Introductions
文章
Peng Wei
彭薇
Fu Xiaotong
付小桐
Lam Tung Pang
林東鵬
Yang Yongliang
杨泳梁
Ni Youyu
倪有魚
Yi Xintong
童义欣
Kelly Wang
王佳怡
Arts Biographies
艺术家简历
Chief Executive’s Foreword
“ Shan Shui Reboot” marks the inaugural contemporary art project in our state-of-the-art exhibition space, reexamining Chinese art within a global and contemporary context. Shanshui, an integral part of the world's cultural heritage, has been practiced in China for one and a half millennia. Today, in the face of global climate challenges, this genre of “mountain-water” art remains fresh and relevant for those interested in exploring our universal relationship with nature and art.
China Institute in America is an internationally renowned U.S. nonprofit organization dedicated to deepening the world’s understanding of China through programs in art, business, cuisine, culture, and education. With this exhibition, our goal is to raise awareness of Chinese contemporary art in America and foster its appreciation. By focusing on the landscape genre, we explore how international Chinese artists approach and reinterpret their heritage, particularly at a time when world views have rendered obsolete the outdated boundaries between East and West, traditional and contemporary.
On behalf of the China Institute, I extend my gratitude to all who have contributed to this ambitious project. Special thanks to curator Dr. Tiffany Wai-Ying Beres for her dedication in assembling this exceptional selection of art. I also express my appreciation to the seven participating artists: Lam Tung Pang, Yi Xin Tong, Kelly Wang, Peng Wei, Fu Xiaotong, Yang Yongliang, and Ni Youyu. It takes immense talent, skill, and conviction to define oneself within the context of tradition while also expanding upon it.
This exhibition would not be possible without the generosity of distinguished individuals and organizations. We extend our gratitude to our Lead Sponsors Abel & Sophia Sheng Foundation and the New York City Department of Cultural Affairs for their extraordinary support of the exhibition and its catalog. Additional critical support has been provided by the Hong Kong Economic and Trade Office, New York; Dame Jillian and Dr. Arthur M. Sackler Foundation for the Arts, Sciences and Humanities; the New York State Council on the Arts; and other individuals and institutional funders who help to sustain our vital mission of advancing a deeper understanding of China through the arts.
George Geh
Chief Executive Officer China Institute in America
China Institute Gallery Introduction
The China Institute Gallery is the premier destination for Chinese art in New York. Established in 1966, it was the first non-profit gallery in the United States dedicated exclusively to showcasing Chinese art and culture on a regular basis. Now located in Lower Manhattan, the China Institute Gallery has earned an international reputation for its exceptional exhibitions, providing a unique opportunity for Americans and visitors from around the world to appreciate both traditional and contemporary Chinese art and culture.
This year, with the grand opening of our multi-use space on Washington Street, the China Institute Gallery is thrilled to inaugurate a regular program dedicated to highlighting the voices of young international Chinese artists. “Shan Shui Reboot” features the voices of seven rising art stars from China, Hong Kong / Canada, and the United States, whose works are united by the theme of shanshui. To the seven tremendously talented artists in the show—Lam Tung Pang, Yi Xin Tong, Kelly Wang, Peng Wei, Fu Xiaotong, Yang Yongliang, and Ni Youyu—we look forward to watching and celebrating your careers. Your contributions have significantly enriched this exhibition, and your works will undoubtedly inspire many.
At the China Institute, we are committed to cultivating relationships with and providing opportunities for young artists to showcase their art in New York, one of the world’s greatest art centers. “Shan Shui Reboot” presents forty major contemporary artworks, including three pieces commissioned exclusively for this exhibition. This new generation is brimming with innovative ideas and methods. By claiming the creative freedom they need and working with a diverse
range of materials, these young artists produce inspiring amalgams of traditional and modern concepts.
It has been an honor to see this exhibition come to life, and I am grateful for the hard work of so many who were dedicated to its success. I would like to extend my deepest thanks to our exhibition’s curator, Tiffany Wai-Ying Beres, who brought this show together with grace and fortitude. The show’s success is also due to those who loaned works to the show, including the Kao / Williams Family Collection, the Brooklyn Museum of Art, and Chambers Gallery.
A big thank you to the members of the China Institute Gallery Committee for their generous time and support of our arts program. To the dedicated China Institute Gallery team and Perry Hu, your efforts have been invaluable in making this exhibition a reality.
Lastly, I would like to express my gratitude to the many donors who have generously supported this endeavor. Your encouragement enables us to continue the important work of advancing cross-cultural understanding.
Sophia Sheng Gallery Committee Chair
China Institute in America
Curator’s Introduction
Shanshui is a distinctly Chinese term—combining two characters, “mountain” and “water”— that refers not only to the essential elements of landscape but also to the way that we humans understand and commune with the natural environment through art. During the late Tang dynasty (618–907), shanshui emerged as an independent genre of painting, one that focuses less on representation than on expression. Painted landscapes became sites of reclusion, philosophical reflections on nature, and visual tributes to earlier artists. Today, within the context of our hyper-connected global culture, shanshui continues to evolve. Over a thousand years have passed since the origin of the genre, yet, as a contemporary art subject, the language of mountains and water could not be more relevant.
In the Western painting tradition, landscapes are typically depicted as if seen through a window at a particular time and place. What one sees beyond such a frame is what is captured on the canvas, often with meticulous precision: for example, the image conveys a specific perspective, season, time of day, and source of light. This imitative and highly detailed approach to landscape is very different from shanshui. In the Chinese tradition, the artist’s inner spirit, in relation to nature, is paramount. Because there is no need to view a scene from only one spot, Chinese painters adopt shifting or multiple perspectives. They also deliberately avoid the variable qualities of light and shadow as a means of modeling, relying instead on the textures and lines of brushstrokes to construct an expression of truth regarding the subject portrayed: its essence. More often than not, the Chinese painter also prefers to work in ink with an indelible palette of black and white, regarding color as distraction. For these reasons, shanshui is typically understood to be more of an assembly of recollected experiences of nature than a representation of an actual place and time. Within the bounds of this highly codified visual vocabulary of mountain and water forms, shanshui art consistently mirrors the artist’s personality.
“Shan Shui Reboot” focuses on the work of seven young and emerging international artists who are re-envisioning Chinese art for the twenty-first century: the Asia-based Peng Wei (b. 1974), Fu Xiaotong (b. 1976), Lam Tung Pang (b. 1978), and Ni Youyu (b. 1984), as well as three New York–based artists, Yang Yongliang (b. 1980), Yi Xin Tong (b. 1989), and Kelly Wang (b. 1992). In their capable hands, shanshui becomes a vehicle to tell a larger story. As global citizens, these artists employ narrative and conceptual references that are fluid, open-ended, transhistorical, and transcultural. Using coins, paper, wood, and the latest imaging technologies, these seven artists’ creations are filled with emotion, feelings of displacement, social justice, and a yearning for change.
Finding inspiration in the moral and spiritual resolve symbolized by ancient shanshui paintings and fueled by noisy social discourses and alarming empirical realities, this new generation of Chinese artists approaches landscape art with intersecting concerns. In an era when humans are directly affecting the Earth’s climate, leaving distinctive marks on the geological record, possibly even to the point of extinction, these artists adopt the Chinese tradition of shanshui to conjure metaphoric, rather than purely descriptive, visions of nature—visual manifestations that address contemporary life and society’s urgent needs. As our planet’s landscape is transformed by mega-cities, dammed rivers, and deforestation, shanshui becomes a visual consciousness that expresses our sustained human values and enduring relationship to nature.
