亚洲展讯 | 片石山房——沈勤 · 陈琦作品展
展名 / Title: 片石山房——沈勤 · 陈琦作品展
Mountain House of Sliced Stones:
Artworks of Shen Qi & Chen Qi
艺术家 / Artists: 沈勤 Shen Qin, 陈琦 Chen Qi
空间设计 / Space Designer: 郑东贤（韩国建筑师） DH JUNG (Korean Architect)
展期 / Duration: 2021.4.24 (Sat) - 6.20 (Sun)
开幕/ Opening: 2021.4.24 (Sat) 3:00pm
地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
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沈勤与陈琦两位艺术家都生于六朝古都“南京”。金陵的烟水和阅经沧桑的土地孕育了沈勤和陈琦抒发历史和人文幽情的文人气质。两人相交四十余年，在艺术道路上惺惺相惜。沈勤精于水墨，陈琦尤擅水印木刻，依托不同的媒介，他们二人沉浸在各自的艺术领域里研习探索，并自成体系。沈勤的绘画空寂澄明、清静无为、简约中蕴含一种江南文化的内在性，同时营造了空灵出世的诗性空间；陈琦的水印木刻形式语言单纯而丰富，宁静而富于激情，艺术品格纯正，具有丰沛的文化内涵。
“片石山房——沈勤 · 陈琦作品展”是继2015年“沈勤、陈琦作品展”（北京），2016年“沈勤、陈琦：零度”（台北）之后，二人再度携手于亚洲艺术中心举办的双个展。展出两位艺术家的最新创作近三十件。其中《片石山房》为沈勤迄今为止创作的最大尺幅水墨画作；而陈琦近期的水墨作品将在此次展览中首次集中展示。此次展览缘起两位艺术家于2020年5月游历扬州园林“片石山房”的感怀之作。“片石山房”为一处始建于明代的古典园林建筑，园中的叠石相传出自清代大画家石涛之手，可谓石涛叠石的“人间孤本”。独峰耸翠、秀映清池的叠山呈现出章法非凡的气度，有感于此，两位艺术家当即相约以“片石山房”为题进行创作，同时举办展览以此致敬石涛。
本次展览由亚洲艺术中心特别邀请国际著名建筑设计事务所PLAT ASIA 总裁郑东贤先生为展览空间设计。郑东贤作为杰出的在华韩国建筑设计师，曾多次获得国内外建筑大奖。他持续实践当代东方建筑，传承东方自然观、建筑观、文化观。依据亚洲艺术中心的展厅构造，以曲折、延展的空间结构呈现二位艺术家的“对话”，在两个矩形的空间中搭建的黑色圆形场域，营造出浸入式的整体氛围。曲折延展、明暗交错的观看路径，高低错落的空间布局，恍若置身园林，带给观者全新的审美体验与思考空间。
请横屏观看：
▲ 陈琦 Chen Qi
片石山房 Mountain House of Sliced Stones
304x1120cm（76x56cmx80）
纸本水墨 Ink on Paper
2020
▲ 沈勤 Shen Qin
青绿园林 Green Garden
141.5x225cm（141.5x75cmx3）
纸本水墨 Ink and Color on Paper
2021
▲ 青绿园林（局部）
Green Garden (Detail)
沈勤与陈琦在各自的艺术领域内都取得了骄人的成就，虽然风格迥异，然而他们又不约而同的探索着传统文化与当代语境的关系。这与亚洲艺术中心所倡导的“东方美学”理念相契合，即立足于传统，融合东西方美学精髓的当代性转换。沈勤一直将“回到宋代的山水画里”作为艺术最高理想，通过水墨建构一个接近宋画的隐逸世界。陈琦则将水印木刻的当代转换作为使命，以水墨、数字艺术等多种艺术形式，创造出新的视觉图像，使其在当下重获生机。他们二人各自的坚持和思索在“片石山房”中予以呈现。
“人为物蔽，则与尘交。人为物使，则心受劳”。四十年了，这句话一直印在我的心里。“不为物使，不与尘交”让我脆弱的心变得盲目的自傲，就这样生生地挺了我大半辈子。不管对石涛画语录是不是误读，反正他影响了我直到今天。我用“片石山房”表达我对石涛的敬意。
——沈勤
大尺幅作品所具有的难度挑战与持久心力或可让我在漫长的绘画过程中细品石涛语录中的经典，体味其游历山川之时胸中的激扬澎湃，或可与他对语抑或自语。当我在酒厂工作室地面上铺满画纸之时，内心欢快，不知手之舞之，足之蹈之也。
——陈琦
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Mountain House of Sliced Stones:
Artworks of Shen Qin & Chen Qi
Both artists, Shen Qin and Chen Qi, were born in Nanjing, the ancient capital of the six dynasties. The literati atmosphere and vicissitudes of land in Jinling shape the literary temperament of artists Shen Qin and Chen Qi who are good at expressing historical and humanistic thoughts. The two have been friends for more than 40 years and have encouraged each other on the road of art. Shen Qin is good at ink and wash, and Chen Qi is especially good at waterprint woodcut. In this way, two of them are immersed in their respective art fields to study and explore, and form their own systems relying on different media. Shen Qin's paintings are empty and clear, quiet and inactive. The abstract painting contains a kind of internality of Jiangnan culture, and at the same time it creates an ethereal and poetic space. In contrast, the formal language produced by Chen Qi's waterprint woodcut is quiet and full of passion, pure in style and rich in cultural connotations.
