Byungho Lee Jang Pa Jiyoung Yoo Seungcheol OK Yaerim Ryu Linked ​ Object: Third Sense On View Mar 8 - Apr 13 2024 A collaboration with Gallery Kiche ARCHIVE Tianshu Zhang - Entropy and Hidden Force Sep 22 - Oct 28, 2023 Peter Jeppson - Fresh Fruits and Vegetables Mar 03 - Apr 15, 2023 ORIGINIS Nov 08 - Dec 10, 2022 Null Protocol Oct 07 - Nov 04, 2022 The Blooming Moment Jul 29 - Aug 27, 2022 Ruini Shi - Emotional Autonomous Region Jun 30 - Jul 23, 2022 A Fund of Gifts Dec 24, 2021 - Jan 18, 2022 Hidden Message Nov 10 - Dec 12, 2021 Self Delivery Oct 9 - Oct 31, 2021 USB: Multiple Port Aug 28 - Sep 26, 2021 The Fiction Jul 15 - Aug 15, 2021 Game Over, Play Again Apr 24 - Jun 6, 2021 FAIRS 021海报.jpg 西岸海报.jpg GZ Contemporary Art Fair Dec 26 - Dec 29, 2021 Art Xiamen Jun 17 - 20, 2021 錨點 1 ART021 Shanghai Contemporary Art Fair Nov10 - Nov 13 2022 Guangzhou Contemporary Art Fair Dec 26, 2021 - Dec 29, 2021 West Bund Art & Design 2022 Nov10 - Nov 13 2022 Art xiamen & Design Fair June 17, 2021 - June 20, 2021

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

錨點 1 Ania Hobbson b.1990 ​ Ania Hobson is a British artist born in 1990, Ania has a degree in Fine Art and studied at the Prince's School of Painting in London and portraiture at the Academy of Fine Arts in Florence, Italy. Her portraiture works are inspired by artists like Alice Neel and Kerry James Marshall. Her architectural portraits use subtle, complementary colors to create refined, dignified pictures of her close female friends and family members. ​ Artist Talk: ​ Being a painter is not a decision I chose, it’s something that you can’t escape. From young being creative was something that was already running through the family, we watched and would spend our time drawing at the dinner table, it was always there but never pushed on us...So, growing up it’s also been engrained in me and will always be part of me. ​ All my work is a timeline of figures and exploring the emotions that we go through. My painting is just another form of expressing language sometimes subconsciously painting in my own anxieties. I work with sketches first which are usually from my imagination or memory, I feel this is a good way of creating a non-anatomically correct view on the human form, I then transfer these drawings straight onto canvas before painting. I work to a medium / large scale with oil paints and impasto. ​ ​ I want the audience to be able to relate and feel a familiarity to my painting, something that they can recognize within themselves building that connection between them and my painting. My painting is all about people reading, emotions, vital, mark making, composing and psychology. ​ I’m so pleased to be exhibiting in this exhibition, it’s my first time exhibiting in Shanghai, along with some great artists too! WORK OVERVIEW EXHIBITIONS ARTICLES 錨點 2 ARTWORKS 錨點 3 EXHIBITION 0X0A9895.jpg The Fiction July 15 - Aug 15, 2021

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。

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​Andrés Lozano Chen Jiupi Erkut Terliksiz Jiang Taoyue Liu Lin Yokoteen Oct 09 2021 - Oct 31 2021 ​Self Delivery INSTALLATION VIEWS WORKS ARTISTS Liu Lin Erkut Terliksiz 4的副本.jpg 截屏2021-07-20 下午3.01.47的副本.png 《到底谁高贵？》 61cmX90cm 布面油画 2020 2.jpg WechatIMG17192_副本.jpg flower-power-1_副本.png WechatIMG7204的副本.jpeg Jiang Taoyue ​Chen Jiupi Andrés Lozano Yokoteen We are pleased to present ourfourth exhibition since the opening of Gallery Func, which, as always, explores the relationship between modern painting, contemporary image production and the inner logic of emotion through the work of the artists.The exhibition brings together graphic paintings by six artists from home and abroad, based on artistic traditions ranging from Romanticism to Popism, in a diverse range of works that present an alternative to the many possibilities of contemporary figurative painting.Unlike traditional figurative painting, these apparently modest works raise questions about the freedom of expression in painting and psychological issues. Through the artist's skilful control and combination of images, their skillful 'feeling' in the various dimensions and shifts of form gives the works sensitive details and an air of rebellion against the popular. These works are essentially depictions of scenes from life that do not constitute any realistic and are always playful, bright, and full of amusing irony. In contrast to the traditional concept of painting, the artist does not wish to give vent to all his emotions, but rather to paint 'what I see' in and spontaneous manner.Painting has existed for over 30,000 years in human history and it can be considered as a private note that can be made public. The paintings on display now visualise the author's psychological world, and the artist, in their sincerity and purity, allows the viewer to truly experience the same experience as he did at the time of creation.

