Aug 28 2021 - Sep 29 2021 ​Multiple Port: USB Artists & Curators Cai Jian & Wang Jiang Fang Yang & Chen Jiaying Feng Zhixuan & Sun Qidong Li Hanwei & Mi Zijing Tian Yi & Zhuang Lingzhi Wang Yuchen & Yang Tiange Xia Chengan & He Jingfei Wu Yue Zhang Ke & Chen Yunyao INSTALLATION VIEWS Universal Serial Bus (USB), a serial standard for connecting computer systems to external devices and a technical specification for input and output interfaces, has been transformed, by mistake, into a synonym for a certainartistic experimentation, a threshold for establishing multiple dimensions and new connections. The exhibition uses this uninterrupted and unconstant state as a basic concept to define an indeterminate state of linking artists, curators and different spaces. The artist is no longer the beginning or the end, but instead becomes the interface between the two ends, where space and curator meet briefly, exchange information and are taken away at a certain point. Over the course of the following month, a series of exhibitions spread across Shanghai's galleries, non-profit spaces, buyers' shops, nightclubs and art fairs. If the works of each artist and the curators' analysis are fragments, the viewer may get a complete puzzle after seeing these unique spaces. This gives an overview of the unique face of the new post - 90s artists. This is not a wave or a movement, nor is it grandiose or metaphorical, this is just a perceptual presentation of the interface itself. ​ As one of the six spaces in the project, Gallery Func has launched its second exhibition to the public from 28 August, following the first exhibition at Madein Gallery on 27 August, and the other four exhibitions will be held at Joe Space on 11 September, Shanghai Trend Art Fair on 25 September, Potent and in the Park in mid to late September. ​ WORK OVERVIEW EXHIBITIONS ARTICLES

INTERVIEW Ruini Shi 探讨虚拟空间的情绪存在方式 @Hi艺术 05 December 2021 Hi：为什么会想到做一个NFT项目？之前接触过NFT吗？ ▼ 施：《FuneralPlay》并非一个NFT项目。《FuneralPlay》是一个非盈利性质的虚构殡葬供应平台。在这个概念项目里，我们邀请观众作为哀悼者参加一场模拟葬礼。 《FuneralPlay》的设定为一个万物皆已NFT的未来。在线葬礼的设置中，哀悼者将纪念礼物的NFT版本发送至已故亲友的虚拟陵墓中。得益于区块链技术，悼念者可根据逝者喜好购买纪念品对应的NFT版本，并将其永久地安置在数字陵墓中。通过与陵墓场景的互动，哀悼者可解锁隐藏线索，获取更多数字纪念品。 我个人是加密学爱好者，博士的研究课题是动画和加密学融合的可能性。以及，重申一下《FuneralPlay》是非营利性质的项目。 Hi：为什么会选择做一个关于葬礼的作品呢？这跟你的个人生活有关系吗？ ▼ 施：FuneralPlay中的虚拟葬礼是我下一部影像作品中的一个场景，之前两年我一直执着说一定要用动画的语言表现出来，但今年就想做一个尝试 - 考虑到用视频去讲述这个idea太过主观，或许通过一个平台让观众进行游戏化的交互，可以更好地引导观众去思考数字遗产将如何影响和调解我们未来的生活方式。 Hi：你认为人们应该拥抱技术？还是与技术保持距离？ ▼ 施：拥抱还是保持距离取决于你想要什么。我会建议入局前知道自己的位置——二进制的世界里欲望会被放大。 无论是人工智能，元宇宙的出现都不会解决我们的道德问题，而是对我们当前伦理道德解决方案的考验。当我们将道德规范写入它们的客观头脑时，它会放大我们的缺陷和弱点。如果我们要建造反映我们自己价值观的机器/系统/其他技术创新，那么我们需要更多地了解这些价值观，我们需要将它们量化并协商确定哪些是应给予优先权的——但这一步需要多长时间，我不知道。 关于元宇宙的蓝图有太多的猜想了，或许当在焦虑着该以什么身份入局时，不妨先感受下自己的情绪。当每个人的情感都变成各种势力角逐的资本时，当每个表情包背后都牵扯着复杂运算和反馈策略时，那我们的情感在电子年代将如何归属？我不知道，但希望在web3环境下的的电子陵墓里，我们是可以真诚的吧。 Hi：你怎么看待NFT艺术？ ▼ 施：我发起《FuneralPlay》的初衷是做一个帮区块链愿景去污名化的项目。近几年由于虚拟货币、NFT、元宇宙概念的兴起，互联网世界充斥着太多没有实际意义但包装成区块链应用即将落地的项目了——这已经脱离了密码朋克对区块链愿景的初衷。仔细研究会发现大多项目都沿用了一套看似深奥的白皮书包装自己圈钱的野心 - 仿佛白皮书已经成为一种文学类型了。我索性提取了这类网站的（美学）元素，将我们的项目包装成了一个虚构的互联网产品——但如果仔细看每个板块的细节，会发现我们在认真开玩笑：） 现阶段聊元宇宙的蓝图太空洞了，希望《FuneralPlay》可以赋予现在空空的元宇宙一点意义。