"Mountain House of Sliced Stones: Artworks of Shen Qin & Chen Qi" is the third exhibition held by Asia Art Center for two artists, following the "Artworks by Shen Qin & Chen Qi" (Beijing) in 2015, "Shen Qin & Chen Qi: Zero Degree" (Taipei) in 2016. More than twenty latest artworks by two artists will be exhibited this time, especiallly the biggest size ink painting entitled Mountain House of Sliced Stones by Shen Qin and Chen Qi's recent ink works will be displayed for the first time in this exhibition. The source of inspiration for this exhibition emerged since two artists visited the "Mountain House of Sliced Stones" in Yangzhou, May 2020, which is a classical garden building originally built in the Ming Dynasty. The stacked stones in the garden were passed down by the great painter, Shi Tao of the Qing Dynasty, which is regarded as "the only precious specimen on earth". The stacked mountains with single peaks, green mountains and beautiful clear ponds together present an extraordinary temperament. Being touched there, two artists met together to create artistic creations on the theme of Mountain House of Sliced Stones and held an exhibition to pay tribute to Shi Tao. For this exhibition, Asia Art Center specially invited DH JUNG, president of PLAT ASIA, to design the exhibition space. DH JUNG, as an outstanding Korean architect in China, has won many domestic and international architecture awards. He continues to practice contemporary oriental architecture and inherit the oriental view of nature, architecture, and culture. Based on the structure of Asia Art Center exhibition hall, the "dialogue" between two artists is presented in a tortuous and extended space structure, built in two rectangular spaces. Besides that, the black circular field creates an immersive overall atmosphere. The zigzag extension, light-dark viewing path, and the high and low spatial layout make audiences feel like walking in a garden, bringing a space for meditation and new aesthetic experience.
Shen Qin is the representative of the ink and wash innovation in the ‘85 Art Movement. Gardens and landscapes are significant motifs that run through Shen Qin's ink works at different stages of creation. Sometimes from scenes of these pictures, audiences see a noble lotus and a clear pool of water in the landscape garden, which reveals Shen Qin's unique spiritual temperament. This exhibition displays a number of green landscapes: Mountain House of Sliced Stones and Green Garden, which are different from the traditional stylized expression methods of "green-blue blending". Green mountains and rivers of the city are not obscured by the flashy form, but from the artist’s heart to express the innermost state regarding life. Mountain House of Sliced Stones is the largest ink painting created by Shen Qin so far, in which the dark and light ink colors correspond to the simple lines of virtual and solid, forming a contrast, and creating a poetic ink atmosphere. At the same time, this work also benefited from his design experience, like black and white movie stills, rendering the changes of light and shadow. It seems rich in quiet and ethereal artistic conception, which is thought-provoking.