Tiffany Wai-Ying Beres, PhD
策展人介绍
“山水”在字面上指“山”和“水”。作为中国文化的一个独特概念，“山水”不仅指的 是景观的基本元素，还意味着我们通过艺术与自然环境相互理解与交流的方式。在晚唐 时期（618-907），山水画独立而为中国画的一个大类，其特点是注重表现而非再现性的 描绘。“山水”成为隐居之地，寄寓了人对自然的哲学反思，以及向往昔画家的致意。
如今在高度互联的全球文化背景下，“山水”仍然在不断地发展和演变着。尽管自山水画 诞生迄今已有一千多年了，作为当代艺术的主题，山和水的表现语言依然极具现实意义。
在西方绘画传统中，风景往往被描绘成在特定时间和地点透过窗户看到的景观。 在这样 的框架之下，我们看到的通常是在画布上相当精确的描绘：例如，传达了特定的视角、季节、
时间和光源的图像。这种模仿且高度细致的景观处理方法与“山水”有很大不同。在中 国传统中，艺术家的内在精神与自然的关系至关重要。中国画家采用流动或多重的视角， 而非从单一的视角观看一个场景。他们还有意避免将变幻的光影作为造型手段，而是以 毛笔的肌理和线条来构建所描绘的主题：本真。在通常情况下，中国画家更倾向于采用 黑白的水墨作画，认为颜色会分散注意力。因此，“山水”通常被理解为集合了画家对自 然的回忆经验，而不是对实际地点和时间的描绘。在这种山和水的形态高度程式化的视 觉语汇内，“山水”艺术始终反映了艺术家的个性。
“山水重启”展览聚焦于7位年轻的新兴国际艺术家的作品，他们正在重新构想21世纪 的中国艺术：亚洲艺术家彭薇（生于 1974 年）、付小桐（生于 1976 年）、林东鹏（生于 1978 年）和倪有鱼（生于 1984 年），以及三位纽约艺术家杨泳梁（生于 1980 年）、童 义欣（生于 1989 年）和王佳怡（生于1992）。在他们富有能力的手上，“山水”成为讲 述更大故事的载体。 作为全球公民，这些艺术家采用流动的、开放式的、超越历史和跨 文化的叙事和观念。他们使用硬币、纸张、木材和最新的成像技术，这7位艺术家的创 作充满了情感、迁移与错位的感觉、社会正义和对变革的渴望。
从古代“山水”画所象征的道德和精神意志中寻找灵感，在喧闹的社会话语和令人震惊 的经验现实的推动下，新一代的中国艺术家以交互的关注来对待山水艺术。在人类直接 影响地球气候、在地质记录上留下独特印记、甚至可能走向灭绝的时代，这些艺术家运 用中国“山水”传统来塑造对自然的隐喻性愿景，而非单纯地描述自然景象——这是对 当代生活和社会迫切需求的视觉表现。随着我们所在的地球景观被巨型都市、河流筑坝 和森林砍伐所改变，“山水”成为一种视觉意识，表达了我们持久的人类价值观及其与自 然的长久关系。
Peng Wei 彭薇
b. 1974, Chengdu, China ｜ 1974 年生于中国成都
Shanshui is not about retreating into nature, as it was for classical artists. Today, I paint shanshui because it is a vast wellspring of imagery, a conceptual topic to which I can apply modern ideas. I borrow [the concept of] shanshui as well as my own experiences to construct a link between the past and today, [between] China and the West.
“山水”不再是古典艺术家所追求的返璞归真之境。今天，我描绘“山水”， 因为它是丰富的意象源泉，是一个我可以运用现代观念的概念性主题。我借 鉴“山水”的概念以及我个人的经历，构建起一个连接过去与今天、中国与 西方之间的纽带。
Peng Wei’s Migrations of Memory stands as a cross-cultural, music-inspired installation that explores the immediate and accessible nature of music and art. Drawing from her musical studies, Peng presents painted landscape album leaves, showcased as musical scores. Positioned on nine music stands, arranged in a V-formation reminiscent of birds in flight, the installation draws on classical Chinese painting and poetry in which flying geese symbolize exile, reunion, parting ways and spiritual journeys. According to Peng Wei, “Chinese artists have historically regarded themselves as birds of which wild geese are the most elevated and wide-ranging because of their implied bravery, lofty ambition and consistency of purpose.” These minor figures elicit a wide spectrum of emotions and enliven any landscape that they are a part of.
This installation brings together the visual and emotional qualities of poetry, landscape and melody in painting. Peng articulates, “I use the language of shanshui in my Migrations of Memory Series to convey the sentiments of Chinese and Western artists toward music, the spiritual connection evoked by music and art, as well as the universal longing between individuals—be it among men and women, relatives and friends, or even for one’s motherland.” These sentiments resonate in the written words of musical maestros such as Beethoven, Mozart, and Chopin. Each landscape album is paired with letters by Western composers translated into Chinese calligraphy. These letters provide intimate glimpses into the personal worlds of these composers, offering a new perspective through which to interpret Peng Wei’s painted shanshui. Traversing continents and centuries, this work speaks to the evocative and interconnected power of the visual arts and music.
Migrations of Memory - Wild Geese Descend on Level Sands 平沙落雁
Peng Wei 彭薇 2017-21.
Installation, ink and color on flax paper
Collection of the artist
彭薇《平沙落雁》是一个从中国古曲获得灵感的跨文化装置，探讨了音乐和艺术之间直接的、容易理解的关系。艺术 家从她的音乐研究中汲取灵感，将自己画的山水册页以乐谱的方式展示。这些山水册页被放置在9个乐谱架上，排列 成V字形，让人联想起飞翔的雁群。该装置借鉴了中国古典绘画和诗歌中的母题，飞翔的大雁象征着离别、流亡、重 逢和精神之旅。彭薇表示，“中国艺术家历来将自己比为鸟类中最高和最广泛的大雁，因其寄寓着勇敢、远大的志向和 坚定的目标。”这些小巧的形象引发了广泛的情感，并使它们成为所处景观中生动活泼的一部分。
这个装置将诗歌、山水和旋律的视觉和情感特质融合在绘画中。彭薇说：“我在《平沙落雁》系列中运用‘山水’的语 言来表达中西艺术家对音乐的情感，音乐与艺术所唤起的精神联系，以及人与人之间的普遍思念——无论是男女之间、
亲朋好友之间，甚至是对故土的思念。”这些情感在贝多芬、莫扎特和肖邦等音乐大师的文字中回响。每一张山水册页 都配有西方作曲家的信件，它们译成中文后以书法呈现。这些信件让我们得以深入地了解这些作曲家的个人世界，同 时也为解读彭薇的“山水”作品提供了新的视角。穿越了空间上的几个大陆和时间上的几个世纪，这件作品探讨了视 觉艺术和音乐之间彼此激发与相互关联的力量。
Migrations of Memory III No.12 平沙落雁 III 12
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Peng Wei 彭薇 2019
Migrations of Memory III No.1 平沙落雁 III 1
Peng Wei 彭薇
2017
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory IV No.2 平沙落雁 IV 2
Peng Wei 彭薇
2021
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory IV No.4 平沙落雁 IV 4
Peng Wei 彭薇
2021
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory III No.4 平沙落雁 III 4
Peng Wei 彭薇
2017
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory III No.14 平沙落雁 III 14
Peng Wei 彭薇
2018
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory III No.16 平沙落雁 III 16
Peng Wei 彭薇
2017
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory III No.13 平沙落雁 III 13
Peng Wei 彭薇
2018
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Migrations of Memory III No.17 平沙落雁 III 17
Peng Wei 彭薇
2017
Installation, ink and color on flax paper 麻纸水墨
60×38 cm
Peng Wei’s Landscape of Mount Putuo distinguishes itself from traditional shanshui works by incorporating subtle references to the artist’s feminine perspective and her keen sensitivity toward materials and fabrics. This artwork brings to life the Buddhist pilgrimage site of Mount Putuo, one of the four sacred mountains in Chinese Buddhism, located on an island east of Ningbo. This sacred site holds a strong association with the bodhisattva of compassion, Guanyin, who, though genderless, came to be represented as a female deity in China from the twelfth century onward, known as the Goddess of Mercy.
One of the most striking features of this landscape is that it is painted within the silhouette of a traditional woman’s robe, suggesting a personal means of selfarticulation through history. The piece also recalls Peng Wei’s fascination for ancient textiles and patterns. The painting is displayed as a traditional hanging scroll, yet it is not mounted in the traditional manner. Here the silk gown is attached directly to the wooden support dowels at the top, such that its inherent translucent properties are on full display. This subtle yet elegant transformation in the painting format accentuates its fabric-like qualities, unveiling Peng Wei’s distinctive aesthetic taste and flair for detail. It also highlights her ability to discover new significance in seemingly overlooked or underappreciated elements of Chinese ink painting.
彭薇的《普陀胜景图》与传统“山水”作品不同，它巧妙地融入了艺术家的女性视角及 其对材料与织物敏锐的感知。这件作品呈现了位于宁波东部岛屿上的普陀山，这是中国 佛教四大名山之一。这个佛教圣地与慈悲的观音菩萨有着密切的关联，观世音虽然没有 性别，但从12世纪以来在中国就被描绘成女性神灵，被称为观世音菩萨。
这幅山水画最引人注目的特征之一是它画在传统女性长袍的轮廓内，暗示着一种通过历 史进行自我表达的个人方式。这件作品还唤起了彭薇对古代纺织品和图案的迷恋。这件 作品以传统挂轴的形式展示，但并未以传统方式装裱。丝绸长袍直接固定在顶部的木制 支杆上，使其固有的半透明性完全展现出来。这种在绘画制式上微妙而优雅的转变，突 显了其织物般的品质，展现了彭薇独特的审美品味和细节天赋。这也凸显了她在中国水 墨画那些看似被忽视或低估的元素中发现新意义的能力。
Landscape of Mount Putuo
Shuangqing Album - Pine 双清册 松
Peng Wei 彭薇
Ink and color on paper
Collection of the artist
Shuangqing Album - Bamboo 双清册 竹
Peng Wei 彭薇
Ink and color on paper
Collection of the artist
b. 1976, Shangxi, China ｜ 1976 年生于中国山西
Shanshui is a way of letting go of all preexisting ideas and understanding oneself in the process of thinking about and using materials.
