展名 / Title: 静音——陈焰 · 郭健濂作品展
Tranquility: Artworks by Chen Yan & Guo Jianlian
艺术家 / Artists: 陈焰 Chen Yan、郭健濂 Guo Jianlian
展期 / Duration: 2021.11.6 (Sat) - 2022.1.30 (Sun)
开幕 / Opening: 2021.12.11 (Sat) 3pm
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
✦✦✦
高世名
（中国美术学院院长、浙江省美术家协会主席）
幻象并不纯粹处于想象的一边，相反，只有通过幻象，我们才能够接近现实，它只是我们获得“现实感”的框架。一旦我们的基本幻象破碎了，我们就会体验到“丧失现实”。这个展览的主题是“静音”，从字面上让我想到约翰 · 凯奇的《沉默》。
海德格尔说“寂静并非单纯的无声”，寂静的背后是无数声音碎片与日常生活史丝丝缕缕的交织。似乎唯有在寂静处才能听到存在的回声，在当代人的生存状况中，那是存在破碎的声音。凯奇的“沉默”是对这个世界声场的无声的抗议，因为“语言破碎之处无物存在”。沉默内置于人类的语言和音乐之中，是所有话语和声响成为可能的基础。然而，在现代大都市永无止境的嘈杂声场中、在社交媒体的众语喧哗中，沉默作为一种聆听经验，已经永久地失却了。发生、传送、复制、混响、叠加……无休无止，声音不再开始于沉默，也不会在沉默中消失。声音已经无法回归沉默，只能在其他的话语和声响中转义、离散。 或许，这就是“静音”的理由。在这幽暗的展厅中，两位艺术家以绘画的方式，构造起视觉的低语和残响，为了让沉默与寂静、让世界的幽蔽再次现身。 零时空间之幽光 Midnight Space - Dim Light
▲ 零时空间之幽光（局部） Midnight Space - Dim Light (Detail) Window of the Night - Entanglement No.2 The Gapped Classical Gardens - Eye of the Moth郭健濂的《夜窗》系列，描绘的是幽暗中的绚丽，绚丽中的空华，空华中的疏离与寂寞。对于现实和世界的疏离感，是现代主义惯常的主题，无论是文学中的卡夫卡还是绘画中的爱德华·霍珀。在现代性经验中，艺术家似乎很自然、很轻易地将自我与世界隔离开来，形成自我隔绝的个体，一座座世界之夜中的孤岛。他们独坐一隅，看世界如空里乱花，缘起缘灭。 夜窗之烟花 Window of the Night - Fireworks▲ 春浮园之二（局部） Chunfu Garden No.2 (Detail）然而，郭健濂的疏离中却有着一份别样的喧哗与躁动。他所钟爱的“夜窗”以及“卷帘”，既是对于世界的隔离与遮挡，又是窥视世界的中介，更是画家凝视和描绘的对象本身。“窗” 与“帘”都是区隔与遮蔽的中介物，但画家却竭尽所能地消除它们对空间的区分与阻隔。窗的内与外、帘的前与后，都被同一种挥洒与写意统一在绘画平面上。画面上最触目的，反而是那大面积的颜料刮痕——这种异质性的视觉元素除了画家创作时的趣味和快感，还构成了一种奇特的物质景观，一种突兀的形式，经营出当代绘画自我拆解的幻象，因而具有了某种悖谬的意味——唯有在绘画之蔽藏中，现实方能得以示现。 许多年过去，艺术界依然难以摆脱一种流俗的观点，认为随着摄影的出现，绘画对现实性的承诺即再现变得不再有效。画家们挖空心思地寻觅摄影无法抵达的现实之境，如同人类千方百计要抵达“月之背面”。毕竟，一百五十年之前所谓“绘画的真实”，在二十一世纪已然成为一个老套的现代神话。此刻，陈焰以直截了当的方式面对当代绘画在现实与幻像、对象与本体之间的两难。她将绘画和摄影的虚幻争执悬置起来，直接面对形与影、遮蔽与显现这些更具体也更本质的问题。她抛开熟悉的画笔与画布，直接在银盐胶片上刻画出幽灵般的风景，或者说，风景的幽灵。 秋分青林 Qinglin Cave in Autumn Equinox Silver Gelatin Engraving, Lightbox Installation在我们惯常的经验中，摄影似乎是“时间的琥珀”，可以将逝去的时光封存起来。然而， 摄影本身又是发生在时间中的一个事件，摄影的源初命名——光之书写，召唤出它内在的时间性。在摄影内在的时间性中，光之书写以及对世界的记忆共同成就了一个“时间的剧场”。这一切都发生在胶片这一薄薄的遮挡物上。黑色光洁的银盐胶片，不但遮蔽，而且隐藏。陈焰在银盐胶片的表面刻画出风景，那风景既像塞尚晚年对空间构造的反复推演，又如同黄宾虹瞑目时光里的浑茫一片。陈焰刻画出的风景虚弱而迷离，如同逆光蝉翼；那是一种回忆和觉知，一份在时间中潜滋暗长、反复打磨的心事。默默惛惛的记忆，在光洁漆黑的银盐胶片之刻画中，转化为腐蚀消磨的岁月痕迹，成就一场幽梦之影、光之遗迹。
Silver Gelatin Engraving, Lightbox Installation Silver Gelatin Engraving, Lightbox Installation ▲ 息羽听经（局部）Enlightenment (Detail)
保罗·瓦雷利很早就发现，柏拉图的“洞穴比喻”所描述的其实是一个巨大的暗箱——我们 所身处其中的这个世界，只不过是上帝眼中的一张负片。艺术所创造的，不过是这世界暗箱中的一些观看、一些记忆。因这观看和记忆，画家们从世界之夜中召唤出一个个凝望之客体。画布上的反复添加，胶片上的不断刻画，常常是为了在遮蔽中的示现。那通过遮蔽的示与现，影影绰绰，浑茫有味。这是一个从“幽冥”到“幽明”的过程，在此过程中，那在光之凝视中被莫名召唤回来的记忆，凝成一张张图像。而在那光亮之外，在黑暗的更加盛大的凝视中，世间万物再一次变得神秘、伤感起来。Tranquility, Appear in the Shadow (Dean of China Academy of Art, Chairman of Zhejiang Arts Association)