▲ 沈勤 Shen Qin
村（19-3）Village 19-3
49x66cm
纸本水墨 Ink on Paper
2019
From Ming-style furniture and guqin, lotus dreams and butterflies, water and time notation, to the current animals, plants, and gardens, there are always surreal concepts in concrete objects in Chen Qi's works. Although the subject matter is different, in the creative process through subtle variables and meticulous misprints, Chen tries to capture and interpret the traces of "time" and "life" in different dimensions. Whether it is watercolor woodcut, ink painting or digital art, Chen Qi's creative skills are unique. This exhibition is the first time that a number of Chen Qi's latest ink painting creations have been showcased, such as He Garden, Moon Mirror, A Dream Chant and so on. Looking around the masterpieces between curved walls of the exhibition hall, it seems to echo the original copy of the stacked stone by the painter Shi Tao of the Qing Dynasty in real time and space. In this regard, waterprint woodcut works such as Infinity, Exquisite Pagoda, Source and Mountain of Water Chestnut have created a more vivid garden interest. As a representative of Chinese waterprint woodcut artists, Chen Qi explores and promotes the development and reform of waterprint woodcut in contemporary society. On the other hand, he devotes himself to the cause of art education, and is committed to art teaching methods and theory in colleges and universities.
Both Shen Qin and Chen Qi have made remarkable achievements in their respective art fields. Although their styles are quite different, they are invariably exploring the relationship between traditional culture and contemporary context. This is consistent with the concept of oriental aesthetics advocated by Asia Art Center, which is a contemporary transformation based on tradition and integrating the essence of Eastern and Western aesthetics. Shen Qin has always regarded "returning to the landscape paintings of the Song Dynasty" as the highest artistic ideal, and constructed a secluded world close to Song paintings through ink and wash. Chen Qi takes the contemporary transformation of waterprint woodcut as his mission, and creates new visual images with various art forms such as ink and digital art, so that it can regain its vitality in the present. In a word, their respective persistence and thoughts are presented in the Mountain House of Sliced Stones.
空间设计 - Space Design
空间效果图
撰文：徐浩洋
编辑：冉云琪
关于艺术家About Artist
沈勤，1958年出生于江苏南京，江苏省国画院国家一级美术师。1978年至 1982 年于江苏省国画院研究生班学习。“85 美术思潮”时期因其绘画创作的突出表现，被誉为水墨革新的代表之一。
重要个展：“仿宋体 - 沈勤作品展”（广东美术馆，广州， 2020）、“一意孤行 - 沈勤个展” （湖北美术馆，武汉， 2019）、“沈勤 · 文献 1989 - 2019” （美术文献艺术中心， 武汉，2019）、“‘玄 - 沈勤个展” （UNAC TOKYO，东京，日本，2018）、“空远 - 沈勤的空间”（玉衡艺术中心，上海，2017）、“叁拾年 · 沈勤个展”（南京艺术学院美术馆，南京，2016）、“隐者” （K空间，成都，2016）、“沈勤：那时·此时”（艾米李画廊，北京，2015）、“洇 • 氤 • 霪 • 滢 - 沈勤个展”（苏州博物馆，苏州，2015）、“十年 - 2014沈勤作品展”（金彩画廊，杭州，2014）、“墨· 隐· 田· 园 - 沈勤水墨画展”（石家庄当代美术馆，石家庄，2012）、“风月同天-井上有一书法、沈勤水墨展” （广州美院美术馆，广州，2011）、“净界 - 沈勤水墨艺术“（华艺廊，广州，2009）、“沈勤水墨画展” （汉堡美术馆，德国，2007）、“沈勤画展” （新北京画廊，北京，2006）、“沈勤画展”（精艺轩画廊，温哥华，2004）、“世的界-沈勤画展“ （金彩画廊，杭州， 2004）、“沈勤画展” （W画廊，温哥华，2002）、”“沈勤画展”（广州美术学院美术馆，广州，1991）、“沈勤画展” （南京艺术学院美术馆，南京，1982）
