Kuandu Museum of Fine Arts

Stones Are Not

Alessandro Rabottini

Here, in these rooms, there are things within the space: a metal garland of smoothed-down stones, a few pictures on the walls, olive oil applied very thinly, like watercolor. Occasionally, the void will play some role.

There will be no noise in these rooms, other than those that we might make. People can be noisy, stones are not.

There is structure here, a level of composition. Some might say ‘harmony.’
At different latitudes, the idea of harmony changes, just like the weather: in one place it may stand still, while elsewhere it gently moves. Over the years, He Xiangyu has also moved from place to place, and he still does: he was born in China, lived in the US and then in Berlin, too. Often, he finds himself caught between different versions of harmony and tries to give some sort of shape to this tension.

He has listened to various sounds––words that differ from each other––and at times, with his art, he seeks to make new ones.

These stones that stand so still, so carefully spaced, have themselves traveled widely. You and I don’t know how long for, or from where; which waters and winds have smoothed them down so finely. We pay respect to their untold origins by expressing admiration for their shapes.

You and I may have known very little about them before entering these rooms (perhaps we knew nothing at all); we may still know very little about them after leaving these rooms.

Some of us might consider counting them: numbers can at least give the feeling of knowing something. This could be comforting ––there’s relief in order, after all––or boring, or even meditative. Others will be happy just to contemplate them, the joy of seeing such perfect forms, salvaged and almost levitating.

There is solace in things that have been retrieved and lifted, for life can be heavy, a thing of such weight that, at times, it crushes us to the ground.

Along with composition, there is decoration in these rooms, too, with portions of the walls having been painted with olive oil, more than once. Pencil was used to mark the limits of the areas.

There was pressure at a certain moment, somewhere, some time back, since pressure is what is needed for the oil to be made; the olives must be crushed. And in the olden days, in countries far away from these rooms, the wheels that would have crushed the fruits were made of stone. Many of those wheels now lie somewhere, no longer in use, like ancient temples, perpetual, only slightly worn, chipped––their erosion, so far, imperceptible to the eye.
 
Unnoticed will go too the oil while it sinks into the wall, unseen will be the moment when the process of assimilation will start blurring the pencil lines.

Soon, these rooms will be repainted, no visible trace left of this moving field. But the field will stay alive, recessed into the building.

All this happens over time. The stones have been smoothed over time––a great deal of it––and the olive oil will disappear over time, a very small amount of it. You and I exist in between these two scales of events, and we keep ourselves busy by dealing with them: we preserve and elevate things that have survived a magnitude of time, while constantly repairing things that start falling apart around us.

This is a daily exercise.

There is pressure, crushing and repair in these pictures too, the ones on the walls. Windows got smashed; plastic and tape came into play. And then the effort, the individual effort.

Stones Are Not

Alessandro Rabottini

Here, in these rooms, there are things within the space: a metal garland of smoothed-down stones, a few pictures on the walls, olive oil applied very thinly, like watercolor. Occasionally, the void will play some role.

There will be no noise in these rooms, other than those that we might make. People can be noisy, stones are not.

There is structure here, a level of composition. Some might say ‘harmony.’
At different latitudes, the idea of harmony changes, just like the weather: in one place it may stand still, while elsewhere it gently moves. Over the years, He Xiangyu has also moved from place to place, and he still does: he was born in China, lived in the US and then in Berlin, too. Often, he finds himself caught between different versions of harmony and tries to give some sort of shape to this tension.

He has listened to various sounds––words that differ from each other––and at times, with his art, he seeks to make new ones.

These stones that stand so still, so carefully spaced, have themselves traveled widely. You and I don’t know how long for, or from where; which waters and winds have smoothed them down so finely. We pay respect to their untold origins by expressing admiration for their shapes.

You and I may have known very little about them before entering these rooms (perhaps we knew nothing at all); we may still know very little about them after leaving these rooms.

Some of us might consider counting them: numbers can at least give the feeling of knowing something. This could be comforting ––there’s relief in order, after all––or boring, or even meditative. Others will be happy just to contemplate them, the joy of seeing such perfect forms, salvaged and almost levitating.

There is solace in things that have been retrieved and lifted, for life can be heavy, a thing of such weight that, at times, it crushes us to the ground.

Along with composition, there is decoration in these rooms, too, with portions of the walls having been painted with olive oil, more than once. Pencil was used to mark the limits of the areas.

There was pressure at a certain moment, somewhere, some time back, since pressure is what is needed for the oil to be made; the olives must be crushed. And in the olden days, in countries far away from these rooms, the wheels that would have crushed the fruits were made of stone. Many of those wheels now lie somewhere, no longer in use, like ancient temples, perpetual, only slightly worn, chipped––their erosion, so far, imperceptible to the eye.
 
Unnoticed will go too the oil while it sinks into the wall, unseen will be the moment when the process of assimilation will start blurring the pencil lines.

Soon, these rooms will be repainted, no visible trace left of this moving field. But the field will stay alive, recessed into the building.

