錨點 1 Janes Haid-Schmallenberg 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 DSC03397.jpg Null Protocol Oct 7 - Nov 4 2022

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

Open the Door

錨點 1 Leo Park 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 DSC03440.jpg Null Protocol Oct 7 - Nov 4 2022

A Collaboration with WAREHOUSE gallery Artist: Jade Kim Curator: Joey Chan Jul 29 - Aug 27 2022 The Blooming Moment We are delighted to collaborate with WAREHOUSE gallery to present the work of Jade Kim as WAREHOUSE gallery’s first exhibition in Shanghai. The artist has always been involved in the creative field, and after being in exhibition planning industry for a decade, Jade decided to pursue the expression of his true passion through paintings and sculptures. “MIN” , the character that is inspired by his beloved wife, is the manifestation and recreation of his story, a special gift to her. She sends a rebellious yet quiet vibe, altogether with a sense of peacefulness. The perseverance yet tender characteristics of a mature woman can be interpreted as the scream for current difficulties in our society. Just as Jade Kim says, “I wanted to remind myself by looking at my paintings [of] what we [had] lost and what we had to protect.’ INSTALLATION VIEWS WORKS ARTIST 17(sRGB).jpg Jade Kim Jade Kim (b.1981, Korea), a visual artist. He paints and sculpts the character "MIN", a fictional character based on his wife. The personality and story of his wife are big inspirations to his work, along with the rapidly changing world we live in, and the occasional surprises that occur in it. "MIN" has dreamy eyes, child-like shape and demeanour, giving people a sense of innocence. She is often portrayed as a character representing "protection" and "love". Kim's work exudes a calmness vibe and is intended to resonate with the viewer. ​

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 Rachael Tarravechia b.1995 WORK OVERVIEW EXHIBITIONS ARTICLES Rachael Tarravechia (b. 1995, UnitedStates) received a B.F.A. in painting from The Savannah College of Art and Design, Savannah, Georgia in the spring of 2018. She has exhibited her work internationally in the United States, Hong Kong, and France. Her work investigates the threshold of private versus public, and aim to capture fleeting, intimate moments. Moments where the room was just previously occupied, and now there are no people, no phones, no cameras, yet the aura of humanity still lingers. Tarravechia lives and works in Brooklyn, New York, and is represented by Tchotchke Gallery. 錨點 2 ARTWORKS 錨點 3 EXHIBITIONS DSC03916.jpg West Bund Art & Design 2022 Nov10 - Nov 13 2022

錨點 1 Erkut Terliksiz b.1978 ​ Erkut Terliksiz is a Turkish designer and artist based in Istanbul. He graduated from the Graphic Design Department of the Faculty of Fine Arts at Mimar Sinan University in 2002. The artist has participated in several group exhibitions in Australia, the UK, Spain and Germany, and first exhibited his work at x-ist in the group exhibition "Intersections I" (2005)." ​ WORK OVERVIEW EXHIBITIONS ARTICLES 錨點 2 ARTWORKS 錨點 3 EXHIBITION 38b4e994f4a2655faa7c7644a15d95c.jpg 0X0A7973.jpg EXHIBITIONS ARTICLES WORK GZ Contemporary Art Fair Dec 26-Dec 29, 2021 ​ Hidden Message Nov 11 - Dec 12, 2021 OVERVIEW

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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。