重要群展：“片石山房——沈勤 · 陈琦作品展” （亚洲艺术中心，北京，2021）、“沈勤-沈烈毅双个展“ （瀚阳画廊，杭州，2019）、“中国新水墨作品展1978-2018”（民生现代美术馆，北京，2018）、“沈勤、陈琦：零度”（亚洲艺术中心，台北，2016）、“枕流漱石 - 当代文人艺术展”（亚洲艺术中心，北京，2015）、“‘四维向度’ - 陈琦、梁铨、沈勤、朱建忠四人展”（玉衡艺术中心，上海，2015）、“沈勤 & 陈琦作品展”（亚洲艺术中心，北京，2015）、“我 1985-2015”（凤凰艺都，北京，2015）、“山外山 - 沈勤、朱建忠作品展”（玉衡艺术中心，上海，2014）、“东学西渐 - 中国当代水墨五人展”（皇家美术学院，伦敦，2014）、“墨向 · 非常态 - 中国当代水墨邀请展” （江苏省美术馆，南京，2014）、“改造水墨：新的历史观”（金陵美术馆，南京，2014）、“中国当代水墨状态 · 鸿蒙变 - 玉衡艺术中心开幕展”（玉衡艺术中心，上海，2014）、“水墨档案”（南京艺术学院美术馆，南京，2013）、“乘物游心 - 水墨展”（石家庄当代美术馆，石家庄，2013）、“第二届重塑东方美画展 - 现代生活·水墨心印”（南京艺术学院美术馆 / 上海多伦美术馆，上海，南京，2013）、“原道 - 中国当代艺术的新概念”（香港艺术中心，香港，2013）、“水墨新维度 - 2013批评家提名展”（中国美术馆，北京，2013）、“再水墨：2000 - 2012中国当代水墨邀请展”（湖北美术馆，武汉，2012）、“盒子外的空间”（不列颠哥伦比亚大学亚洲中心，温哥华，2012）、“虚薄绘画展 - 首届庄子国际会议平行展”（元典美术馆，北京，2012）、“墨变·陌生的当代 - 中国当代水墨艺术展”（关山月美术馆，深圳 / 汉堡美术馆，汉堡，2012）、“风月同天 - 井上有一书法，沈勤水墨画展”（广州美术学院美术馆，广州，2011）、 “改造历史 - 2000-2009年的中国新艺术”（国家会议中心，北京，2010）、“意派 - 世纪思维”（今日美术馆，北京，2009）、“NO · 没关系”（南京市博物馆，南京，2005）、“中国水墨实验二十年”（广东美术馆，广州，2001）、“抽象绘画联展”（汉雅轩画廊，香港，1994）、“后‘89‘中国现代艺术展”（汉雅轩画廊，香港， 1992）、 “中国现代水墨展”（世田谷美术馆，东京，日本，1990）、 “‘89中国现代艺术展”（中国美术馆，北京，1989）、“红色 · 旅 - 第二驿画展”（江苏省出版大厦, 南京，1987）、“红色·旅 - 第一驿画展”（南京艺术学院，南京，1986）、 “江苏十人中央美院邀请展”（中国美术馆，北京，1986）、“江苏青年艺术周 · 大型现代艺术展”（江苏省美术馆，南京，1985）
公共收藏：美国布鲁克林美术馆（美国）、德国汉堡美术馆（德国）、广东美术馆（广州）、苏州博物馆（苏州）、湖北美术馆（武汉）、武汉美术馆（武汉）
Shen Qin was born in Nanjing in 1958, Shen Qin currently works as the national firstclass painter at Jiangsu Traditional Chinese Painting Institute. From 1978 to 1982, Shen studied on the postgraduate course of Jiangsu Traditional Chinese Painting Institute. During the period of ’85 New Wave Movement, he became known as one of the representatives of ink innovations for his distinguished creativity.
Selected Solo Exhibitions: “Immitation / Resistance of Song Style : Exhibition of Shen Qin's Artworks” (Guangdong Museum of Art, Guangzhou, 2020), “Shen Qin : Following His Own Path” (Hubei Museum of Art, Wuhan, 2019), “Shen Qin : Documents 1989 - 2019” (Fine Arts Literature Art Center, Wuhan, 2019), “Black : Shen Qin Solo Exhibition” (UNAC TOKYO, Tokyo, Japan, 2018), “Void Distance: The Space of Shen Qin” (Alioth Art Center, Shanghai, 2017), “30s : Shen Qin” (Art Museum of Nanjing University of the Arts, Nanjing, 2016), “Hermit: Contemporary Ink Paintings by Shen Qin” ( K. Gallery, Chengdu, 2016), “Shen Qin: At That Time - At This Time” (Amy Li Gallery, Beijing, 2015), “Yin · Yin · Yin · Ying - Solo Exhibition of Shen Qin” (Suzhou Museum, Suzhou, 2015), “Ten Years - Shen Qin 2014 Exhibition” (Jincai Gallery, Hangzhou, 2014), “Mo · Yin · Tian · Yuan: Shen Qin Contemporary Ink Painting Exhibition” (Museum of Contemporary Art Shijiazhuang, Shijiazhuang, 2012), "Fengyuetongtian - the Exhibition of Inoue Yuichi's Calligraphy and Shen Qin's Ink Painting"(Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 2011), "Pure Realm - Shen Qin Ink Works" (Holly's Gallery, Guangzhou, 2009), "Ink Paintings by Shen Qin” (Hamburher Kunsthalle, Germany, 2007), "Shen Qin's Ink Paintings" (New Beijing Gallery, Beijing, 