All this happens over time. The stones have been smoothed over time––a great deal of it––and the olive oil will disappear over time, a very small amount of it. You and I exist in between these two scales of events, and we keep ourselves busy by dealing with them: we preserve and elevate things that have survived a magnitude of time, while constantly repairing things that start falling apart around us.

This is a daily exercise.

There is pressure, crushing and repair in these pictures too, the ones on the walls. Windows got smashed; plastic and tape came into play. And then the effort, the individual effort.

About the Artist

He Xiangyu

1986 Born at Kuandian County, Liaoning Province, China.

2008 Graduated from Oil Painting Department, Shenyang Normal University.
Currently lives and works in Beijing and Berlin.

SOLO EXHIBITIONS

2024
“Past Is Prologue”, Kuandu Museum of Fine Arts, TNUA, Taipei, Taiwan
“The Radiance of Liberty” Andrew Kreps Gallery, New York, USA
“The Memory of Stillness” Manshu-in Temple, Kyoto, Japan
“Hazy Window” ARTRO, Kyoto, Japan

2023
“He Xiangyu”, White Space, Beijin, China
“He Xiangyu”, Sifang Art Museum satellite space, Shanghai, China

2022
“Low-hanging Fruits”, TAO ART, Taipei, Taiwan
“He Xiangyu”, House of Nations, CCA Berlin, Berlin, Germany

2021
“Soft Dilemma”, Andrew Kreps Gallery, New York, USA

2020
“Hard Palate”, WHITE SPACE BEIJING, Beijing, China

2019
“Who Are Interested in Us”, SCAI The Bathhouse, Tokyo, Japan
“He Xiangyu”, Centre for Chinese Contemporary Art, Manchester, UK Root, A4 Art Museum,
Chengdu, China

2018
“Evidence”, White Cube, London, UK

2017
“Turtle, Lion and Bear”, Qiao Space, Shanghai, China
“He Xiangyu”, WHITE SPACE BEIJING, Beijing, China

2016
“Save the Date”, SCAI The Bathhouse, Tokyo, Japan
“Save the Date”, Kaikai kiki Gallery, Tokyo, Japan

2015
“Dotted Line II”, WHITE SPACE BEIJING, Beijing, China
“New Directions: He Xiangyu”, Ullens Center for Contemporary Art, Beijing, China
“He Xiangyu”, Bischoff Projects, Frankfurt, Germany

2014
“Dotted Line I”, WHITE SPACE BEIJING, Beijing, China He Xiangyu, White Cube, London, UK

2013
“Crossed Beliefs”, SCAI The Bathhouse, Tokyo, Japan

2012
“He Xiang Yu”, WHITE SPACE BEIJING, Beijing, China
“Cola Project”, 4A Centre for Contemporary Asian Art, Sydney, Australia

2011
“The Death of Marat”, Künstlerhaus Schloß Balmoral, Bad Ems, Germany
“Man on the Chairs”, WHITE SPACE BEIJING, Beijing, China

2010
“Cola Project”, Wall Art Museum, Beijing, China

SELECTED GROUP EXHIBITIONS

2024
“Moments are Monument”, BY ART MATTERS, H, China
“Laozi’s Furnace”, White Rabbit Gallery, Chippendale, Australia
“Namedropping”, Museum of Old and New Aet, Hobart, Australia
“Wenn’s gut werden muss”, Kunstverein Wiesen, Wiesen, Germany
“Launching a New Era: Body and Language as Manifesto”, Yuan Art Museum, Beijin, China
“The Perslistence of a Present Past”, OCITE, Berlin, Germany

2023
“M+Sigg Collection:Another story”, M+, Hong Kong, China
“MVM - Infinite Cosmos”, Jebum-gang Art Center, Lhasa, China
“Motion is Action , 35 Years of Chinese Media Art”, Art Matters, Hangzhou, China
“Friends in the Arts”, TANK SHANGHAI, Shanghai, China
“Unlimited”, Art Basel, Basel, Switzerland
“Looking at the Stars”, G Museum, Nanjing, China
“SIGG: Chinese Contemporary Art from the Sigg Collection”, SONGEUN, Seoul, Korea
“Nián Nián :The Power and Agency of Animal Forms, DEJI ART MUSEUM, Nanjing, China

2022
“Living in the New Century: Chinese Media Arts since 1986”, Ulsan Arts Museum, Ulsan, Korea
“The situation is excellent”,Glue Berlin, Berlin, Germany
“Forming Communities: Berliner Wege”, KINDL, Berlin, Germany
“Angels on horseback”, Lobe Block, Berlin, Germany
“Afterimage”, MAXXI L’Aquila, L’Aquila, Italy
“Persona and Parasite”, WHITE SPACE BEIJING , Beijin, China
“Mario Merz Prize IV edition_The finalists’ exhibition”, Fondazion Merz, Turin, Italy
“Man’s Traces in Nature”, Wschód, Wschód, Poland
“Penumbra”, Complesso dell’Ospedaletto, Venice, Italy
“Boros Collection / Bunker #4”, Boros Collection, Berlin, Germany
“VERGOLDET I DORÉ“, Schloss Biesdorf, Berlin, Germany
“Drawing in the Continuous Present”, The Drawing Center, New York, USA
“SCAI PIRAMIDE Screening Project vol.1”, SCAI PIRAMIDE, Tokyo, Japan
“ON|OFF 2021: Carousel of Progress”, HE ART MUSEUM, Foshan, China