山水是在思考和使用材料的过程中，放下一切观念， 重新认识自己的一种方式。
152,775 Pinpricks 152,775 孔
Fu Xiaotong 付小桐 2023
Handmade Xuan paper 手工宣纸 100×80 cm
Courtesy of the artist and Chambers Fine Art
Fu Xiaotong 付小桐
233,160 Pinpricks 233,160 孔
Fu Xiaotong 付小桐 2023
Handmade Xuan paper 手工宣纸 136×95 cm
Courtesy of the artist and Chambers Fine Art
722,070 Pinpricks 722,070 孔
Fu Xiaotong 付小桐
Handmade Xuan paper 手工宣纸 241×116 cm
Courtesy of the artist and Chambers Fine Art
719,560 Pinpricks 719,560 孔
Fu Xiaotong 付小桐
Handmade Xuan paper 手工宣纸 241×116 cm
Courtesy of the artist and Chambers Fine Art
Lam Tung Pang 林东鹏
b. 1978, Hong Kong, China ｜ 1984 年生于中国香港
Shanshui is a visual language. It’s like a vocabulary, a way to express how you understand your life. 山水是一种视觉语言。它就像一个词汇， 一种表达你对生活理解的方式。
Lam Tung Pang contends that “ landscape is like a mirror; it forces a reflection. When you go into nature, you think about life.” Presented here for the first time, Mountains de-bonding stands as one of Lam Tung Pang's most ambitious projects to date. Conceived several years ago, the idea was sparked by shanshui forms found in the seminal work The Complete Classics Collection of Ancient China (1725), the largest woodblock-printed encyclopedia of premodern China. Its mountains and rivers section showcases 213 sacred mountains, each delineated in black lines, forming a semiotic model of traditional mountain ink paintings.
Lam aspired to amalgamate all these mountains into a single composition, but constraints of space and time prevented his initial endeavor. This unrealized concept lingered with Lam until his recent relocation to Vancouver, where the artist found the impetus to initiate the process of bringing it to fruition. Whether inspired by Lam’s additional studio space, his nostalgia over leaving home, or the prospect of this exhibition, Mountains de-bonding marks the initial step in a series of works dedicated to completing this Herculean task. The mountainous landscape he has created with a blowtorch on plywood serves as a mirror for his journey across the Pacific and his relocation to a foreign land, embodying the challenges and transformations inherent in such a profound odyssey.
Western Mountains 西山图
From The Complete Classics Collection of Ancient China (1884 edition) Source: HathiTrust Digital Library 出自《古今图书集成》（1884 年版）
来源：HathiTrust 数字图书馆
Mountains de-bonding (pt.1) 解山图（一）
Lam Tung Pang 林东鹏 2024
Charcoal and ink on plywood 240×1200 cm, 12 panels, each 240×100 cm Collection of the artist
林东鹏认为“山水就像一面镜子；它迫使人们反思。当你走进大自然时，你会思考生活。” 首次在这里展出的《解山图》是林东鹏迄今为止最雄心勃勃的项目之一。这个构思几年 前就开始了，灵感来自于中国古代最大的木版印刷百科全书《古今图书集成》（1725 年） 的“山水”形制。在书中的山水部分展示了 213 座神圣的山脉，每座山都用黑色线条描绘， 形成了传统山水画的符号模式。
林东鹏欲将所有这些山脉合成一个整体，但空间和时间的限制阻碍了他最初的尝试。这 个未实现的概念一直萦绕在他的心头，直到他最近搬到温哥华，在那里艺术家找到了推 动这一构思付诸实践的动力。无论是受到工作室额外空间的激励，还是离乡之后的怀旧 之情，或是对这次展览的期望，《解山图》都标志着完成这项艰巨任务的一系列作品的开 始。林东鹏用喷灯在胶合板上创造的山水景观一面镜子，反映了他穿越太平洋的旅程以 及他在异国他乡的重新定居，体现了这场深刻的远行中所固有的挑战和转变。
For Lam, the landscape serves as his artistic language, with Chinese shanshui acting as his mother tongue something carried everywhere, never to be relinquished, and to expand upon. Yet, what unfolds when one's once-familiar landscape is replaced by a foreign land? This quandary confronted Lam upon his recent Canadian immigration, where the familiar landscape of his past ceased to exist.
Facing the challenge head-on, Lam embarked on a journey to redefine his vocabulary of landscape. Traversing the North American West Coast, Lam drew sketches and snapped photographs along the way, absorbing the distinct elements of this unfamiliar terrain. From the grandeur of Yellowstone to the vastness of the Mojave Desert, Lam assimilated these new landscape elements to enrich his artistic lexicon and made The Dictionary of Landscape (Westcoast Loop). In this work, Lam creates a metaphorical dictionary of his new landscape, a visual compendium that encapsulates the essential terrain of his new life.
对于林东鹏来说，山水是他的艺术语言，中国“山水”是 他的母语——一种随身携带的，永不放弃的，可以不断拓 展的语言。然而，当他曾经熟悉的山水景观被异乡的风景 所取代时，会发生什么呢？林东鹏近年移民加拿大时就面 临着这样的困境，他过去熟悉的风景已经不复存在。
面对这一挑战，林东鹏踏上了重新定义他的山水词汇的旅 程。他穿越北美西海岸，一路画速写并拍摄照片，吸收这 片陌生地域的独特元素。从雄伟的黄石公园到广阔的莫哈 韦沙漠，林东鹏吸纳了这些新的景观元素，丰富了他的艺 术词汇，并创作了《风景字典（西岸图）》。在这件作品中， 林东鹏为他的新山水创造了一部隐喻性的词典，这是一本 概括了他新生活的基本地形的视觉纲要。
The Dictionary of Landscape (West-coast Loop)
Lam Tung Pang 林东鹏 2024
Charcoal, ink and acrylics on plywood and print on paper 200×300 cm
Collection of the Kao / Williams Family
Moon-mounted
Charcoal, ink and acrylics on plywood and video
Dimensions variable 尺寸可变
Collection of the artist
Lam Tung Pang ’ s first artistic creation after his relocation, Moon-mounted brings together elements from Hong Kong and Canada, the artist ’ s two residences. Crafted in his garage using available materials including the packaging of his cooking stove, featuring poignant references to ideas of home this shanshui piece conveys a sense of dislocation. The artist pairs a video of the Moon captured during his time in Hong Kong with an astronaut suspended in mid-air, possibly symbolizing an explorer navigating an unfamiliar realm. Lam also introduces a Joshua tree, a plant species living mostly in and around the Southern California desert regions. Through these disparate elements, the artist prompts a contemplation on the notion of human rootedness. While humans may traverse various landscapes, the Moon a constant celestial companion of Earth maintains its unchanging presence regardless of location, inviting reflection on one’s connection to a specific place in the vast expanse of our shared planet.
《月满》是林东鹏移居加拿大后的首个艺术创作，融合了 艺术家两个居住地香港和加拿大的元素。
这件“山水”作 品是在他的车库中使用现有材料制作而成的，包括他的炉 灶的包装，突出地引用了感人的家的观念，传达了一种错 位感。艺术家将他在香港拍摄的月亮视频与悬浮在半空中 的宇航员组合，可能象征着一位探险者航行在陌生的王国。
林东鹏还引入了一棵约书亚树，这是一种主要生活在南加 利福尼亚沙漠地区的植物。通过这些不同的元素，艺术家 引发了对人类根源概念的思考。尽管人类可以穿越不同的 景观，但月亮——地球的永恒天体伴侣——无论身处何地， 都保持着不变的存在，这引发人们反思自己在我们共同星 球的辽阔空间中与特定地方的连接。
Yang Yongliang 杨泳梁
b. 1980, Shangxi, China ｜ 1980 年生于中国上海
Shanshui is something I have learned through study and by creating. During my childhood art training, I mainly focused on observing landscape’s physical form, but as I matured, I began to understand its deeper essence and spiritual significance. This shift in perspective, from merely observing to understanding, represents the valuable lesson I have learned by studying and creating shanshui. 山水是我通过练习和创作学到的东西。在我童年的艺术训练中，我主要关 注山水的物理形态，但随着我的成熟，我开始理解它更深层次的本质和精 神意义。
这种从单纯观察到理解的转变，代表了我在研究和创作山水时学 到的宝贵一课。
Glows in the Arctic 极夜霓虹 Yang Yongliang 杨泳梁 2022
2-channel 4K Video, 9’ 50” Collection of the artist
Realized amid the challenges of the COVID-19 pandemic, Glows in the Arctic emerges as a poignant reflection on a world grappling with isolation and heightened geopolitical divisions, particularly those between China and the United States. Living between these two nations, Yang Yongliang observed that, despite varying viewpoints on the virus, individuals had more commonalities than differences in their shared experiences during this period: most people sought joy and solace.