2006), “Shen Qin's Ink Painting Exhibition” (Art Beatus Gallery, Vancouver, Canada, 2004), "World's Boundary : Shen Qin Solo Exhibition" (Jincai Gallery, Hangzhou, 2004", "Shen Qin's Ink Painting Exhibition" (W Gallery, Canada, 2002), “Shen Qin's Watercolor Painting Exhibition” (Nagoya Gallery, Nagoya, Japan, 1992), “Shen Qin's Ink Painting Exhibition” (Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 1991), "Artworks by Shen Qin" (Art Museum of Nanjing University of the Arts, Nanjing, 1982)
Significant Group Exhibitions: “Mountain House of Sliced Stones: Artworks of Shen Qin & Chen Qi” (Asia Art Center, Beijing, 2021), “Shen Qin & Shen Lieyi Duo Exhibition” (Hanyang Art Gallery, Hangzhou, 2019), “New Ink Art in China 1978 - 2018” (Beijing Minsheng Art Museum, Beijing, 2018), “Zero Degree” (Asia Art Center, Beijing, 2016), “Rest on Water and Gargle with Stone” (Chinese Contemporary Literati Art / Asia Art Center, Beijing, 2015), “Four Dimension : Chen Qi, Liang Quan, Shen Qin, Zhu Jianzhong” (Alioth Art Center, Shanghai, 2015), “Artworks by Shen Qin & Chen Qi” (Asia Art Center, Beijing, 2015), “I / 1985 - 2015” (Phoenix Art Palace, Beijing, 2015), “Inframince - Aura of Nature” (Tabula Rasa Gallery, Beijing, 2015), “The Distant Mountains - Shen Qin, Zhu Jianzhong Ink Art Exhibition” (Alioth Art Center, Shanghai, 2014), “Between Ink and Water - Contemporary Ink Paintings from China” (Royal College of Art, London, UK, 2014), “Ink Direction · Abnormal: China Contemporary Ink Art Invitational Exhibition” (Jiangsu Art Museum, Nanjing, 2014), “Reshaping Ink: New History Group Exhibition” (Jinling Art Museum, Nanjing, 2014), “State of Contemporary Ink Art in China ‘Start All Over Again: Opening Exhibition at Alioth Art Center’” (Alioth Art Center, Shanghai, 2014), “Ink Files” (Art Museum of Nanjing University of the Arts, Nanjing, 2013), “Take Things Swim Heart - Ink Art Exhibition” (Museum of Contemporary Art Shijiazhuang, Shijiazhuang, 2013), “The Sencond ‘Reconstructing Oriental Beauty’ Painting Exhibition - Contemporary Life · Aspirations in Ink and Wash Art” (Museum of Nanjing University of the Arts, Nanjing / Shanghai Duolun Museum of Modern Art, Shanghai, 2013), “The Origin of Tao: New Dimensions in Chinese Contemporary Art” (Hong Kong Museum of Art, Hong Kong, 2013), “Washing Painting New Dimension - 2013 Critics Nomination Exhibition” (National Art Museum of China, Beijing, 2013), “Re-Ink: Invitational Exhibition of Contemporary Ink and Wash Painting 2000 - 2012” (Hubei Museum of Art, Wuhan, 2012), “Space Beyond the Boxes” (University of British Columbia Asia Center, Vancouver, Canada, 2012), “Duchamp's Infra-mince in Painting” (Yuan Art Museum, Beijing, 2012), “Chinese Contemporary Ink Art Exhibition” (Guan Shanyue Art Museum, Shenzhen, China / Hamburger Kunsthalle, Hamburg, Germany, 2012), “Shared Breeze and Moon: Yu-ichi's Calligraphy · Shen Qin's Ink Painting” (Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 2011), “Reshaping History - Chinart from 2000 to 2009” (China National Convention