2021
“Wang Shikuo Art Support Project & Today Art Museum's Young Artists Nomination Exhibition”,
Today Art Museum, Beijing, China
“Super Fusion: 2021 Chengdu Biennale”, Chengdu Tianfu Art Park, Chengdu, China
“A Chair”, ZHI Art Museum, Chengdu, China
“To Be the Better One—The Methodology of the New Generation: New York, New Identity, New
Direction, New Life”, Wind H Art Center, Beijing, China
“Border Crossings: North and South Korean Art from the Sigg Collection”, Kunstmuseum Bern,
Switzerland
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”, He Art
Museum, Shunde, China
“Duration: Chinese Art in Transformation”, Beijing Minsheng Art Museum, Beijing, China
“Reconnecting”, Surplus Space, Wuhan, China
“Cover- Enclave Contemporary Opening Exhibition”, Enclave Contemporary, Shenzhen, China
“Collection of Qiao Zhibing | Aesthetics”, TANK Shanghai, Shanghai, China

2020
“The Exhibition of Annual of Contemporary Art of China Shanghai 2019”, Shanghai Duolun Museum
of Modern Art, Shanghai, China
“On Everyone’s Lips, From Pieter Bruegel to Cindy Sherman”, Kunstmuseum Wolfsburg, Germany
“100 Drawings From Now”, The Drawing Center, New York, USA
“As Times Goes By, New Story from Garden”, Cang Lang Ting The Surging Wave & Ke Yuan, Suzhou,
China
“Studio Berlin, Cooperation between Boros and Berghain”, Berghain, Berlin, Germany
“From Treatise on Superfluous Things”, Jinji Lake Art Museum, Suzhou, China
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”, Chengdu
Eastern Suburb-International Art Exhibition Center, Chengdu, China
“The C”, TANK Shanghai, Shanghai, China
“Étude”, Aranya Art Center, Beidaihe, China
“Egg / ”, Nassauischer Kunstverein Wiesbaden, Wiesbaden, Germany
“Facing the Collector”, The Sigg Collection of Contemporary Art from China, Castello di Rivoli
Museum of Contemporary Art, Turin, Italy
“The Allure of Matter: Material Art from China”, Smart Museum of Art and Wrightwood 659, Chicago,
USA; Seattle Art Museum, Seattle, USA; Peabody Essex Museum, Salem, USA
“SCAI 30th Anniversary Exhibition”, SCAI The Bathhouse, Tokyo, Japan

2019
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”,
Guardian Art Center, Beijing, China
“The Swim: a prophecy of the past”, Theatre Image Forum, Tokyo, Japan
“Cosmopolis #2: Repenser l' humain”, Centre Pompidou, Paris, France
“The Long Term You Cannot Afford”, SAVVY, Berlin, Germany
“Encounter: 2019 Shanghai Urban Space Art Season”, Shanghai, China
“The 5th Ural Industrial Biennial of Contemporary Art”, Yekaterinburg, Russia
“Inbetween: The 2nd Sculpture Projects Pingyao”, Pingyao, China
“Berlin Peking Visual Exchange”, Museum für Fotografie, Berlin, Germany
“The Allure of Matter: Material Art from China”, LACMA, Los Angeles, USA
“The Infinite Mix”, 2019 Airport Biennale, Guangzhou, China
“A White Space Odyssey”, WHITE SPACE BEIJING, Beijing, China
“After Colors”, Aranya Art Center, Beidaihe, China
“Transcending Dimension: Sculpting Space- 2019 Shenzhen Pingshan International Sculpture
Exhibition”, Shenzhen, China
“The 58th La Biennale di Venezia”, China Pavilion, Venice, Italy
“Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition”, Wuzhen, China
“Under Construction”, Tank Shanghai, Shanghai, China
“Remapping Reality: Selected Video Collection from Wang Bing”, OCAT Shanghai, Shanghai, China
“Body Search I”, Galerie für Zeitgenössische Kunst Leipzig, Leipzig, Germany
“The 11th Yebisu International Festival for Art and Alternative Visions”, Tokyo, Japan
“Chinese Whispers: Recent Art from the Sigg Collection at Museum of Applied Arts”, Vienna, Austria