Created as a way to elevate viewers’ experiences and offer relief through art, Glows in the Arctic is one of Yang's first digital-video projects to utilize color. This breathtaking shanshui work intertwines videos and images from around the globe, captured by the artist one year prior to the pandemic. The overall composition resembles traditional shanshui paintings, yet the urban environment he has created is filled with elements taken from images of New York, Shanghai, Hong Kong, Paris, London, and Tokyo. Against this sweeping dystopian vision of megacity nightlife, the artist offers the captivating natural beauty of the aurora borealis, whose dancing colorful waves of light serve as a unifying and uplifting element.
《极夜霓虹》是在新冠肺炎 (COVID-19) 大流行的挑战中实现的，它是对一个正努力应 对孤立和加剧的地缘政治分裂的世界的深刻反思，特别是中美之间的分歧。生活在这两 个国家之间的杨泳梁观察到，尽管在病毒问题上存在不同的观点，但在这一时期的共同 经历中，个体之间的共性要多于差异：大多数人都在寻求欢乐和安慰。
《极夜霓虹》旨在提升观众体验并通过艺术缓解压力，是杨泳梁首次运用色彩的数字视 频项目之一。这件令人惊叹的“山水”作品将来自世界各地的视频和图像交织在一起， 这些影像是由艺术家在疫情爆发前一年拍摄。作品的整体构图类似于传统的“山水”画， 然而艺术家所创造的城市景观却充满了纽约、上海、香港、巴黎、伦敦和东京的图像元素。 在这个关于超大城市夜生活的广阔的末世景观中，艺术家还呈现了北极光迷人的自然美 景，其跳动的多彩光波成为统一和令人振奋的元素。
The Lakes 湖泊
Yang Yongliang 杨泳梁 2023
4K Video, 8’ 00”
Collection of the artist
The Falls 瀑布
Yang Yongliang 杨泳梁 2023
4K Video, 8’ 00” Collection of the artist
The Streams 溪流
Yang Yongliang 杨泳梁 2023
4K Video, 8’ 00” Collection of the artist
The Clouds 祥云
Yang Yongliang 杨泳梁
4K Video, 8’ 00” Collection of the artist
Ni Youyu 倪有魚
b. 1984, Jiangxi, China ｜ 1984 年生于中国江西
Shanshui is a metaphysical landscape, an abstract environment, and a metaphorical spirit.
山水，对我而言，是形而上的风景， 是一种抽象化的环境和隐喻的精神。
Ni Youyu’s Galaxy Series is a good illustration of the artist’s impulse to take traditional Chinese ink art beyond common definitions and dimensions. Comprising sets of coins of different currencies, hammered flat, and then individually painted using a magnifying glass and Chinese brushes, each coin “album” is a miniature literatistyle shanshui painting. Inspired by a childhood experience, when Ni hammered flat a 10-cent coin in an attempt to reveal something valuable inside, Ni’s Pound Money (2008–2015) project also takes its name from zaqian, a pun for eager businessmen who impetuously spend money to achieve quick profit. Juxtaposing the utilitarian act of pounding with the rarified act of painting, taking a neglected material and turning it into a cherished one, and contrasting this act of de-monetizing money and then remonetizing it with art, Ni demonstrates that a coin can have many faces.
In the Chinese language, the term for the Milky Way is “River of Silver.” Adding a nuanced layer of significance to his installation, Ni strategically places his landscape-filled coins to form a constellation of stars in the night sky. By doing so, he constructs a shanshui environment of an extraordinary scale, enticing the viewer to envisage something larger than life within a miniature setting. Ni skillfully prompts contemplation on the vastness of the cosmos, weaving an imaginative landscape vision that transcends the ordinary.
倪有鱼《银河》系列很好地体现了艺术家超越的动力，他要超越中国传统水墨艺术的常 规定义与维度。该系列包括了一组不同币种的硬币，艺术家将硬币逐个砸去图案与文字， 再借助放大镜用毛笔在磨平的币面上绘制微型文人风格的“山水”画。倪有鱼在儿时曾 将一枚10分钱的硬币砸平，试图搞清楚硬币里面的价值所在。这个经历启发了他的“砸 钱”（2008-15）项目，该项目的命名是一个双关语，“砸钱”指的是急于求成的商人急功 近利地花钱以追求快速盈利。他将功利的砸钱行为与罕有的绘画行为并置，把被忽视的 材料变成珍贵的材料，将消除硬币原本的货币价值与以艺术再赋予它新的价值这两种行 为作为对比，倪有鱼揭示了硬币的多副面孔。
在汉语里，“银河”这个术语代表了宇宙银河系。倪有鱼策略性地将那些画有山水的硬币， 摆放成一个在夜空中的星丛，从而巧妙地为他的装置增添了一层微妙的意义。倪有鱼藉 此构建了一个规模非凡的“山水”场景，引导观众在迷你的环境中想象比生活更阔大的 事物。他独出心裁地引发人们对宇宙浩瀚的思考，从而编织出一个超越寻常的富有想象 力的山水景象。
Galaxy 银河
Ni Youyu 倪有魚 2023-2024
50+ pieces of painted coins, 1.5-3 cm each Mixed media on metal Collection of the artist
Today, in the age of Photoshop and AI-driven image systems, techniques to manipulate space and perspective are readily available, built directly into our smartphones. Ni Youyu, however, stands out for his unique approach to constructing new landscape art devoid of technological aids. Within his Freewheeling Trip Series Ni meticulously collages found photographs into a singular composition, reminiscent of the method employed by traditional shanshui painters who pieced together landscape elements from memory. With only one horizon line and closely matching physical features, Ni crafts a fictional geography that appears remarkably authentic yet, upon close inspection, reveals uneven print discoloration and subtle knife marks. In his words, “Because I work with photographs by anonymous photographers from different times and different countries, their ‘commonality’ is not necessarily fixed, or it may be that it is my job to discover or edit them to find out.” Ni has not taken a single photograph in these artworks. Instead, he relies on his creativity and adept skill in discovering and interpreting these found images to forge an entirely new vision, one that seamlessly blends elements of historical and contemporary perspectives.
如今，在Photoshop和由人工智能驱动的图像系统中，操纵空间和透视的技术一应俱全， 这些技术就内置在我们的智能手机里。然而，倪有鱼因其独特的构建新山水艺术的方式 而脱颖而出，这种方式不依赖技术的辅助。在他的《逍遥游》系列中，倪有鱼将找到的 照片精心拼贴成一个统一的构图，让人联想到传统山水画家从记忆中拼凑出山水元素的 方法。只有一个水平线并且物理特征也非常相似，他创造了一个虚构的地形，看似非常 真实，但仔细观察会发现不均匀的印刷变色和微妙的刀痕。用倪有鱼的话说：“因为我使 用的是来自不同时代和国度匿名摄影师的照片，它们的‘共性’ 不一定是固定的，可能 是我的工作去发现或编辑它们以找出答案。”在这些艺术作品中，倪有鱼没有拍摄过一张 照片。相反，他依靠自己的创造力和娴熟的技巧来发现和解释这些图像，从而营造了一 个全新的视野，天衣无缝地融合了历史的元素和当代的视角。
Freewheeling Trip (The Eight Views of Xiaoxiang) 逍遥游（潇湘八景）
Ni
Youyu 倪有魚 2016
Collage of old photographs 老照片拼贴 22×62 cm Collection of the artist
Collection of the artist
Freewheeling Trip (Amour) 逍遥游（爱情）
Youyu
Collage of old photographs
Freewheeling Trip (Trip to the Small Towns)
Collage of old photographs
Collection of the artist
Freewheeling Trip (Two Islands)
Ni Youyu
Collage of old photographs
Collection of the artist
Freewheeling Trip (The Return of Zheng He)
Collage of old photographs
Collection of the artist
Ni Youyu 倪有魚 2016-2018
老照片拼贴 22×70 cm
of the artist
Freewheeling Trip (Tiger Tiger Tiger) 逍遥游（虎跑）
Collage of old photographs
Collection
Freewheeling Trip (International Holiday)
Collage of old photographs
Collection of the artist
Freewheeling Trip (Aunties' Summer)
Collage of old photographs 老照片拼贴 22×70 cm
Collection of the artist
Freewheeling Trip (Volcanic Crater) 逍遥游（火山口）
Ni Youyu 倪有魚 2016
Collage of old photographs 老照片拼贴 22×62 cm
Collection of the artist
Freewheeling Trip (Parallel Universe) 逍遥游（平行宇宙）
Ni Youyu
Collage of old photographs
cm
Collection of the artist
Freewheeling Trip (International Fleet)
Collage of old photographs
Collection of the artist
Freewheeling Trip (Trade or Travel?)