Center, Beijing, 2010), “Yi Pai - Century Thinking” (Today Art Museum, Beijing, 2009), “No·It's Okay” (Nanjing Municipal Museum, Nanjing, 2005), “China: 20 Years of Ink Experiment” (Guangdong Museum of Art, Guangzhou, 2001), “Joint Exhibition of Abstract Paintings” (Hanart TZ Gallery, Hong Kong, 1994), “Post "89" China Modern Art Exhibition” (Hanart TZ Gallery, Hong Kong, 1992), “China Modern Ink Art Exhibition” (Setagaya Art Museum, Tokyo, Japan, 1990), “‘89 China Modern Art Exhibition” (National Art Museum of China, Beijing, 1989), “Red Road: The 2nd Station Art Exhibition” (Jiangsu Publishing Building, Nanjing, 1987), “Red Road: The 1st Station Art Exhibition” (Nanjing University of the Arts, Nanjing, 1986), “Jiangsu 10 Artists Invitational Exhibition” (China Central Academy of Fine Arts, National Art Museum of China, Beijing, 1986), “Jiangsu Youth Art Week” (Jiangsu Art Museum, Nanjing, 1985)
Public Collections: Brooklyn Museum (US), Hamburger Kunsthalle (Germany), Guangdong Museum of Art (Guangzhou), Suzhou Museum (Suzhou), Hubei Museum of Art (Wuhan), Wuhan Art Museum (Wuhan)
。
重要个展：“别故与共生：陈琦2019个展“ （艾米李画廊，北京，2019）、“陈琦格致：一个展示和理解的实验”（德基美术馆，南京，2018）、“印痕与复数 - 陈琦个展”（亚洲艺术中心，北京，2018）、“陈琦的时间：1983-2016”（半岛美术馆，上海，2016）、“时间简谱 - 陈琦艺术作品展”（中国国家博物馆，北京，2013）、“陈琦木刻”（杜伦大学东方博物馆，杜伦，英国，2008）、“陈琦水印版画第一回展”（中国美术馆，北京，1993）
重要群展：“片石山房——沈勤 · 陈琦作品展” （亚洲艺术中心，北京，2021）、“移动的理想国·形影”（798艺术工厂，北京，2020）、“致敬传统 - 当代纸艺术作品巡展” （今日美术馆，北京，2020）、“第58届威尼斯双年展中国国家馆展览‘Re-睿’”（威尼斯，意大利，2019）、“生逢其时 - 小林敬生 & 陈琦作品展”（亚洲艺术中心，北京，2019）、“第四届苏州·金鸡湖双年展‘自 - 沧浪亭‘当代艺术邀请展”（金鸡湖美术馆，苏州，2018）、“我在 - 2017中国版画艺术工作室联盟作品展”（广东美术馆，广州，2017）、“2017上海国际版画展”（上海中华艺术宫，上海，2017）、“沈勤、陈琦：零度”（亚洲艺术中心，台北，2016）、“中国当代版画名家文献展”（中国版画博物馆，深圳，2016）、“沈勤&陈琦作品展”（亚洲艺术中心，北京，2015）、“后印刷 - 第一届CAA国际版画双年展”（中国美术学院美术馆，杭州，2015）、“第十二届全国美术作品展”（中国美术馆，北京，2014）、“我在 - 中国版画艺术工作室联盟展”（江苏省美术馆，南京，2013）、“水·印·象 - 第十一届‘姑苏之秋’当代水印版画邀请展”（苏州美术馆，苏州，2012）、“观城 - 国际版画邀请展”（上海美术馆，上海，2011）、“传统的复活 - 中国当代艺术展”（法兰克福当代艺术馆，法兰克福，2009）、“神奈川国际版画艺术节－日本当代版画和战后50年世界脚步”（横滨美术馆，横滨，1995）
公共收藏：大英博物馆（英国）、维多利亚阿尔伯特博物馆（英国）、阿什莫林艺术与考古博物馆（英国）、苏富比艺术学院（英国）、欧洲木版画基金会（英国）、纽约公立图书馆（美国）、福冈美术馆（日本）、维也纳青年美术馆（奥地利）、中国美术馆（北京）、上海美术馆（上海）、广东美术馆（广州）、浙江美术馆（杭州）、江苏省美术馆（南京）、苏州博物馆（苏州）、深圳美术馆（深圳）、关山月美术馆（深圳）、青岛美术馆（青岛）、德基美术馆（南京）
Chen Qi was born in Nanjing in 1963. He graduated from the Fine Arts Department of Nanjing Art Institute in 1987 with a bachelor's degree. He graduated from the Fine Arts Department of Nanjing Art Institute in 2006 with a doctorate degree. Chen Qi is currently working as a professor and the Deputy Dean of Graduate School of CAFA (Central Academy of Fine Arts), the associate director of Printmaking Art Committee of China Artists Association, and the researcher of Printmaking Department of China National Academy of Painting. Selected Solo Exhibitions: "Renewal & Coexistence: Chen Qi" (Amy Li Gallery, Beijing, 2019), “Imprint · Plurality - Solo Exhibition of Chen Qi” (Asia Art Center, Beijing, 2018), “The Time of Chen Qi 1983 - 2016” (Shanghai Peninsula Art Museum, Shanghai, 2016), “The Notation of Time - Exhibition of Chen Qi's Art” (National Museum of China, Beijing, 2013), “Chen