2018
“Replay”, WHITE SPACE BEIJING, Beijing, China
“New Networks: Contemporary Chinese Art”, Dunedin Public Art Gallery, Dunedin, New Zealand
“Our Actions are Our Future”, The Enjoy Museum of Art, Beijing, China
“Cosmopolis #1.5: Enlarged Intelligence”, Chengdu, China
“The Swim: a prophecy of the past”, Meyer Auditorium, presented by Freer and Sackler Galleries,
Washington, DC, USA
“Transkulturale”, Confucius Institute Nuremberg-Erlangen, Nuremberg, Germany
“The Swim: a prophecy of the past”, Billy Wilder Theater, presented by UCLA Film & Television
Archive, Los Angeles, USA
“The Swim: a prophecy of the past”, Dr.Thaworn Phornprapha Auditorium, Bangkok, Thailand
“The Way Things Run (Der Lauf der Dinge) Part III: Wage”, PS120, Berlin, Germany
“River Separates Water”, Wood Street Galleries, Pittsburgh, USA
“Unlimited”, Art Basel, Basel, Switzerland
“The Exhibition of Annual of Contemporary Art of China 2017”, Beijing Minsheng Art Museum,
Beijing, China
“Assembling“, chi K11 Art Space, Shenyang, China
“Art Patrons”, Qiao Space, Shanghai, China
“Frontier: Re-assessment of Post-Globalisational Politics”, OCAT Institute, Beijing, China
“The God of Small Thing”, Leo Gallery, Shanghai, China
“A Chinese Journey: The Sigg Collection”, Noordbrabants Museum, Den Bosch, Netherlands

2017
“Frontier: Re-assessment of Post-Globalisational Politics”, OCAT Institute, Shanghai, China
“The Swim: a prophecy of the past”, Asian Film Festival. Barcelona, Cinemes Girona，Barcelona,
Spain
“Culture City of East Asia 2017 Kyoto ‘Asia Corridor Contemporary Art Exhibition’”, Kyoto, Japan
“Soil and Stones, Souls and Songs”, Para Site, Hong Kong, China
“Partial Archive”, Yell Space, Shanghai, China
“The Swim: a prophecy of the past”, Art Basel, Basel, Switzerland
“Boros Collection / Bunker #3”, Boros Collection, Berlin, Germany
“Copy / Paste”, KAAF non-profit Institute and Taragan Azad Gallery, Tehran, Iran
“Create Space”, A4 Art Museum, Chengdu, China
“Recent Acquisitions · Recent Developments”, Sishang Art Museum, Beijing, China
“Tales of Our Time Film Program (Screening of the “The Swim”)”, Solomon R. Guggenheim Museum,
New York, USA

2016
“Our Paintings”, Yang Museum, Beijing, China
“The 3rd Nanjing International Art Festival: ‘HISTORICODE: Scarcity and Supply’”, Baijia Lake
Museum, Nanjing, China
“On Drawing: Apperceive of Liberation”, Wuhan Art Museum, Wuhan, China
“The 1st Yinchuan Biennale: ‘For An Image, Faster Than Light’”, MoCA Yinchuan, Yinchuan, China
“Soil and Stones, Souls and Songs”, Museum of Contemporary Art and Design (MCAD), Manila,
Philippine
“The 2nd Hangzhou Triennial of Fiber Art”, Zhejiang Art Museum, Hangzhou, China
“Total war or Nothing at all, hot”, J: Gallery, Shanghai, China
“Heavy Artillery”, White Rabbit Collection, Chippendale, Australia
“Turning Point: Contemporary Art in China Since 2000”, Minsheng Art Museum, Shanghai, China
“Hedge House Wijlre: Family Tree”, Contemporary Chinese Art from the Sigg collection,
Bonnefanten Museum, Maastricht, Netherlands
“New Capital”, MoCA Chengdu, Chengdu, China
“Juxtapoz×Superflat”, Vancouver Art Gallery, Vancouver, Canada
“Chinese Whispers”, Paul Klee Zentrum, Kunst Museum Bern, Bern, Switzerland
“Exotic Stranger”, Galerie Paris-Beijing, Beijing, China
“Everyday Legend”, Shanghai Minsheng Art Museum, Shanghai, China

2015
“The 13th Biennale de Lyon”, Lyon, France
“28 Chinese”, San Antonia Museum of Art, San Antonia, USA
“Clamour Can Melt Gold”, Edouard Malingue Gallery, Hong Kong, China
“Jing Shen: The Act of Painting in Contemporary China”, Padiglione d’Arte Contemporanea, Milan,
Italy
“Fire and Forget”, KW Institute for Contemporary Art, Berlin, Germany
“28 Chinese”, Asian Art Museum, San Francisco, USA
“The 2nd ‘CAFAM-Future’ Exhibition: Observer-Creator”, K11 Art Center, Hong Kong, China
“Void: There’s Nothing More Left, But A Little Trace from Human Beings”, Ginkgo Space, Beijing,
China
“The System of Objects”, Shanghai Minsheng Art Museum, Shanghai, China
“Ink Remix”, Canberra Museum and Gallery, Canberra, Australia
“The 2nd ;CAFAM-Future’ Exhibition: Observer-Creator”, CAFA Art Museum, Beijing, China
“Mass Group Incident”, 4A Center for Contemporary Asian Art, Sydney, Australia