Collage of old photographs
Yi Xin Tong 童义欣
b. 1988, Lushan, China ｜ 1988 年生于中国庐山
Shanshui is forgetting oneself in a larger picture, a skilled escapology into a world of wilderness beyond humans, a seemingly apolitical sphere of Taoist coexistence among infinite forms of beings, a punk spirit of decentralized structuring and letting each other be, an enjoyment of the external world that is almost purely psychological and introspective, a schizophrenic mind of irreconcilable political (dis)beliefs.
山水是在更大的图景中忘却自我，是巧妙的逃逸， 进入一个超越人类的荒野世界，是一种看似与政治无关的、 与无限形态生命共存之道的领域，是一种去中心化的结构 和放任彼此的朋克精神，是一种对外部世界纯粹心理和内省的享受， 是一种不可调和的政治（不）信仰的分裂思维。
Extinction is pair of tapestries that envisions an imagined world soon after the demise of the human species. Related to Yi Xin Tong ’ s previous video-andsculpture installation, Poems in the Mount Lu Zoo (2015–2020), exhibited at the Hessel Museum of Art, Annandale-on-Hudson, New York; UCCA, Beijing; and By Art Matters Museum, Hangzhou, these tapestries delve into the history of decline and transformation in a zoo situated in Tong s birthplace of Mount Lu. As one of the most renowned mountain sites in China, Mount Lu is hailed as a cradle of Chinese religion, landscape painting, and literature. Tong is particularly fascinated by his hometown zoo, which was established in 1953. The place fell into disrepair during the 1990s and was eventually abandoned. Over recent decades, the pavilions that once housed diverse animals gradually were transformed into residential dwellings occupied by China’s migrant laborers. From 2015 to 2019, Tong revisited the former zoo annually, meticulously documenting its evolving conditions. He witnessed how nature had reclaimed the property and how squatters had adapted the cage architecture to meet their needs.
In much the same way that traditional shanshui paintings are assemblies of recollected experiences of nature rather than depictions of actual places and times, the materials used to compose these tapestries include photographs from Tong s field trips to the Mount Lu Zoo, video stills, 3D renderings of the animal pavilions, and speculative sketches for hypothetical sculptures and installations. Forming the artist’s largest tapestry works to date, Extinction is site-specific for “Shanshui Reboot” and the inauguration of China Institute's downstairs multiuse space.
Extinction – On the Ground 灭绝 – 地上
Yi Xin Tong 童义欣 2024
Jacquard tapestry 织锦 152×610 cm
Collection of the artist
《灭绝》是一组挂毯，描绘了人类灭绝后不久的想象世界。这组挂毯与童义欣之前的十 频高清影像装置《庐山动物园里的诗歌》（2015-2020）相关，该影像装置曾在纽约安南 代尔 - 哈德逊市 ( 巴德学院内的 ) 赫塞尔美术馆、北京尤伦斯当代艺术中心（UCCA） 和杭州天目里美术馆展出。这组挂毯深入挖掘了位于艺术家出生地庐山的一个动物园中 的衰败和变革历史。作为中国最著名的名山之一，庐山被誉为中国宗教、山水画和文学 的摇篮。童义欣对他家乡这所建于 1953 年的动物园尤为着迷。这所动物园在 1990 年代 陷入了破败，最终被废弃。在过去的几十年里，曾经饲养各种动物的亭台楼阁逐渐变成 了中国农民工的居所。从 2015 年到 2019 年，童义欣每年都会回访这所废弃的动物园， 仔细记录其不断变化的情况。他亲眼目睹了大自然如何重新占领这片土地，以及拾荒者 如何改造笼子式建筑结构以满足他们的需求。
正如传统的“山水”画汇集了画家对大自然的记忆体验，而不是对实际地点和时间的描 绘一样，这些挂毯的材料包括童义欣实地考察庐山动物园的照片、视频截图、动物馆的 3D 效果图，以及假设的雕塑和装置的草图。《灭绝》是艺术家迄今为止最大的挂毯作品， 是为“‘山水’重启”和华美协进社楼下多功能空间的落成而专门创作的。
Animalistic
Jacquard tapestry, galvanized metal tube, steel eye bolts 织锦 63.5×125 cm Collection of the artist
Punk – Abandoned Sunken Boat
Animalistic
Jacquard tapestry, galvanized metal tube, steel eye bolts
b. 1992, New York, USA ｜ 1992 年生于美国纽约
Shanshui is the compressing of time. You notice that in traditional Chinese landscape paintings there is no sun, no moon, no shadows. Shanshui are endless spaces that exist in so many dimensions and could be any point in history.
山水是时间的压缩。你会注意到在中国传统山水画里没有太阳、没有月亮、 没有阴影。“山水”是存在于多个维度中的无尽空间，可以是历史上的任何 时刻。
Cloud Dragon Collage 6 云龙 6
Kelly Wang 王佳怡 2023
Cloud dragon paper, ink, pigment, acrylic, stainless steel fiber and resin on aluminum 43 inches diameter
Collection of the artist
Kelly Wang 王佳怡
The 18 th-century writer Johann Wolfgang von Goethe stated, “ Music is liquid architecture and architecture is frozen music.” In Kelly Wang s Cloud Dragon Collage Series, she skillfully captures the “frozen atmosphere of shanshui ” These collages thoughtfully blend traditional ink painting materials: xuan paper, clouddragon paper, and ink and color pigments. Wang elevates these elements by suspending them in resin, effectively preserving the timeless essence of shanshui Unlike conventional representations of landscapes, these abstracted creations are Wang’ s “heartscapes,” signifying their place as emotional sanctuaries rather than literal depictions of nature.
18 世纪作家约翰· 沃尔夫冈· 冯· 歌德说过：“音乐是流动的建筑，建筑是凝固的音乐。”在 王佳怡的《云龙》系列中，她巧妙地捕捉到了“‘山水 的凝冻感”。这些拼贴作品独具 匠心地融合了传统水墨画材料：宣纸、云龙纸、墨汁和彩色颜料。王佳怡通过将这些元 素悬浮在树脂中，有效地保存了“山水”的永恒本质。与传统的风景表现不同，这些抽 象的创作是王佳怡的“心景”，象征了它们作为情感的避难所，而不是对自然的表面描绘。
Cloud Dragon Collage 7 云龙 7
Kelly Wang 王佳怡 2023
Cloud dragon paper, ink, pigment, acrylic, stainless steel fiber and resin on aluminum 43 inches diameter
Collection of the artist
Wang ’ s largest installation to date, Everything and Nothing at One Moment in Time (2024) is a reflection on modern and ancient landscapes. Inspired by the speed, motion, and energy of Manhattan, Wang was drawn to the grids of lines that exist everywhere in New York City, especially the steam-filled gratings and metal subway tracks that converge in the financial district. Everything and Nothing at One Moment in Time is a landscape crafted from stainless-steel fiber and aluminum wire, as well as the multiple perspectives and dimensions that are unique to the experience of viewing ancient landscape paintings.
“ Compressing time, a light slowly moves behind the sculpted landscape, projecting its silhouette onto the suspended xuan paper strings and the wall behind them. A sculpture projected onto another sculpture, one ’ s absence becomes another ’ s presence, the past and present seamlessly flow together in an expression of the ever changing, flickering dance between the history of art and our own lived experience– shanshui journeys through time, being everywhere and nowhere, everything and nothing.” These numerous suspended forms cast overlapping shadows on the wall: solid yet empty forms that move and change like the landscapes of her mind.
