他的个展包括：“欢迎光临”（美成空间，深圳，2025）；“池塘”（美成空间，深圳，2023）；“深呼吸”（lan-space，北京，2019）。他参加的群展包括：诸歧路:不同的/潜在的/流动的（拱形画廊，长沙，2023）；“五岁抬头展”（绘画艺术坏蛋店，中日青年交流中心，北京，2021）；“37.3℃：墨非墨画廊群展”（墨非墨画廊，青岛，2020）；“献给这个魔幻的真实的世界”（东地仓库，东莞，2020）；“MAMALA庙会2019-你是不是忘记我了”（晨画廊，北京 ，2019）；“SIZE”（车库实验空间，北京 ，2018）；“怡达新歌声”（单行道画廊，北京，2018）；“诡异之物”（TABULA RASA GALLERY，北京，2017）；“策划草店项目：一件物品”（M-studio，北京，2017）；“意大利-中国 双年展”（北京，2016）；“This is why we play”（在3画廊教堂空间，北京，2016）；策划“暖房”艺术项目（二道八号艺术区，北京，2016）；策划“一面墙”艺术项目（酱空间，北京，2015）；“图画手工第六回”（偏锋新艺术空间，北京，2015）；“BS1亚洲艺术博物馆2008当代艺术展”（北京，2008）；策划“妖娆之后”当代艺术展（石家庄，2006）等。
C: Your work contains a large number of structural patterns. Do these structures imply some kind of symbolic metaphor?
F: The structural patterns in my images are mainly evolved to fit the internal structure of the building, resembling biological fragments or selecting forms of things related to the underlying logic of the building. The circular or directional structural pattern in the picture is based on the internal architecture rather than symbolic metaphors.
悬置状态 / Suspended state
2023
布面油画 / Oil on canvas
90 x 120 cm
C: Architecture appears as the main subject in some of your specific works, with a unique style and historical significance. How did you choose the category of "architecture"?
F: I dislike or even avoid some particularly modern constructions, and have little interest in glass and steel, especially modular buildings. I tend to choose buildings with unconventional facades, such as some non functional buildings.
作为立柱的体验 / Experience as a pillar
2024
布面油画 / Oil on canvas
90 x 120 cm
C: The deconstructive feature of "floating" is the contradictory feature I captured in your work. How do you seek balance between "construction" and "deconstruction"?
F: Deconstruction is another form of construction. The state of a work with a sense of floating may come from my desire to present and resolve some large logical things in a relaxed state. This is a balance that I want to achieve through my own transformation and presentation of 'floating'.
清透 / Limpid
2024
布面油画 / Oil on canvas
60 x 80 cm
C: Your work is named in a way that contrasts sharply with the rational and structured visual images. How did you come up with the title of your work? There are few subject based concepts in the title, and most of them lack emotional descriptions of the subject?
F: Naming it based on my feelings when viewing this painting or the state of the objects in the picture, the lack of subject and subject is for the resonance of the pan subject. Some works also have their content and names determined before painting.
孤独的池塘 / Lonely Pond
2023
布面油画 / Oil on canvas
60 × 80 cm
C: Structure and architecture are often artistic expressions made from a macro perspective. How do you understand the relationship between macro and micro in your works?
F:This is more like a perspective of appearance and internalization, and I am willing to wander between them rather than choosing one point. Based on different perspectives, they can to some extent be transformed into each other.
环星标记 / Circumstellar marker
2024
布面油画 / Oil on canvas
90 x 120 cm
C: A large number of steel frame structures were used in the exhibition setup. What role did these steel frames play in expressing your works?
F: Steel frames can provide a three-dimensional presentation for painting. The work is in a suspended state, and the steel frame also creates a new order for the exhibition space. There are still many viewers who are curious about the content and hanging methods behind the works, feeling it is very magical, a perspective that I would not have thought of in the studio.
展览现场 / Installation Shot
共生共存 / Symbiosis
2024
布面油画 / Oil on canvas
135 x 180 cm
C: What are the differences and connections between the new series of works exhibited in this exhibition and previous works?
F: Compared to before, the visual content actually continues the adjustment of the structure, becoming more internalized and integrated. Focusing on the lines formed by light points drawn like constellations, the extended shapes of these lines constitute the content of some imagery, as well as a visual motion line formed by subtle points in the picture.
星环 / Circumstellar
2024
布面油画 / Oil on canvas
30 × 20 cm
C:What are your future creative plans?