2014
“The 10th Shanghai Biennale”, Shanghai, China
“Future Generation Art Prize: Exhibition of the Shortlisted Artists at the Pinchuk Art Centre”, Kiev,
Ukraine
“The 8th Busan Biennale”, Busan Museum of Art, Busan, Korea
“The 5th Yokohama Triennale”, Yokohama, Japan
“The 8 of Paths”, Uferhallen, Berlin, Germany
“Vision of Proximity”, SCAI The Bathhouse, Tokyo, Japan
“Through All Ages”, Long Museum West Bund, Shanghai, China
“Memo II”, WHITE SPACE BEIJING, Beijing, China

2013
“Criss-Cross”, Long Museum Pudong, Shanghai, China
“28 Chinese”, Rubell Family Collection, Miami, USA
“Inter-Vision. A Contemporary Exhibition Across the Strait”, National Art Museum of China, Beijing,
China
“Fuck Off II”, Groninger Museum, Groninger, Netherland
“Inter-Vision. A Contemporary Exhibition Across the Strait”, National Taiwan Museum of Fine Arts,
Taichung, Taiwan
“Memo I”, WHITE SPACE BEIJING, Beijing, China
“On | Off”, Ullens Center for Contemporary Art, Beijing, China

2012
“2012 the 1st Shanghai Sculpture Programme, Life Latitude”, Shanghai Painting & Sculpture Institute
Art Museum, Shanghai, China
“Mind Space: Maximalism in Contrasts”, DePauw University, Greencastle, Indiana, USA
“Examples to Follow! Expeditions in Aesthetics and Sustainability”, Iberia Center for Contemporary
Art, Beijing, China
“Get it Louder”, The Orange at Sanlitun Village, Beijing, China
“Mind Space: Maximalism in Contrasts”, Hill Wood Art Museum, Long Island University, New York,
USA
“A4 Young Artist Experimental Season 2nd Round Exhibition”, A4 Contemporary Arts Center,
Chengdu, China

2011
“Shanshui – Poetry without Sound”, Kunstmuseum Luzern, Lucerne, Switzerland
“Das Ich Im Anderen”, Mercator Foundation, Essen, Germany
“Mind Space: Maximalism in Contrasts”, Frick Art Museum, University of Pittsburgh, Pittsburgh, US

2010
“Reshaping History: Chinart from 2000
to 2009”, Today Art Museum, Beijing, China

2009
“School of Image - Century Mind”, Today Art Museum, Beijing, Chin

About the Artist

He Xiangyu

1986 Born at Kuandian County, Liaoning Province, China.

2008 Graduated from Oil Painting Department, Shenyang Normal University.
Currently lives and works in Beijing and Berlin.

SOLO EXHIBITIONS

2024
“Past Is Prologue”, Kuandu Museum of Fine Arts, TNUA, Taipei, Taiwan
“The Radiance of Liberty” Andrew Kreps Gallery, New York, USA
“The Memory of Stillness” Manshu-in Temple, Kyoto, Japan
“Hazy Window” ARTRO, Kyoto, Japan

2023
“He Xiangyu”, White Space, Beijin, China
“He Xiangyu”, Sifang Art Museum satellite space, Shanghai, China

2022
“Low-hanging Fruits”, TAO ART, Taipei, Taiwan
“He Xiangyu”, House of Nations, CCA Berlin, Berlin, Germany

2021
“Soft Dilemma”, Andrew Kreps Gallery, New York, USA

2020
“Hard Palate”, WHITE SPACE BEIJING, Beijing, China

2019
“Who Are Interested in Us”, SCAI The Bathhouse, Tokyo, Japan
“He Xiangyu”, Centre for Chinese Contemporary Art, Manchester, UK Root, A4 Art Museum,
Chengdu, China

2018
“Evidence”, White Cube, London, UK

2017
“Turtle, Lion and Bear”, Qiao Space, Shanghai, China
“He Xiangyu”, WHITE SPACE BEIJING, Beijing, China

2016
“Save the Date”, SCAI The Bathhouse, Tokyo, Japan
“Save the Date”, Kaikai kiki Gallery, Tokyo, Japan

2015
“Dotted Line II”, WHITE SPACE BEIJING, Beijing, China
“New Directions: He Xiangyu”, Ullens Center for Contemporary Art, Beijing, China
“He Xiangyu”, Bischoff Projects, Frankfurt, Germany

2014
“Dotted Line I”, WHITE SPACE BEIJING, Beijing, China He Xiangyu, White Cube, London, UK

2013
“Crossed Beliefs”, SCAI The Bathhouse, Tokyo, Japan

2012
“He Xiang Yu”, WHITE SPACE BEIJING, Beijing, China
“Cola Project”, 4A Centre for Contemporary Asian Art, Sydney, Australia

2011
“The Death of Marat”, Künstlerhaus Schloß Balmoral, Bad Ems, Germany
“Man on the Chairs”, WHITE SPACE BEIJING, Beijing, China