王佳怡迄今为止最大的装置作品《瞬间万物虚空》（2024） 是对现代和古代景观的反思。 受到曼哈顿的速度、动感和 活力的启发，王佳怡被纽约市随处可见的格状线条所吸引， 尤其是在金融区汇聚的地铁轨道和地面上升腾着蒸汽的金 属格栅。《瞬间万物虚空》是由不锈钢纤维和铝线制成的景 观，采用了古代山水画所特有的多重视角和多个维度。“压 缩时间，一道光线缓慢移动在雕刻的景观背后，将其剪影 投射到悬挂的宣纸细绳和后面的墙壁上。一座雕塑投影到 另一座雕塑上，一个人的缺席变成了另一个人的存在。在
不断变化的表达中，过去与现在无缝地流动到一起，在艺 术史与我们自己的生活体验之间闪烁舞动——“山水”之 旅穿越时间，它无处不在，又无处可寻，无所不有，又无 处不空。”这些悬挂的形态在墙上投下重叠的阴影：这些既 实亦虚、运动与变化着的的形态，就像她心灵中的山水。
Nothing at One
in
Everything and
Moment
Time
Kelly Wang 王佳怡 2024
Mixed media installation Light panel built by MORAKANA Collection of the artist
This sculpture adopts the shape of a mountain-form brush rest, a treasured item commonly found in the traditional Chinese scholar’s study. The work is crafted from numerous twisted pieces of newspaper, a material that, to Wang, symbolizes an “ anachronistic space. ” Newspapers, with their diverse content and global references, become a conduit to events from the past, echoing the timeless quality of shanshui. Notably, newspapers also resonate with the art of ink painting because they are composed of ink on paper.
Wang s sculptural forms evoke a captivating interplay between two and three dimensions. Commencing with a flat object, she progressively creates structures that evolve from a page to a strip, then to a rolled tube, and culminate in a hollow cluster of multiple dimensions. In this way, Wang s sculptures skillfully navigate the realms of space and time, and emptiness and fullness, offering a dynamic exploration of form and dimensionality.
这件雕塑作品采用了笔架山的造型，笔架是中国传统文人书房里常用的器物文玩。该作 品由许多扭曲的报纸制成，这种材料对王佳怡来说象征着“不合时宜的空间”。报纸以其 丰富的内容和全球性的参考是过去时代的传播渠道，这也呼应了“山水”的永恒品质。
值得注意的是，报纸也与水墨画艺术产生共振，因为它们都是由墨在纸上构成。
王佳怡的雕塑形式引发了二维和三维之间迷人的相互作用。 她从一个平面的物体开始， 逐渐创造出从一张纸到一个长条，再到一个卷管，最终形成一个多维的空心簇结构。通 过这种方式，王佳怡的雕塑巧妙地游走于时间和空间的领域，空灵与充实的境界，提供 了对形式和维度的动态探索。 Brush Rest 笔架
of the artist
Countries may fall, but their mountains and rivers remain.
– Du Fu 杜甫 ( 757 CE )
Excerpt from the poem “Spring View 春望 ”
Peng Wei 彭薇
b. 1984, Jiangxi, China ｜ 1984 年生于中国江西
Peng Wei is a Beijing-based artist whose work seamlessly blends classical Chinese ink painting with her progressive and distinctly feminist vision of contemporary society. Raised in an artistic family, Peng received early training in ink painting, but at a certain point she became disillusioned with art practice and chose instead to pursue a university degree in philosophy. What brought Peng back to painting was a moment of visual delight while viewing the vibrant patterns and meticulous embroidery of old Chinese robes in a catalog. This encounter rekindled her artistic passion, compelling her to “pay tribute to the past and its forgotten beauties.”
Drawing on the tools and language of classical ink painting, today Peng Wei freely selects and edits historical motifs and subjects, engaging in a visual dialogue to preserve a sense of cultural belonging while asserting her contemporary identity. In her words, “In the West, artists are constantly striving to be distinctive and innovative, but in the Eastern ink tradition, we are trying to have conversations with our predecessors as well as those who will follow us.” She emphasizes, “When I paint landscapes on ancient robes, for example, it is the feeling of a modern person looking backward to the past and forward to the future.”
A recurring theme in Peng ’ s work is the exploration of female space and the representation of the female subject. Traditionally absent in Chinese landscape paintings, female figures are portrayed as protagonists in her shanshui compositions, granting them agency to occupy space and chart their own paths.
Peng Wei is among the most celebrated female ink painters in China. She holds a BFA (1997) and MFA (2000) from Nankai University, Tianjin. She has had several international solo exhibitions, including at the I. M. Pei–designed Suzhou Museum, Suzhou, and the National Museum of History, Taipei. Her work is housed in public and private collections, including the Cleveland Museum of Art, Cleveland; Museum of Fine Arts, Boston; Asian Art Museum, San Francisco; Brooklyn Museum, New York; M+ Museum, Hong Kong; National Art Museum of China, Beijing; and the Uli Sigg Collection, Switzerland.
Artist Biographies
彭薇是一位居住在北京的艺术家，她的作品将中国古典水墨画与她对当代社会的进步而 鲜明的女性主义愿景完美地融合在一起。彭薇成长在一个艺术世家，她很早就接受了水 墨画的训练，但在某个时候，她对艺术实践不再抱有幻想，转而选择攻读哲学学位。让 彭薇重新回到绘画的是，某次在图录里欣赏中国古代长袍上的生动图案和精湛刺绣时， 她所享受到的视觉愉悦。这次邂逅重新点燃了她对艺术的激情，促使她“向过去及其被 遗忘的美丽致敬”。
借鉴古典水墨画的工具和语言，彭薇如今自由地选择和编辑历史母题和题材进行视觉对 话，以保留文化归属感，同时肯定自身的当代身份。用她的话说，“在西方，艺术家不断 追求与众不同和创新，但在东方水墨传统中，我们试图与前人和后人对话。”
她强调，“比 如，当我在古袍上画山水时，这是现代人回顾过去、展望未来的感觉。”
在彭薇的作品中反复出现的一个主题是对女性空间的探索和女性主体的再现。 传统上， 女性人物在中国山水画中是不存在的，彭薇在她“山水”作品中将女性人物描绘成主角， 赋予她们占据空间和规划自己道路的力量。
彭薇是中国最著名的女性水墨画家之一。她毕业于南开大学，获得美术学学士（1997 年） 和美术学硕士（2000 年）学位。她举办过多次国际个展，包括在贝聿铭设计的苏州博物 馆和台北国立历史博物馆。她的作品被公共机构和私人收藏，包括克利夫兰艺术博物馆、 波士顿美术馆、旧金山亚洲艺术博物馆、普林斯顿大学美术馆、纽约布鲁克林博物馆、 香港 M+ 博物馆、中国美术馆以及瑞士乌里·西格收藏。
b. 1976, Shangxi, China ｜ 1976
Residing and practicing in Beijing, Fu Xiaotong engages in a subtle artmaking process that stands as a form of radical activism. For Fu, puncturing Chinese rice paper with a needle serves as a profound reflection on traditional patriarchal culture. In historical China, ink painting was a male-dominated fine art, while embroidery belonged to the realm of female-dominated craft. Fu perceives the relationship between xuan paper, brush, and ink in contrast to the relationship between needle and thread as symbolic of Chinese gender inequality. These two mediums not only represent distinct modes of expression but also underscore differences in professional and spiritual aspirations as well as the gendered value of labor. By stripping away fundamental elements of these two arts ink, brush, and thread she views her work as an act of defiance, a means to confront the history of gender subjugation, and a way to reclaim her agency. In her words, “I can avoid getting stuck in the original cultural attributes of rice paper and explore the possibility of a new material language.”
In Fu Xiaotong’s highly labor-intensive shanshui compositions, she intentionally eliminates ink or any additive mark-making medium. Instead, mountain and water forms are meticulously crafted by employing an embroidery needle to pierce the paper tens, if not hundreds, of thousands of times. This repetitive action imparts the artwork with an enduring quality, forging intricate channels of “nothingness” that paradoxically become the focal point of the work. Through her singular, extreme process of image making, Fu channels a transformative, almost divine, ability to conjure majestic towering mountains and the dynamic energy of water.
Fu Xiaotong graduated from Tianjin Academy of Fine Arts in 2000 and received a master’s degree from the Experimental Art Institute of the Central Academy of Fine Arts, Beijing (2013). She has participated in many major exhibitions, including ones at Asia Society Texas, Houston; 21st Century Minsheng Art Museum, Shanghai; Beijing Minsheng Art Museum; and Shanghai Exhibition Center. She was awarded the Vogue Hong Kong Women’s Art Prize (2019). Today, her work can be found in the collections of the Museum of Fine Arts, Boston; Fidelity Investment Art Collection; Herbert F. Johnson Art Museum at Cornell University; and Los Angeles County Museum of Art.