Qi Woodcuts” (Oriental Museum, Durham University, Durham, UK, 2008), “Woodblock Prints by Chen Qi” (National Art Museum of China, Beijing, 1993) Selected Group Exhibitions: “Mountain House of Sliced Stones: Artworks of Shen Qin & Chen Qi” (Asia Art Center, Beijing, 2021), “The Moving Utopia” (798 Art Factory, Beijing, 2020), “A Tribute to Tradition - The Exhibition of Contemporary Paper Art Words” (Today Art Museum, Beijing, 2020), “Pavilion of the P.R of China at the 58th International Art Exhibition - La Biennale di Venezia” (Venice, Italy, 2019), “Right Place Right Time” (Asia Art Center, Beijing, 2019), “Shanghai International Printmaking Exhibition 2017” (China Art Museum, Shanghai, 2017), “Shen Qin & Chen Qi: Zero Degree” (Asia Art Center, Taipei, 2016), “Chinese Modern Watermark Print Document Exhibition” (China Printmaking Museum, Shenzhen, 2016), “Artworks by Shen Qin & Chen Qi” (Asia Art Center, Beijing, 2015), “Print in the Post-Print - The 1st CAA (China Academy of Art) Printmaking Biennial” (CAA Art Museums, Hangzhou, 2015), “The Twelfth National Exhibition of Fine Arts” (National Art Museum Of China, Beijing, 2014), “Being Here - 2013 Prints by the League of Chinese Printmaking Studios” (Jiangsu Art Museum, Nanjing, 2013), “Water · Print · Impression - International Woodblock Print Invitation Exhibition” (Suzhou Art Museum, Suzhou, 2012), “View of the City - International Print Invitation Exhibition” (Shanghai Art Museum, Shanghai, 2011), “Revival of Tradition - Chinese Contemporary Art Exhibition” (Museum of Contemporary Art in Frankfurt, Frankfurt, 2009), “Kanagawa International Print Festival - The Contemporary Prints of Japan and the World-Steps in Post War - 50 years” (Yokohama Museum of Art, Yokohama, 1995) Collections: British Museum (UK), Victoria and Albert Museum (UK), Ashmolean Museum (UK), Sotheby's Institute of Art (UK), The Muban Foundation (UK), New York Public Library (USA), Fukuoka Art Museum (Japan), Museum of Young Art (Austria), National Art Museum of China (Beijing), Shanghai Art Museum (Shanghai), Guangdong Museum of Art (Guangdong), Jiangsu Art Museum (Jiangsu), Zhejiang Art Museum (Hangzhou), Guan Shanyue Art Museum (Shenzhen), Shenzhen Art Museum (Shenzhen), Qingdao Art Museum (Qingdao), Suzhou Art Museum (Suzhou)
。
郑东贤，韩国籍建筑师，1972年生于首尔，拥有中日韩文化背景。PLAT ASIA总裁，联合创始人，东京大学博士，美国绿色建筑资格认证专家。于韩国汉阳大学获硕士学位，2008年获得东京大学博士学位；2010年与合伙人在北京共同创办PLAT ASIA。他致力于当代东方建筑的实践与研究，在设计中挖掘日渐消弭的东方文化精髓，糅合中日韩的学习工作背景，基于当代的设计手法和语境，在东方文化观，自然观，建筑观的积淀下做设计。坚持为下一代而设计的理念，做面向未来的东方建筑。近年研究方向包括建筑与自然的共生对话，“虚亭” 概念的建筑实践，东方建筑新源点与新未来的探寻，东方空间美学的体验与精神性感知。
项目：宏兴海边会所（秦皇岛，中国，2021），庐山西海艺术中心（九江，中国，2020），都江堰森林度假酒店（成都，中国，2020），深圳音乐学院概念设计（深圳，中国，2020），广州设计周希洛展厅（广州，中国，2020），春沐源湖畔街区（河源，中国，2020），海氏国际集团北京办公室（北京，中国，2019），阿那亚槐树林餐饮会所（森海·隐泉）（秦皇岛，中国，2018），金山岭马术中心（承德，中国，2018），喀拉峻观景平台（伊犁，中国，2018），渭河景观展望亭（西安，中国，2017），峦美术馆（承德，中国，2017），千峡湖洲际酒店（丽水，中国，2017），沈阳蓝海文化中心（沈阳，中国，2012）