2010
“Cola Project”, Wall Art Museum, Beijing, China

SELECTED GROUP EXHIBITIONS

2024
“Moments are Monument”, BY ART MATTERS, H, China
“Laozi’s Furnace”, White Rabbit Gallery, Chippendale, Australia
“Namedropping”, Museum of Old and New Aet, Hobart, Australia
“Wenn’s gut werden muss”, Kunstverein Wiesen, Wiesen, Germany
“Launching a New Era: Body and Language as Manifesto”, Yuan Art Museum, Beijin, China
“The Perslistence of a Present Past”, OCITE, Berlin, Germany

2023
“M+Sigg Collection:Another story”, M+, Hong Kong, China
“MVM - Infinite Cosmos”, Jebum-gang Art Center, Lhasa, China
“Motion is Action , 35 Years of Chinese Media Art”, Art Matters, Hangzhou, China
“Friends in the Arts”, TANK SHANGHAI, Shanghai, China
“Unlimited”, Art Basel, Basel, Switzerland
“Looking at the Stars”, G Museum, Nanjing, China
“SIGG: Chinese Contemporary Art from the Sigg Collection”, SONGEUN, Seoul, Korea
“Nián Nián :The Power and Agency of Animal Forms, DEJI ART MUSEUM, Nanjing, China

2022
“Living in the New Century: Chinese Media Arts since 1986”, Ulsan Arts Museum, Ulsan, Korea
“The situation is excellent”,Glue Berlin, Berlin, Germany
“Forming Communities: Berliner Wege”, KINDL, Berlin, Germany
“Angels on horseback”, Lobe Block, Berlin, Germany
“Afterimage”, MAXXI L’Aquila, L’Aquila, Italy
“Persona and Parasite”, WHITE SPACE BEIJING , Beijin, China
“Mario Merz Prize IV edition_The finalists’ exhibition”, Fondazion Merz, Turin, Italy
“Man’s Traces in Nature”, Wschód, Wschód, Poland
“Penumbra”, Complesso dell’Ospedaletto, Venice, Italy
“Boros Collection / Bunker #4”, Boros Collection, Berlin, Germany
“VERGOLDET I DORÉ“, Schloss Biesdorf, Berlin, Germany
“Drawing in the Continuous Present”, The Drawing Center, New York, USA
“SCAI PIRAMIDE Screening Project vol.1”, SCAI PIRAMIDE, Tokyo, Japan
“ON|OFF 2021: Carousel of Progress”, HE ART MUSEUM, Foshan, China

2021
“Wang Shikuo Art Support Project & Today Art Museum's Young Artists Nomination Exhibition”,
Today Art Museum, Beijing, China
“Super Fusion: 2021 Chengdu Biennale”, Chengdu Tianfu Art Park, Chengdu, China
“A Chair”, ZHI Art Museum, Chengdu, China
“To Be the Better One—The Methodology of the New Generation: New York, New Identity, New
Direction, New Life”, Wind H Art Center, Beijing, China
“Border Crossings: North and South Korean Art from the Sigg Collection”, Kunstmuseum Bern,
Switzerland
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”, He Art
Museum, Shunde, China
“Duration: Chinese Art in Transformation”, Beijing Minsheng Art Museum, Beijing, China
“Reconnecting”, Surplus Space, Wuhan, China
“Cover- Enclave Contemporary Opening Exhibition”, Enclave Contemporary, Shenzhen, China
“Collection of Qiao Zhibing | Aesthetics”, TANK Shanghai, Shanghai, China

2020
“The Exhibition of Annual of Contemporary Art of China Shanghai 2019”, Shanghai Duolun Museum
of Modern Art, Shanghai, China
“On Everyone’s Lips, From Pieter Bruegel to Cindy Sherman”, Kunstmuseum Wolfsburg, Germany
“100 Drawings From Now”, The Drawing Center, New York, USA
“As Times Goes By, New Story from Garden”, Cang Lang Ting The Surging Wave & Ke Yuan, Suzhou,
China
“Studio Berlin, Cooperation between Boros and Berghain”, Berghain, Berlin, Germany
“From Treatise on Superfluous Things”, Jinji Lake Art Museum, Suzhou, China
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”, Chengdu
Eastern Suburb-International Art Exhibition Center, Chengdu, China
“The C”, TANK Shanghai, Shanghai, China
“Étude”, Aranya Art Center, Beidaihe, China
“Egg / ”, Nassauischer Kunstverein Wiesbaden, Wiesbaden, Germany
“Facing the Collector”, The Sigg Collection of Contemporary Art from China, Castello di Rivoli
Museum of Contemporary Art, Turin, Italy
“The Allure of Matter: Material Art from China”, Smart Museum of Art and Wrightwood 659, Chicago,
USA; Seattle Art Museum, Seattle, USA; Peabody Essex Museum, Salem, USA
“SCAI 30th Anniversary Exhibition”, SCAI The Bathhouse, Tokyo, Japan