Artist Biographies 艺术家简介
付小桐生活和工作于北京。她从事一种微妙的艺术创作过程，这是一种激进主义的形式。 对她来说，用针刺破宣纸是对传统父权文化的深刻反思。
在中国历史上，水墨画是男性 主导的美术，而刺绣则属于女性主导的工艺领域。付小桐认为宣纸、毛笔和墨水之间的 关系（与针和线之间的关系形成鲜明的对比），象征着中国的性别不平等。这两种媒介不 仅代表了不同的表达方式，而且还强调了职业和精神愿望以及劳动的性别价值的差异。
通过剥离这两种艺术的基本元素——水墨、毛笔和线——她将自己的作品视为一种反抗 行为，一种面对性别压迫历史的手段，以及一种重新夺回主体性的方式。付小桐说，“我 可以避免陷入宣纸原有的文化属性，探索一种新的物质语言的可能性。”
在付小桐高度劳动密集型的“山水”构成中，她有意省略了墨汁或任何添加性的痕迹创 作媒介。她的山和水的造型都是用绣花针在纸上戳了成千上万个孔来精心制作的。这种 重复的动作赋予了艺术品持久的品质，锻造了“虚无”中错综复杂的通道，这讽刺地成 为作品的焦点。通过她独特而极端的形象创作过程，付小桐展现了一种变革性的、近乎 神圣的能力，可以召唤出雄伟高耸的山脉和动态的活水。
付小桐 2000 年毕业于天津美术学院，2013 年获得北京中央美术学院实验艺术学院硕士 学位。她参与了许多重要的展览，包括得克萨斯亚洲协会（休斯敦）、21 世纪民生美术馆（上 海）、北京民生美术馆（北京）、上海展览中心 ( 上海 ) 的展览。她曾获得 Vogue 香港女 性艺术奖（2019 年）。她的作品为波士顿美术馆、富达投资艺术收藏、康奈尔大学赫伯特·F·约 翰逊艺术博物馆以及洛杉矶县艺术博物馆收藏。
Lam Tung Pang 林东鹏
b. 1978, Hong Kong, China ｜ 1984 年生于中国香港
The artistic practice of Lam Tung Pang encompasses painting, drawing, video, and installation. Currently living between Vancouver and Hong Kong, Lam combines classical Chinese shanshui landscape iconography with everyday materials such as plywood to create multilayered works that reflect the artist's life experiences. In his most recent artistic explorations, Lam employs the language of shanshui to ponder pressing global ecological and sociopolitical challenges. Substituting charcoal and blowtorch for ink and brush, Lam’s intricate and dramatic mark-making process serves as a poignant commentary on the delicate state of our natural environment and the direct effects of human-driven climate change. With each allegorical landscape, the artist explores themes of longing, loss, belonging, isolation, activism, and nostalgia.
Lam graduated from Fine Arts Department at The Chinese University of Hong Kong before undertaking a Master of Art Degree at Central St Martins College of Art, London in 2004. He has participated in major exhibitions at the Seattle Asian Art Museum; Asian Art Museum, San Francisco; NRW-Forum, Düsseldorf; and Tate Modern, London. In 2012, he was the recipient of the Asian Cultural Council Fellowship and his works have been collected by the Asian Art Museum in San Francisco, Hong Kong Museum of Art, M+ Museum, Deutsche Bank Collection, and many other institutions.
Artist Biographies 艺术家简介
林东鹏的艺术实践涵盖了绘画、素描、视频和装置。他目前居住在温哥华和香港。林东 鹏将中国古典“山水”的图像与胶合板等日常材料相结合，创造出反映艺术家生活经验 的层次丰富的作品。在他最近的艺术探索中，林东鹏运用“山水”的语言来思考紧迫的 全球生态问题和社会政治的挑战。他用木炭和喷灯替代墨和毛笔，其复杂而戏剧性的痕 迹创作过程是对我们自然环境的脆弱状态和人类驱动的气候变化直接影响的尖锐评论。 通过每一幅寓言式的风景，艺术家探讨了渴望、失落、归属、孤立、激进主义和怀旧等 主题。
林东鹏毕业於香港中文大学新亚书院艺术系文学士，并在伦敦中央圣马丁艺术与设计学 院获得艺术硕士学位。他参与了许多重要的展览， 西雅图亚洲艺术博物馆、香港大馆、艺术博物馆（叁藩市）、NRW Forum( 杜塞尔多夫 ) 、泰特美术馆 ( 伦敦 )。林氏曾获香港艺术发展局奖学金及亚洲文化协会奖学金并短期 旅居伦敦及美国创作。他的作品被叁藩市亚洲艺术博物馆、洛杉矶郡艺术博物馆、德意 志银行、加拿大皇家银行、香港艺术馆、Kadist 艺术基金会、白兔中国当代艺术收藏、 Burger Collection 及 M+ 等收藏。
Yang Yongliang 杨泳梁
b. 1980, Shangxi, China ｜ 1980 年生于中国上海
Trained in traditional Chinese painting since early childhood, Yang Yongliang graduated from the China Academy of Art in Shanghai in 2003, majoring in visual communication. Since that time, Yang has increasingly devoted himself to making images using digital techniques and remains interested in developing connections between Chinese traditional and contemporary art. Most of Yang’s works allegorically call upon the past to reflect on issues facing contemporary society. In an interview, Yang stated, “The ancients expressed their sentiments and appreciation of nature through landscape painting. For me, I use my own landscape to criticize reality as I perceive it.” Employing the tropes of ancient shanshui painting, Yang creates digital landscapes of a potential future. Instead of featuring mountains and water, the terrain in Yang’s work is constructed from hundreds of thousands of buildings and objects of manmade detritus, each photographed and manipulated to form layers upon layers of urban sprawl. He merges photography, painting, music, and digital technology as a cautionary expression that both the natural environment and the traditional ways of appreciating nature are at risk of being overwhelmed by humankind.
Yang Yongliang currently lives and works between New York and Shanghai. His work has been internationally exhibited at museums and biennials and collected by more than thirty public institutions including: British Museum, London; Brooklyn Museum, New York; Metropolitan Museum of Art, New York; M+ Museum, Hong Kong; Museum of Modern Art, Paris; National Gallery of Victoria, Melbourne; and Asian Art Museum, San Francisco. He is also the recipient of Asia Society’s Asia Arts Game Changer Award (2020).
Artist Biographies 艺术家简介
杨泳梁自幼接受国画训练，2003 年毕业于上海中国美术学院视觉传达专业。从那时起， 杨越来越致力于使用数字技术制作图像，并对发展中国传统与当代艺术之间的联系保有 兴趣。杨泳梁的大部分作品是通过寓言的方式召唤过去，来反思当代社会面临的问题。 在一次采访中，杨泳梁说：“古人通过山水画表达他们的情感和对自然的欣赏。对我来说， 我用自己的风景来批判我所感知的现实。”杨泳梁运用古代“山水”画的修辞手法，创造 了一个潜在未来的数字化景观。在他的作品中，地形不是由山和水构成，而是由数以千 计的建筑和人造碎片构成，每个都经过拍摄和处理，形成层层叠叠的城市扩张。他融合 了摄影、绘画、音乐和数字技术，形成了一种警示性的表达：既表达出自然环境所受到 的威胁，又表达了欣赏自然的传统方式正面临着被人类淹没的危险。
杨泳梁目前生活和工作在纽约和上海。他的作品多次在国际上展出，并被 30 多个公共机 构收藏，包括：伦敦大英博物馆、纽约布鲁克林博物馆、纽约大都会艺术博物馆、香港 M+ 博物馆、巴黎现代艺术博物馆、墨尔本国立美术馆和旧金山亚洲艺术博物馆等。他 获得了亚洲协会颁发的亚洲艺术游戏变革者奖（2020 年）。
Ni Youyu 倪有魚
b. 1984, Jiangxi, China ｜ 1984 年生于中国江西
Ni Youyu is an artist and curator who currently lives and works in Shanghai. Working in painting, installation, sculpture, photography, and performance-based projects, he is known for his conceptual and thought-provoking use of various artistic media. In the scraps of artifacts, old coins, or flea-market objects that he collects on a regular basis, Ni reveals his keen interest in human history and museology. Whether painting classical landscapes in miniature scale or crafting collages from found photographs to construct fictionalized environments, Ni employs his creativity and adept interpretation of found objects to reimagine an entirely new vision that defies temporal and geographical boundaries. His shanshui works are meticulously shaped, measured, and expanded through the innovative reuse of materials, prompting viewers to contemplate their connection to the past and to each other.