F: I want to delve deeper into the structural connections between more everyday things in painting, and view the structure of houses or their related actions and daily objects from a life oriented perspective. I want to try new materials and plan to land the small devices made of fabrics and wooden blocks that I have tried before, extending the combination of softness and toughness contained in the work.
她近期主要参加的群展包括：“抽离 & 内感”，嘉德艺术中心，（北京，2024）；“北京当代艺术博览会”，可以画廊，（北京，2024）；“余下之地”，新氧艺 O2art，（北京，2023）；北京当代艺术博览会，SIMULACRA （北京，2023）；“华丽的冒险”，津波社 x 山上艺术空间，（厦门，2023）；“由此及彼”，赛麟空间，（杭州，2023）；“无限游戏：返场”，棱画廊，（深圳，2023）；“持续性短暂”，七木空间，（北京，2023）；“图绘的态度”，赛麟空间，（上海，2022）；“一个干净明亮的地方”，元美术馆，（北京，2022）。
Fu Mingxi, born in Guangzhou in 1997, graduated from the Oil Painting Department of the Guangzhou.Academy of Fine Arts in 2022 and currently lives and works in Guangzhou.
Through painting, Fu investigates the ideology of architecture, collective memory as well as the construction of divisive temporal experiences. She captures fragmented images of the city, and through a technique similar to double exposure photography, she constructs a scenario of constant progression, the construction of the past, and the uninterrupted process of erosion on the future. The scenes in front of and behind the camera present the slow cancellation of the future. From multi-dimensional images in the form of spatial dislocation to the synchronicity of social change and divided identities, the artist continues to reflect on the desire for material paradigms by examining history.
Her recent group exhibitions include: "Brand newarchitecture, Figurativism loom on every floor", KeYi Gallery, (Hefei, 2024); "Dark Sky Park", Shanshang, (Xiamen, 2024); "Rear Wave: New faces of new painting", Line Gallery, (Beijing, 2023); "Extensive records of the Taiping Era", Moordn Art, (Foshan, 2023); "The Essence of painting – Beyond the concept", Sailing space, (Shanghai, 2023); "A list of strangers", Shanshang, (Xiamen, 2023) ; "Trap of being", Sense Gallery, (Beijing, 2023); "Landscape painting", Hunsand Space, (Shijiazhuang ,2022); "Fragments", Bonian Space, (Beijing, 2022), etc.
A contemporary Chinese curator and independent art writer; Born in 1995 in Shijiazhuang, Hebei Province, China; Graduated from the University of Cuneo in Italy with a bachelor's degree in Business Art Design; obtained a master's degree in Visual Arts and Curatorial Studies from NABA New Academy of Fine Arts in Milan, Italy; studied under the renowned Italian curator Marco Scotini.
Chen Bofan's curatorial logic often starts from the uniqueness of the community, exploring the possibilities of new art, and attempts to re-examine the development logic of international emerging art from a critical perspective during the process of curating and writing. Through exhibitions, he organically connects it with contemporary reality, showcasing the symbiotic power between emerging art and social development.
Main curatorial projects/exhibitions: "Songs in the Wilderness"Contemporary Artists Group Exhibition, H Gallery, (Shanghai, 2024); "The Phantom's Voice in the Vortex", Contemporary Artists Group Exhibition, EveryArt, (Shanghai, 2024); "Redundancy Word Silent", Contemporary Artists Group Exhibition, EveryArt, (Shanghai, 2024); "Tapetum, The Narrative of the Queue", Luo Xi&Mi Shenghao Solo Exhibition, ASTRA ART, (Shanghai, 2024); " Mountain Annals in JIACHEN", Contemporary artist trio exhibition, Le Rime Gallery, (Beijing, 2023); "ERROR·Restart", International Artist Group Exhibition, Fir Gallery, (Beijing, 2022); "42 IS", International Artist Group Exhibition, 42 Art Space, (Beijing, 2021).
Personal Exhibition: "Disillusionment gazing and Mime", Xie Kun's Solo Exhibition, SENSE GALLERY, (Beijing, 2024); "The Sun Falls into a sea Without Trout", Guo Jing's Solo Exhibition, H Gallery, (Shanghai, 2024); "Unanticipated Dream: Latent lmage", Yifan Jiang's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "The Interest of Flower Buds and the Prick Point in the Cup", Lingrou Xie's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "Mirror Images and Between the Acts", Xue Geng's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "Medium Of Phenomena", Qinwu Hu's Solo Exhibition, Le Rime Gallery,(Beijing, 2023); "MIRAGESCAPE ", Zinan Lam's Solo Exhibition, Fir Gallery, (Beijing, 2022).
关于可以画廊 / About KeYi Gallery可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