​ Giovanni Motta NFT and meditation @The Cryptonomist Giovanni Motta is one of the Italian crypto artists who best embodies the epochal transition from physical art to the immaterial world of NFTs. Born in Verona in 1971, he came to art after a successful creative and advertising career. Drawing has been a passion of his since childhood. When he was only 9 years old, he won an international drawing competition organized by the FAO, but he had to wait until 2000 to exhibit his works in galleries and public spaces: drawings, paintings and 3D sculptures that reveal his passion for manga and anime, but also for American cartoons. Read More

About us GALLERY FUNC is a contemporary art gallery established in Shanghai since 2021. The space was located in a garden villa on Fumin Road in Jing'an District and relocated in a Carmel Court designed by the renowned French architect Alexandre Léonard in 1932. We are committed to discovering and supporting provincial and international emerging artists that are in the younger generation, broadening the horizons of vernacular contemporary art collections, promoting the development of the contemporary art market, and cultivating the younger Chinese collectors. ​ Since the establishment of the gallery, building integration has always been our guide in exploring and managing artists and works. The prerequisite of "bonding" is "connection". We focus on the inner connections between artists' works and the relationship between the artworks and the audience - thoughts, culture, emotions, epoch, techniques, etc. This purpose will constantly lead us to explore and growing. ​ Our exhibitions including multi-discipline contexts and aim to stimulate in-depth discussions of cultural attitudes and visual landscapes. With the energy of exhibitions, we are introducing a new generation of outstanding artists to collectors' horizons, helping collectors build their own aesthetic system and collections, and at the same time activating international exposures for artists who are still in the early stages of their careers. GALLERY FUNC hopes to establish an international image as a "pioneer" of contemporary art, build a bridge of spiritual integration between art and the public through the gallery as a platform, outline the profiles of different cultural milieu in contemporary art, and inspire inner spirit of this generation. General Information - Admission is always free Address Room 30, #19, No.17 Xinle Rd, Xuhui District, Shanghai, China

22 Dec , 2023 - 27 Jan, 2024 Another Parallel Bingqian Yan INSTALLATION VIEWS WORKS ARTISTS The rhythm of the body movement and the subconscious is moving with the brush. This movement not only represent the visual reproduction of the artist’s working process as a form of expression, but also to the external characteristics and potential visions of painting itself. The traces of thoughts revealed by the body and paint are narratable rather than a single monologue of the subject, Another Parallel is like the relationship between brush and hands, skin and fabric. Both have continuity and extend in the same direction in an unbindable and indestructible relationship, and the artwork emerges from the place where the relationship is established. The venture of making a painting is lost when the work is conformed to regulations or norms. Yan Bingqian’s is antithetical to pictorial meaning and result-oriented reproduction, on a fundamental level, the faces and objects that appear in the work are connections between the minutiae and the variable feelings of human beings. The text here is not an attempt to expose the process of individual psychological phenomena behind the an image, but to observe the hidden connections within this particular circumstance. Even if these small parts cannot be synthesised into a unified subject that can be understood, they exist as imprints. The indescribable in consciousness seeks itself in matter and image, and painting reveals the hidden face while protecting the artist’s secrets that further away from the viewer, before everything becomes clearer and more evident. To specificity the uniqueness of unconscious painting, a lengthy depiction and elucidation of it may seem less than a categorised conceptual definition, but I don’t think Yan Bingqian has really made any theoretical choices. We naturally translate this steady and still presence of the character in the painting into a real-life experience. On the one hand, the appearance is not only unique to the artist, it is still the effect of our sight, the viewer facing the work obtains the image through observation, on the other hand, the artist’s inner observation, thoughts and non-pensée, a unique state without a clear demarcation line, is finally united in the image here. Its appearance may be partially hidden or even meaningless, but it must be effective, so that we can obtain a focus of attention between the blankness of the work and the rhythm of the brushstrokes. Texts: Zhang Tingzhi Yan Bingqian graduated from Shanghai University of Technology in 2015 and now lives in Shanghai. Yan Bingqian uses canvases as her main medium. She is good at capturing the mutable states of people and things in order, choosing to present concrete spiritual imaginations and heterogeneous atmospheres in her works in a lightweight, illusory and astringent way, and constructing an indeterminate symbiotic relationship between space, place, objects and life.