Ni graduated from the Shanghai Academy of Fine Arts in 2007, receiving a degree in traditional Chinese painting. In 2014, he was awarded the Contemporary Chinese Art Award (CCAA) for Best Young Artist. To date he has had several important international exhibitions, including recent solo exhibitions at the He Art Museum, Foshan (2022); Yuz Museum, Shanghai (2019); Orange County Museum of Art, California (2018); and MOCA Taipei, Taiwan (2015). His work is represented in private and public collections such as M+ Museum, Hong Kong; Brooklyn Museum, New York; Arario Museum, Seoul, South Korea; Art Museum of Nanjing University of the Arts, China; Singapore Art Museum; Me Collectors Room, Berlin, Germany; and ASE Foundation, etc.
Artist Biographies 艺术家简介
倪有鱼是一位艺术家、策展人，现生活和工作在上海。他从事绘画、装置、雕塑、摄影 和表演项目，以其对各种艺术媒介的概念性和发人深省的运用而闻名。在他定期收集的 文物碎片、各国货币、旧照片或跳蚤市场的物品中，倪有魚展现了他对人类历史和博物 学的浓厚兴趣。无论是以微缩比例绘制古典的风景，还是利用找到的古董照片构建虚构 环境制作拼贴，倪有鱼通过其创造力和对现成物的熟练解读，重新构想出一种完全超越 时间和地理界限的新视野。通过对材料的创新性再利用，他精心塑造、衡量、创造的“山 水”作品，引导观众思考他们与过去和彼此之间的联系。
倪有魚 2007 年毕业于上海美术学院中国画专业。2014 年，他获得了当代中国艺术奖 （CCAA）最佳青年艺术家奖。迄今为止，他多次举办了重要的国际展览，包括在佛山 和美术馆（2022 年）、上海余德耀美术馆（2019 年）、加利福尼亚橙县美术馆（2018 年） 和台湾台北当代艺术馆（2015 年）的个展。他的作品被香港 M+ 博物馆、纽约布鲁克林 博物馆、新加坡艺术博物馆、韩国首尔阿拉里奥博物馆、悉尼白兔美术馆、香港艺术馆、 佛山和美术馆、上海外滩美术馆、上海余德耀美术馆、南京艺术学院美术馆、上海建筑 模型博物馆和德国柏林 Me Collectors Room、Uli Sigg Collection、ASE 基金会等众多 公私机构收藏。
Yi Xin Tong 童义欣
b. 1988, Lushan, China ｜ 1988 年生于中国庐山
Based in New York, Yi Xin Tong creates objects, videos, installations, poetry, and sound art to understand himself and to study human culture ’ s dynamic relationship with nature. His artwork is greatly influenced by the realities of growing up in China, immigrating to Canada, and living in the United States. His hybrid and highly collaged aesthetics playfully investigate societal beliefs in value, decency, and rationality.
Tong's tapestries are allegorical collages, crowded representations of condensed ecologies in which countless human relics, science histories, mythologies, and landscapes construct fictional shanshui spaces with a sense of temporal confusion. According to the artist, “ Composing them is an abstract thinking experiment on the acquisition, classification, extraction, and use of human knowledge.” The ongoing Animalistic Punk series explores how certain animal characteristics can be utilized to change the conventional roles and mental states of people in society. In these tapestries, elements of these condensed ecologies are arranged to be closely adjacent. Working with fragmented visual material, including photographs, diagrams, and drawings, the artist alludes speculatively and symbolically to the interconnectedness among the elements and the worlds they construct.
Yi Xin Tong studied geology at China University of Geosciences from 2005 to 2007. He later received his BFA from Simon Fraser University in Vancouver (2012) and his MFA in studio art from New York University (2014). He is currently an assistant professor at Pratt Institute. Tong’s work has been exhibited at Brooklyn BRIC Biennial, Göteborg Biennial, OCAT Biennale, Palais de Tokyo, Ullens Center for Contemporary Art, Today Art Museum, Chi K11 Art Museum, Museum of Contemporary Canadian Art, National Taiwan Museum of Fine Arts, Power Station of Art, and Hessel Museum of Art. In 2021, he won the inaugural Choi Foundation Prize for Contemporary Art.
Artist Biographies 艺术家简介
童义欣现居纽约，通过创作物件、影像、装置、诗歌和声音来了解自己，探索人类文化 与自然的动态关系。他的艺术受到在中国成长、移居加拿大和在美国生活的现实影响。 他的混合和高度拼贴美学诙谐地探究了社会对价值、体面和理性的信念。
童义欣的织锦是寓言般的拼贴，是拥挤的生态系统的表征，其中形象万千的人类遗迹、 科学史、神话和景观编织出虚构的“山水”空间，具有时间混乱感。根据艺术家的说法，“创 作它们是对人类知识的获取、分类、提取和使用进行的一次抽象思考实验。” 正在进行 的《兽性朋克》系列探索了如何利用某些动物特征来改变人们在社会中的传统角色和心态。 在这些织锦中，这些浓缩的生态系统的元素被安排得紧密相邻。艺术家使用碎片化的视 觉材料，包括照片、图表和图画，以思辨和象征性的方式暗示了元素之间的联系和它们 所构建的世界。
童义欣 2005 - 2007 年在中国地质大学学习地质学。随后，他在温哥华西蒙菲沙大学获 得学士学位（2012 年），并在纽约大学获得工作室艺术硕士学位（2014 年）。他目前是 普拉特学院的助理教授。作品曾在布鲁克林 BRIC 双年展、哥德堡双年展、OCAT 双年 展、东京宫、尤伦斯当代艺术中心、今日美术馆、K11 美术馆、加拿大当代艺术博物馆、 国立台湾美术馆、上海当代艺术博物馆以及赫塞尔艺术博物馆等地展出。2021 年，他荣 获首届蔡冠深基金会当代艺术奖。
Kelly Wang 王佳怡
b. 1992, New York, USA ｜ 1992 年生于美国纽约
Living and working in New York, Kelly Wang practices shanshui as an emotional and mental exercise partially driven by the loss of her father during the COVID-19 pandemic. Growing up in a mixed Chinese American family with a history of collecting and connoisseurship, the artist has been exposed to Chinese art since early childhood.
Merging painting, collage, sculpture, and installation, Wang’s artworks exist in a liminal space between two and three dimensions. Her choice of materials is significant. In particular, Wang enjoys working with newspapers, which she views as a kind of relic, something ephemeral and no longer relevant to her generation. According to the artist, “The moment the newspaper pages are printed, they are already outdated. Young people don’t even read newspapers; it is an antiquated tradition, a flavor of the past.” Wang initially began working with newspapers printed on the day her father passed, using them as a means to preserve his memory. Today, she continues to work with materials that evoke the timeless quality of shanshui . In this manner, Wang ’ s creations compress time, skillfully intertwining the threads of the past and present.
Wang earned an MA in art history from Columbia University and a BA in art history from CUNY Hunter College. Five of her paintings were acquired by Princeton University Art Museum, where she recently had a solo exhibition. In 2023 her works were exhibited at Asia Society Texas, in Houston, and she was recently featured in a solo show at Scope Miami Beach.
Artist Biographies 艺术家简介
王佳怡生活和工作在纽约，她将自己的“山水”实践视为一种情感和心理的锤炼，部分 原因是她在 COVID-19 大流行期间失去了父亲。这位艺术家成长于一个有着收藏和鉴赏 历史的美籍华人家庭，自幼就接触到中国艺术。
王佳怡的作品融合了绘画、拼贴、雕塑和装置，存在于二维和三维之间的阈限空间中。 她选择的材料对她来说意义重大。王佳怡特别喜欢与报纸合作，她认为报纸是一种遗物， 是短暂的东西，与她这一代人不再相关。艺术家表示：“报纸版面印刷出来的那一刻，它 们就已经过时了。年轻人连报纸都不看；这是一种过时的传统，一种过去的味道。”她最 初开始研究她父亲去世当天印刷的报纸，用它们来保存记忆。如今，她继续使用那些能 够唤起“山水”永恒品质的材料。通过这种方式，王佳怡的创作压缩了时间，巧妙地将 过去和现在的线索交织在一起。
王佳怡获得了哥伦比亚大学艺术史硕士学位和纽约市立大学亨特学院艺术史学士学位。 她的 5 幅画作被普林斯顿大学艺术博物馆收藏，并在那里举办了个展。 2023 年，她的 作品在休斯顿的德克萨斯州亚洲协会展出，最近她还在 Scope 迈阿密海滩上举办了个展。
Shan Shui Reboot
Re-envisioning Landscape for a Changing World
March 7 - July 7, 2024