2019
“Pavilion of the P. R. China At The 58th International Art Exhibition La Biennale Di Venezia”,
Guardian Art Center, Beijing, China
“The Swim: a prophecy of the past”, Theatre Image Forum, Tokyo, Japan
“Cosmopolis #2: Repenser l' humain”, Centre Pompidou, Paris, France
“The Long Term You Cannot Afford”, SAVVY, Berlin, Germany
“Encounter: 2019 Shanghai Urban Space Art Season”, Shanghai, China
“The 5th Ural Industrial Biennial of Contemporary Art”, Yekaterinburg, Russia
“Inbetween: The 2nd Sculpture Projects Pingyao”, Pingyao, China
“Berlin Peking Visual Exchange”, Museum für Fotografie, Berlin, Germany
“The Allure of Matter: Material Art from China”, LACMA, Los Angeles, USA
“The Infinite Mix”, 2019 Airport Biennale, Guangzhou, China
“A White Space Odyssey”, WHITE SPACE BEIJING, Beijing, China
“After Colors”, Aranya Art Center, Beidaihe, China
“Transcending Dimension: Sculpting Space- 2019 Shenzhen Pingshan International Sculpture
Exhibition”, Shenzhen, China
“The 58th La Biennale di Venezia”, China Pavilion, Venice, Italy
“Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition”, Wuzhen, China
“Under Construction”, Tank Shanghai, Shanghai, China
“Remapping Reality: Selected Video Collection from Wang Bing”, OCAT Shanghai, Shanghai, China
“Body Search I”, Galerie für Zeitgenössische Kunst Leipzig, Leipzig, Germany
“The 11th Yebisu International Festival for Art and Alternative Visions”, Tokyo, Japan
“Chinese Whispers: Recent Art from the Sigg Collection at Museum of Applied Arts”, Vienna, Austria

2018
“Replay”, WHITE SPACE BEIJING, Beijing, China
“New Networks: Contemporary Chinese Art”, Dunedin Public Art Gallery, Dunedin, New Zealand
“Our Actions are Our Future”, The Enjoy Museum of Art, Beijing, China
“Cosmopolis #1.5: Enlarged Intelligence”, Chengdu, China
“The Swim: a prophecy of the past”, Meyer Auditorium, presented by Freer and Sackler Galleries,
Washington, DC, USA
“Transkulturale”, Confucius Institute Nuremberg-Erlangen, Nuremberg, Germany
“The Swim: a prophecy of the past”, Billy Wilder Theater, presented by UCLA Film & Television
Archive, Los Angeles, USA
“The Swim: a prophecy of the past”, Dr.Thaworn Phornprapha Auditorium, Bangkok, Thailand
“The Way Things Run (Der Lauf der Dinge) Part III: Wage”, PS120, Berlin, Germany
“River Separates Water”, Wood Street Galleries, Pittsburgh, USA
“Unlimited”, Art Basel, Basel, Switzerland
“The Exhibition of Annual of Contemporary Art of China 2017”, Beijing Minsheng Art Museum,
Beijing, China
“Assembling“, chi K11 Art Space, Shenyang, China
“Art Patrons”, Qiao Space, Shanghai, China
“Frontier: Re-assessment of Post-Globalisational Politics”, OCAT Institute, Beijing, China
“The God of Small Thing”, Leo Gallery, Shanghai, China
“A Chinese Journey: The Sigg Collection”, Noordbrabants Museum, Den Bosch, Netherlands

2017
“Frontier: Re-assessment of Post-Globalisational Politics”, OCAT Institute, Shanghai, China
“The Swim: a prophecy of the past”, Asian Film Festival. Barcelona, Cinemes Girona，Barcelona,
Spain
“Culture City of East Asia 2017 Kyoto ‘Asia Corridor Contemporary Art Exhibition’”, Kyoto, Japan
“Soil and Stones, Souls and Songs”, Para Site, Hong Kong, China
“Partial Archive”, Yell Space, Shanghai, China
“The Swim: a prophecy of the past”, Art Basel, Basel, Switzerland
“Boros Collection / Bunker #3”, Boros Collection, Berlin, Germany
“Copy / Paste”, KAAF non-profit Institute and Taragan Azad Gallery, Tehran, Iran
“Create Space”, A4 Art Museum, Chengdu, China
“Recent Acquisitions · Recent Developments”, Sishang Art Museum, Beijing, China
“Tales of Our Time Film Program (Screening of the “The Swim”)”, Solomon R. Guggenheim Museum,
New York, USA

