Peng Hungchi (1969) Peng creates humorous drawings, sculptures, interactive installations, performances and videos mainly featuring the dog, as the dog becomes the metaphor for us. Peng previously worked with windup toys - shiny, plastic, absurd, obsolete, throwaway – to convey themes of futility and pessimism to reflect on the current global economic situation. Toys are common and represent the majority voice, yet are also receptacles for one's hopes and feelings. And for a child, the toy, just like the pet dog, creates a link to the world of pure innocence, a complete unadulterated place, which Peng craves to recapture through his art. Peng Wei (1974) With a BA in Oriental Culture and a MA in Philosophy, Peng is a multitalented artist who also worked in Beijing as editor of Art Magazine between 2000 and 2006. Currently a court artist with the Beijing Art Academy, Peng is best known for her delicate ink colour paintings of ancient Chinese costumes, a symbol of China's cultural heritage. Her lyrical combination of literati painting with modern forms evoke memories of a bygone era and represent a search for a new cultural identity in contemporary society. Q Qiu Anxiong (1972) Qiu is one of China's emerging new media artists. His inspiration often comes from Chinese classical texts and the effect of traditional culture often resonates in his works. He completed a series of abstract oil paintings in the ink-and-wash style that carry the same feeling as traditional Chinese classical landscapes. For Qiu, “to paint the landscape on canvas is to be symbolized by business.” Qiu was a student of Zhang Xiaogang and Ye Yongqing in Sichuan. In addition to these two artists, he is also influenced by the works of South African artist, William Kentridge, and the animation studios at the University of Kassel. Qiu Jingtong (1980) Qiu is becoming increasingly wellknown for her insightful sculptural works, commenting on Chinese changing values. In addition to various group exhibitions around China, Qiu has also been collected by Today Art Museum in Beijing. Qiu Xiaofei (1977) Having graduated with a BA in oil painting at the China Central Academy of Fine Arts in 2002, Qiu currently works and lives in Beijing. Over the years, he's participated in numerous international exhibitions, including MuseoNazionaledellaScienza e dellaTecnologia Leonardo da Vinci (Italy, 2009), Groninger Museum (Netherlands, 2008), ZKM Museum (Germany, 2007), Kunst Museum (Switzerland, 2005), Ullens Center for Contemporary Art (Beijing, 2013), Long Museum (Shanghai, 2013), Today Art Museum (Beijing, 2012) and so on. His solo exhibitions include “Qiu Xiaofei: Apollo Bangs Dionysus” at Pace Beijing in 2014, “Rauschenberg Said, The Walking Stick is Longer than the Maulstick, after All” at Beijing Commune in 2013, and “Repetition” at the Minsheng Art Museum in Shanghai in 2013. Qiu's oeuvre largely deals with the role of materiality in perception, the relationship between memory and history and the subjective nature of one's experience. Qiu Zhijie (1969) Since 2003, Qiu has been developing the concept of "total art", which is defined as an artistic practice based on cultural research, turning specific sociocultural evenets into catalysts for art-making, with the aim of proactively affecting the viewer's daily life. This total art aspires to create works that challenge mainstream conventional values in order to offer new perspectives on life. Qiu's concept emerged from his extensive experiences as a curator, artist, critic and art historian. Similar to Joseph Beuys' "social sculpture" in Germany, Qiu is akin to a cultural archaeologist who not only digs into the past and present, but sculpts towards the future. R Rong Rong (1968) Rong Rong belongs to the famous generation of artists that represents the birth of experimental art in China. After the Yuan Mingyuan was shut down by the authorities in the early 90’s, different artists of this avant-garde art community scattered to different parts of Beijing. Rong Rong belonged to the core of a group which settled in the ‘East Village’. Today the ‘East Village’ is better known as Da Shanzi or 798 Factory Art District and is considered to be the most dynamic art zone in China. Rong Rong is known for documenting the unique life-style of the East Village community with famous landmark performances such as Zhang Huan’s ’12 Square Meters Head (1994). Rong Rong’s photographs are an autobiography of a certain lifestyle as well as landscape of Beijing. Images of dilapidated buildings, bleak walls, rubble and dust are a metaphor of the collapse and reconstruction of a modern identity and state of mind. The parallel between architectural and human transformations carries a lyrical sentiment which highlights and distinguishes Rong Rong’s work as a landmark in Chinese contemporary photography. S Sha Yeya (1970) Another founding member of the Yangjiang Calligraphy Group, Sha regularly collaborates with Zheng Guogu on various art projects and have also built three postmodernist buildings in Yangjiang. In addition to his architectural projects, Sha's artistic output centres around contemporary calligraphy. His works are typically based on news articles, tabloid headlines and even TV newscasts, to create his own version of ink brush writing. Shang Chengxiang (1985) One of the youngest artists in the collection, Shang graduated from Luxun Academy of Fine Arts in 2008. Over the past few years, he has had a number of exhibitions around China and his work can also be found in several public collections, including the United States Consulate in Shenyang. Shang's poetic scenes are painted with such skill that they appear almost photographic; at the same time their depth of emotions and poignancy belie the artist's youth. Shang Yixin (1980) A graduate of the China Academy of Arts, Shang now lives and works in Hangzhou. Since 2006, he has had numerous group exhibitions around China and his first solo show took place in Shanghai in 2007. A contemporary take on Op Art, Shang's paintings explore the perceptual and experiential aspects of art. Shen Yuan (1959) Shen became involved in radical avant-garde art movements in Xiamen in the late 1980's. Living and working in Paris with her partner, Huang Yong Ping, since 1990, she forms part of a generation of artists who left China to pursue their artistic practice. Shen frequently focuses on everyday objects, examining the metaphorical meanings behind them and conceptually shifting the physical relationships between them. Such a quality is expressed best when she writes, "Art for me is a way of "finding reincarnation in another's corpse”.
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