He-story '岛’2 （台湾，台北世贸三館 ）
2018 He-story '岛’ 1 鹿人画廊（中国，苏州）
2014 He-story '与人同乐’ 鼎天美术公馆（中国，天津）
2014 He-story '春日故事’荣吉堂画廊（中国，秦皇岛）
2013 Art Revolution Taipei He-story '井里哲学’（台湾，台北世贸三馆）
2012 Art Revolution Taipei He-story '于民同乐’（台湾，台北世贸二馆）
2010 He-story'福 福’SeoJeongWook 画廊（韩国，首尔）
2009 日常—'记忆’多道画廊（韩国，首尔）
2008 日常—'追求梦者’蚕月美术馆（韩国，咸平）
2007 日常—'无声的喊叫’天津美术学院美术馆（中国，天津)
Korean Artist
1971 Born in GwangJu, Korea
Educations
2003 Graduated from Tianjin Academy of Fine Arts, Chana. (Master’s Degree of Art)
1998 Graduated from Dept. of Painting, College of Fine Arts, Chonnam Nat’l Univ. (Bachelor’s Degree of Art)
Career
2003-2009 Professor in the Chinese painting Tianjin Academy of Fine Arts.
Currently living and working in Tianjin, China
Solo Exhibitions
2021 He-story 'Hope’2 Luren Gallery (Suzhou, China)
2020 He-story 'Hope’1 Angli Art museum (Tianjin, China)
2019 Art Revolution Taipei He-story 'Island’2 (Taipei World Trade Center, Taiwan)
2018 He-story 'Island’1 Luren Gallery (Suzhou, China)
2014 He-story 'Happiness with the people’ Dingtian Art Gallery. (Tianjin, China)
2014 He-story 'The spring story’ Rongjitang Gallery. (Qinhuangdao, China)
2013 He-story 'In a well Philosophy’ (Taipei World Trade Center, Taiwan)
2012 He-story 'The happiness with the people’ (Taipei World Trade Center, Taiwan)
2010 He-story ' happy + happy’ Seo Jeong Wook Gallery. (Seoul, Korea)
2009 Daily-'memory’ Dado Art Gallery. (Seoul ,Korea)
2008 Daily-'eyeing a dream now’ Zamwall Art Museum. (Hampyeong, Korea)
2007 Daily-'noiseless shout’ Tianjin Academy of Fine Arts Art Gallery. (Tianjin, China)
咸景洛 《与民同乐》布面综合材料 / Ham, Kyungrak - have fun with the citizens . 100x83cm . mixed media on canvas . 2009
咸景洛 《与民同乐》布面综合材料 / Ham, Kyungrak - have fun with the citizens . 80x80cm . mixed media on canvas . 2010
艺术思考：
大部分作品眼于当下现实世界，关注社会问题和人的精神面貌， 并且个人观点下表达了隐喻或幽默的方式批评了当今社会， 这可以说我们的状态和伪装的自我。 表面上看着善良有文明，但是内在可以发现伪装和贪欲的状态。 希望通过我的画反思自己，追求艺术的社会功能， 透过艺术的形式使我们意识到'与人同乐’'与人同感’'与人同行’。 虽然繁忙自私的社会，但我们需要积极与人沟通，交流,，互尊互爱。 今天的我，还仍然在简陋的工作室里画着画， 为了'希望’ 以期盼和期待的心情画画 “艺术本身具有一定的社会功能，这种社会功能使我们更多关注现实世界和 文化环境，从而映射人的价值观的问题，而当今许多画家都失掉了这种社会 责任感。我很高兴，看到了咸景洛在寻求艺术的道路上找到了自己的表达方式， 希望他今后坚定自己的道路，永远保持一种对艺术的实践和探索精神”。 中国美协副主席，中国艺术研究院博师生导师 何家英。
Artistic reflection.
Most of the works focus on the current reality of the world, on social problems and the spirituality of people, and express metaphorical or humorous ways of criticizing today's society from a personal point of view, which can be said about our state and the disguised self. On the surface, we look kind and civilized, but inside we can find the state of disguise and greed. I hope to reflect on myself through my paintings, to pursue the social function of art, and to make us realize 'to enjoy with others, 'to feel with others' and 'to walk with others through the form of art. Although it is a busy and selfish society, we need to actively communicate with people, to communicate, and to respect and love each other. Today, I am still painting in my humble studio, painting with expectation and anticipation for the sake of 'hope'" Art itself has a certain social function, and this social function makes us pay more attention to the real world and cultural environment, to map the issue of human values, while many of today's Many painters today have lost this sense of social responsibility. I am very happy to see that Ham Jingluo has found his way of expression in his quest for art, and I hope that he will be firm in his path and always maintain a spirit of practice and exploration of art. He Jiaying, Vice President of the Chinese Art Association and a doctoral student advisor at the China Academy of Art.
咸景洛 《与民同乐》布面综合材料 / Ham, Kyungrak - have fun with the citizens . 53x45cm . mixed media on canvas . 2010
咸景洛 《高跟鞋》布面综合材料 / Ham, Kyungrak - high heel . 53x45cm . mixed media on canvas . 2019
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