錨點 1 Samantha Rosenwald b.1995 Ding Hongdan, born in Guangzhou in December1995, graduated from the Third Studio of Oil Painting Department of Central Academy of Fine Arts, receiving a bachelor's degree in 2018 and a master's degree in 2021. She is currently studying a Ph.D. program at CAFA, supervised by professor Liu Xiaodong. ​ WORK OVERVIEW EXHIBITIONS ARTICLES ARTWORKS 錨點 2 EXHIBITION 錨點 3

錨點 1 Gao hang b.1991 Gao Hang, born in 1991 in Baoding, China, currently lives and works in Houston, Texas. The artist evokes the new pop movement of postmodernism through the use of subject matter and colour as conceptual and structural scaffolding. ​ Artist Talk: ​ I think to have a career that one sincerely love is the best thing that can happen. So, of course I would choose this over anything. I respect art as a subject, just like any other subjects, like math, physics, astronomy, In terms of the amount of research, experiment, consistency, repetition, exploration, and discussion etc. My inspiration comes from people of my generation, in terms of how they behave online and offline. Also, art books often give me constant, reliable inspiration. I am sure my art process has something to do with my habits and obsessions. I mostly listen to standup comedy while making my work. I enjoy standup comedy that challenges general beliefs, and political correctness, yet at its core is negotiating between the observations, language, and laughter of a given performance. Then you realize that it’s no paradox, but a good conversation between the performer and the audience. At some point, my paintings are like standup comedy, they can only do so much about solving real problems. But brutal honesty, absurdity, and humor are very powerful qualities in any type of conversation. My recent paintings are concerned with image “definition” in digital graphics, especially those from the last 20 years. I understand digital graphics as 21st century “found objects”. I am interested in objects that are bathing in modern technology’s greatness, while exposing a certain rawness, oddity, or awkwardness. When I first encountered 3D modeling and graphic rendering in computer games in the late 20th century, I was totally shocked. From the last 20 years, I was inspired by the fact that how graphical spectaculars could end up being rawness and ridicule in the digital image evolution. However, it is that rawness and ridicule that triggers the same creative impulse with what the painting process can offer. The effect is an actual physical feedback during process: could be a surprise, a shifting attitude, a more extreme emotion. I want my practice to simulate a modern production method, but with a high fault tolerance WORK OVERVIEW EXHIBITIONS ARTICLES 錨點 2 ARTWORKS 錨點 3 EXHIBITION a10c0567a229ff161e5036c490c0f2f.jpg 0X0A9895.jpg GZ Contemporary Art Fair Dec 26 - Dec 29, 2021 The Fiction July 11 - Aug 11, 2021

錨點 1 Jochen Muehlen b.1995 Ding Hongdan, born in Guangzhou in December1995, graduated from the Third Studio of Oil Painting Department of Central Academy of Fine Arts, receiving a bachelor's degree in 2018 and a master's degree in 2021. She is currently studying a Ph.D. program at CAFA, supervised by professor Liu Xiaodong. ​ WORK OVERVIEW EXHIBITIONS ARTICLES ARTWORKS 錨點 2 EXHIBITION 錨點 3 DSC03452.jpg Null Protocol Oct 7 - Nov 4 2022