获奖：KUKAN Design Awards, Selected works（东京，日本，2020），金堂奖 · 中国室内设计年度评选，年度最佳餐饮空间设计（深圳，中国，2019），中国设计权力榜100，设计与艺术融合奖（北京，中国，2019），REARD地产星设计大奖，铜奖（上海，中国，2018），金腾奖，年度最佳餐厅空间设计（北京，中国，2018），地产建筑师大会，年度杰出建筑师（上海，中国，2018），CREDAWARD第四届地产设计大奖·中国，金奖（上海，中国，2018），A’DESIGN AWARD & COMPETITION, SILVER WINNER（意大利，2018），ICONIC AWARDS，BEST OF BEST（德国，2017），GERMAN DESIGN AWARD，WINNER（德国，2017），世界建筑师大会，100 Architects of The Year 2017（韩国，2017），入围中国建筑学会建筑创作奖（公共建筑类）（中国，2016）
。
Donghyun JUNG is the president and co-founder of PLAT ASIA, and he got a Phd. degree from The University of Tokyo. He comes from a mixed background of East Asian culture. After he graduated from Hanyang University, he received a postgraduate scholarship from the Japanese government and furthered his study with a Doctor’s Degree in The University of Tokyo. In 2010, together with his co-partners, Dr. Jung established PLAT ASIA. Dr. Jung endeavors to the eastern architectural practice and research, and explores the gradually disappeared essence in oriental culture, blending to the east Asian background in the study and work experiences. Based on contemporary design means and contexts, he design with eastern culture values, nature values, and architecture philosophy. He keep the ideas designing for the next generation, build for eastern architecture for the future. His research recently focuses on the mutualism dialogue in nature and architecture, the “XUTING” concept in architectural practice, approach to new direction from the unknown origin in eastern architecture, the experience of space aesthetics, and spiritual feelings in the orient.
Projects: Hongxing seaside club/retreat (Qinhuangdao, China, 2021), Lushan Xihai Art Center (Jiujiang, China, 2020), Dujiangyan forest resort hotel (Chengdu, China, 2020), Shenzhen Music Academy Concept Design (Shenzhen, China, 2020), CIVRO Exhibition Hall in Guangzhou design week (Guangzhou,China, 2020), Chunmuyuan Lakeside commercial zone(Heyuan, China, 2020), Hyperion International Group Beijing Office (Beijing, China, 2019), Aranya forest dining club (Shinkai Hatsune )(Qinhuangdao, China, 2018), Jinshanling Riding Club (Chengde, China, 2018), Karajun landscape terrace (Yili, China, 2018), Weihe River landscape Pavilion (Xi’an, China, 2018), Ridge Museum (Chengde, China, 2017), Qianxiahu Intercontinental hotel (Lishui, China, 2017), Shenyang Lanhai cultural center (Shenyang, China, 2012)
Awards: KUKAN Design Awards, Selected work (Tokyo, Japan, 2020), Jintang Prize, Best restaurant design of the year (Shenzhen, China, 2019), China Design Power 100, Blend of design and art (Beijing, China, 2019), REARD Design Awards, Bronze (Shanghai, China, 2018), Jinteng Award, Best restaurant design of the year (Beijing, China, 2018), The conference of real estate architects, outgoing architect (Shanghai, China, 2018), CREDAWARD, golden winners (Shanghai, China, 2018), A’Design Award & Competition Silver winner (Italy, 2018), Iconic Awards, Best of Best (German, 2017), German design awards, Winner (German, 2017), 26th World congress of architects, 100 Architects of the Year (Seoul, Korea, 2017), Chinese Architects Association Architecture Design Award, longlist (China, 2016)
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