2016
“Our Paintings”, Yang Museum, Beijing, China
“The 3rd Nanjing International Art Festival: ‘HISTORICODE: Scarcity and Supply’”, Baijia Lake
Museum, Nanjing, China
“On Drawing: Apperceive of Liberation”, Wuhan Art Museum, Wuhan, China
“The 1st Yinchuan Biennale: ‘For An Image, Faster Than Light’”, MoCA Yinchuan, Yinchuan, China
“Soil and Stones, Souls and Songs”, Museum of Contemporary Art and Design (MCAD), Manila,
Philippine
“The 2nd Hangzhou Triennial of Fiber Art”, Zhejiang Art Museum, Hangzhou, China
“Total war or Nothing at all, hot”, J: Gallery, Shanghai, China
“Heavy Artillery”, White Rabbit Collection, Chippendale, Australia
“Turning Point: Contemporary Art in China Since 2000”, Minsheng Art Museum, Shanghai, China
“Hedge House Wijlre: Family Tree”, Contemporary Chinese Art from the Sigg collection,
Bonnefanten Museum, Maastricht, Netherlands
“New Capital”, MoCA Chengdu, Chengdu, China
“Juxtapoz×Superflat”, Vancouver Art Gallery, Vancouver, Canada
“Chinese Whispers”, Paul Klee Zentrum, Kunst Museum Bern, Bern, Switzerland
“Exotic Stranger”, Galerie Paris-Beijing, Beijing, China
“Everyday Legend”, Shanghai Minsheng Art Museum, Shanghai, China

2015
“The 13th Biennale de Lyon”, Lyon, France
“28 Chinese”, San Antonia Museum of Art, San Antonia, USA
“Clamour Can Melt Gold”, Edouard Malingue Gallery, Hong Kong, China
“Jing Shen: The Act of Painting in Contemporary China”, Padiglione d’Arte Contemporanea, Milan,
Italy
“Fire and Forget”, KW Institute for Contemporary Art, Berlin, Germany
“28 Chinese”, Asian Art Museum, San Francisco, USA
“The 2nd ‘CAFAM-Future’ Exhibition: Observer-Creator”, K11 Art Center, Hong Kong, China
“Void: There’s Nothing More Left, But A Little Trace from Human Beings”, Ginkgo Space, Beijing,
China
“The System of Objects”, Shanghai Minsheng Art Museum, Shanghai, China
“Ink Remix”, Canberra Museum and Gallery, Canberra, Australia
“The 2nd ;CAFAM-Future’ Exhibition: Observer-Creator”, CAFA Art Museum, Beijing, China
“Mass Group Incident”, 4A Center for Contemporary Asian Art, Sydney, Australia

2014
“The 10th Shanghai Biennale”, Shanghai, China
“Future Generation Art Prize: Exhibition of the Shortlisted Artists at the Pinchuk Art Centre”, Kiev,
Ukraine
“The 8th Busan Biennale”, Busan Museum of Art, Busan, Korea
“The 5th Yokohama Triennale”, Yokohama, Japan
“The 8 of Paths”, Uferhallen, Berlin, Germany
“Vision of Proximity”, SCAI The Bathhouse, Tokyo, Japan
“Through All Ages”, Long Museum West Bund, Shanghai, China
“Memo II”, WHITE SPACE BEIJING, Beijing, China

2013
“Criss-Cross”, Long Museum Pudong, Shanghai, China
“28 Chinese”, Rubell Family Collection, Miami, USA
“Inter-Vision. A Contemporary Exhibition Across the Strait”, National Art Museum of China, Beijing,
China
“Fuck Off II”, Groninger Museum, Groninger, Netherland
“Inter-Vision. A Contemporary Exhibition Across the Strait”, National Taiwan Museum of Fine Arts,
Taichung, Taiwan
“Memo I”, WHITE SPACE BEIJING, Beijing, China
“On | Off”, Ullens Center for Contemporary Art, Beijing, China

2012
“2012 the 1st Shanghai Sculpture Programme, Life Latitude”, Shanghai Painting & Sculpture Institute
Art Museum, Shanghai, China
“Mind Space: Maximalism in Contrasts”, DePauw University, Greencastle, Indiana, USA
“Examples to Follow! Expeditions in Aesthetics and Sustainability”, Iberia Center for Contemporary
Art, Beijing, China
“Get it Louder”, The Orange at Sanlitun Village, Beijing, China
“Mind Space: Maximalism in Contrasts”, Hill Wood Art Museum, Long Island University, New York,
USA
“A4 Young Artist Experimental Season 2nd Round Exhibition”, A4 Contemporary Arts Center,
Chengdu, China

2011
“Shanshui – Poetry without Sound”, Kunstmuseum Luzern, Lucerne, Switzerland
“Das Ich Im Anderen”, Mercator Foundation, Essen, Germany
“Mind Space: Maximalism in Contrasts”, Frick Art Museum, University of Pittsburgh, Pittsburgh, US

2010
“Reshaping History: Chinart from 2000
to 2009”, Today Art Museum, Beijing, China

2009
“School of Image - Century Mind”, Today Art Museum, Beijing, Chin

Works

Rock Tongue

Stainless steel, iron, natural stones
167 x 40 x 108(h) cm, 26 stones
2024

Shape Convention

Stainless steel, iron, natural stones
640 x 68 x 142(h) cm, 57 stones
2024

Opaque Loop

Stainless steel, iron, natural stones
297 x 48 x 134(h) cm, 49 stones
2024