Emotional Autonomous Region When Crypto Meets Funeral & Wedding Artist: SHI Ruini Curator: MIAO Zijin Jun 30 - Jul 23 2022 INSTALLATION VIEWS WORKS ARTIST 施蕊妮 SHI Ruini SHI Ruini 「How should we present an inappropriate opening ceremony? 」This is the open question raised when the exhibition was initially conceived. Ruini Shi and her team present two virtual platforms named "FuneralPlay" and "LoveCounter" investigating whether a better and more friendly interactive experience could be achieved by users attending digital funerals and weddings if blockchain technology reaches certain maturity. De-centralized emotional service operations simulate "X-to-Earn", a reward mechanism of blockchain game. Participants invest in FuneralPlay in exchange for souvenirs in memory of the deceased (Play-to-Earn); likewise, the mourning time invested in FuneralPlay could be exchanged for souvenirs in memory of the deceased (Mourn-to-Earn). Lovers who sign LoveCounter, an intelligent marriage contract, will earn love Karma for the time they spend together online, the properties they contribute and the interactions between the two of them to trigger user-defined life events (Love-to-Earn). Are the new game rules in X-to-Earn for quantifying emotions sufficient to express true sadness or love? Can proof-of-love be delivered for cryptographic transactions? Emotional capitalism supported by Web 2.0, and in particular the dating software, have further standardized and commodified emotions. Through monitoring data generated by users with the assistance of algorithms lockchain-based Web 3.0 empowers users to take back ownership of their personal data from tech giants. What FuneralPlay and LoveCounter, the two interactive websites launched by the artist as conceptual and de-materialized media, produce are performative situations in which diverse values co-exist. Inspirations for scene constructions derive from creators' surveys and sampling of the identities and free will of their families and friends. Such non-fictional and unquantified data of emotions hereby collected attempt to draw an alternative collective portrait of contemporary youth. If "emotional autonomous region", which exists in parallel with the governance of the state or religion, is reckoned as one of the mental options for alleviating faith crisis, survival guide for the future may include a strategy of disappearance. In other words, escaping from the omnipresence of big data and managing our digital footprints at our own discretion have become an increasingly imperative urge. Within a closed system, encrypted funeral and wedding offer pathways for vulnerable individuals to cope with force majeure. When we reconnect with the real world, an inappropriate opening ceremony seems more like a ceremony of care, a scarce material in the contemporary context. Text / Miao Zijin

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. ​

Art Xiamen Art & Design Fair June 17 2021 - June 20 2021 WORKS

Ally Rosenberg Ania Hobson Fátima de Juan Gao Hang Hilary Doyle Jeremy Yamamura Matthew F Fisher ​The Fiction July 15 2021 - Aug 15 2021 INSTALLATION VIEWS WORKS ARTISTS IMG_2538.jpeg WechatIMG5887.jpeg WechatIMG6554.jpeg viewfile-3.png IMG_2494.jpeg SophieMenadeontheSubway2021.jpg Richard-Tilney-Bassett-210306-141153-0134-_theglasspassport-web.jpg Fátima de Juan Jeremy Yamamura Ania Hobson Matthew F Fisher Gao Hang Hilary Doyle Ally Rosenberg We are proud to present the second exhibition of Gallery Func this summer, 'The Fiction', in which we will present the work of seven promising artists. ​ The works in this exhibition, although they all are figurative painting, break away from the basic rules of traditional figurative painting and are post-modern and futuristic. These works vividly present the daily psychological states and rituals of life that are easily overlooked by us. The artists are concerned with the current situation of self-fragmentation in the information society, and they try to explore the real existence through painting. ​ The artists are both participants and spectators in their own lives. They watch the human life force unfold in the wider context and then, from their own selves, search for the port of balance between real life and imagination, which is the port of their artworks. They use their individual subjects as the base for their conceptual and pictorial structures, and use skilled techniques to embellish the complex expressions of their subjects, effectively and directly conveying their respective languages. ​ The realistic mood of the work is both familiar and new to the viewer, and the artist is placing the viewer in the real and fantastical world created by the painting itself, making the viewing of the painting more like reading some amazing narratives. It is as if something important has been snatched from this fictional world based on reality, leaving a big hole for us all to jump into and fill. ​ All of the works discuss the wonders of human existence as a living creature. The uncertainty of life itself is artfully displayed in each work. The sense of confusion about the future and the vibrant, throbbing energy of adolescence come crashing down on the dull and stagnant psychological world that drives adults. These works here become a spiritual stimulus for us, awakening our dormant senses.