DETOUR June 9 - July 15 , 2023 BINGQIAN YAN & CHIH-HAN YANG & DANFENG YE & JI WON CHA& JUN LI & SUYI XU ​ INSTALLATION VIEWS WORKS ARTISTS GALLERY FUNC is presenting its first exhibition in the new space, featuring the work of six young Asian artists working and living in different regions. The etymology of medium (‘medius’ in Latin), was once defined as ‘in between’, ‘a middle ground’. It was used by Plato to describe a character between a man and god, the intertwined connection between subjective and objective, the constant endeavouring between ideal and reality. The theme of this exhibition originate from this concept, is trying to discuss the entanglement of the artist’s intention in the process of creation, trace the source of past, and the cycle of contradiction between the artist and her artworks. The representation of images and expression of contexts has been in the centre of art theory, the study of human gaze and artistic hidden intention has a special symbolic meaning: when the artist tries to reproduce the entirety of truth, this overly attempt or this excessively inspiration will turn its origin into nothingness. The task of a artist in this middle ground is full of contradictions and paradoxes. In a sense, looking directly at the "temple of nothingness", flicker in a fleeting moment. These languages curled up inside the soul, they are emotionally written in a self-concealed way, and can only be spoken through silence. Avoiding it is equivalent to choosing the eternal daylight, losing the moonlight and without the night. Compared with the motif of artistic creation, looking for the causal chain is why we are gazing. The artworks in this exhibition are a dangerous compromise between the seemingly non-existent intersections. "A dangerous environment breeds art, and hostility is the mother of invention." (John D. Peters, The Marvelous Clouds) ​ Representation and expression are at the expense of the actual existence of objects. The attribute of painting itself is not only representation, it also causes disappearance, and makes certain things have concepts through the dissolution. Compared with solid structures, the space constructed by Chih-Han Yang and the traces of suspended lines by Ji Won Cha, allow us to gain new stability and support from outside reality. Even though this reconstruction is premised on the absence of real-world object parts, this act itself has got rid of the destructive function of representation, and the texture of the painting as a medium is also reflected. ​ On a more fundamental level, there is a tacit relationship between gaze and narrative in the order of representation, and what surrounds the picture is the coexistence of various opposite relationships and metaphors. The flexible and compliant forms, are from the imitation of illusions by independent individuals: the recombined still life in Li Jun’s Life Is Falling, the symbols in Ye Danfeng’s Focus, and Xu Suyi’s Arrangement in Blue, Earth, and Ocher, hands movements with signifying relationships are within the page of a book. "The unconscious behaviour of beings, which allows their clear and bright palms to pierce the artificial fortress in which we are imprisoned", "a hand that does not belong to us knocks on the secret door of our intuition." ( Maurice Maeterlinck, Menus proposals: le théâtre ) ​ Maeterlinck depicts a door that we cannot open, but we could ‘hear the sound behind it’, as if it were a new body that no longer seems human, haunting in Yan Bingqian’s work. Perhaps for us, these invisible noises are the result of the artist’s behavioural composition and the acquisition of a new body. If we cannot see the flow of breeze, and strenuous to conjure up this transparent consciousness, it is still exists in its essential way, and must have its own sound and body to be experienced in our wandering. Texts by Tingzhi Zhang

錨點 1 DING H ongdan b.1995 Ding Hongdan, born in Guangzhou in December1995, graduated from the Third Studio of Oil Painting Department of Central Academy of Fine Arts, receiving a bachelor's degree in 2018 and a master's degree in 2021. She is currently studying a Ph.D. program at CAFA, supervised by professor Liu Xiaodong. ​ WORK OVERVIEW EXHIBITIONS ARTICLES 錨點 2 ARTWORKS 錨點 3 EXHIBITIONS 795bfbd99995a94a1b27745a0ccc1da.jpg DSC03896.jpg DING Hongdan & BO Sihan A Fund of Gifts Dec 24, 2021 - Jan 22, 2022 West Bund Art & Design 2022 Nov10 - Nov 13 2022