Illusion is not purely on the side of imagination. On the contrary, only through illusion can we get close to reality. It is only a framework for us to obtain a sense of reality. Once our basic illusion is broken, we will experience the "loss of reality".The theme of this exhibition is "Tranquility", which literally reminds me of John Cage's book entitled "Silence".
Heidegger said that "silence is not simply lack of sound." Behind the silence is the interweaving of countless sound fragments and the history of daily life. It seems that the echo of existence can only be heard in a quiet place. In the living conditions of contemporary people, it reflects on the sound of broken existence. Cage's "silence" seems as a silent protest against the world's sound field, because "nothing exists where the language is broken." Silence is built into human language and music, making all words and sounds become the basis for possible. Nevertheless, in the endless noisy sound field of modern metropolises, and in the clamor of social media, silence as a listening experience has been permanently lost. Occurrence, transmission, reproduction, reverberation, superposition... endlessly, the sound no longer starts in silence, nor does it disappear in silence. The voice can no longer return to silence, it can only be escaped and separated in other words and sounds. Perhaps it is a reasonable interpretation for "tranquility". In this gloomy exhibition hall, the two artists use painting methods to construct visual whispers and reverberations, in order to let the silence and the seclusion of the world reappear. Guo Jianlian's "Window of the Night" series depicts the splendor in the gloom, the emptiness in the splendor, and the alienation and loneliness in the emptiness. The sense of alienation between reality and the world is the usual theme of modernism, whether it is Kafka in literature or Edward Hopper in painting. In the experience of modernity, the artist seems to isolate the self from the world naturally and easily, forming self-isolated individual, as an island in the night of the world. They sit in a corner, observing the sky, origin and demise in the world. Nevertheless, Guo Jianlian's estrangement enriches a different kind of noise and restlessness. "Window of the Night" and "Rolling Curtain" are not only isolation and shielding of the world, but also an intermediary for peering into the world, as well as the object that painter gazes at and paints. Both "windows" and "curtains" are intermediaries for partitioning and sheltering, but the painter does his best to eliminate their distinctions and barriers to space. The inside and outside of the window and the front and back of the curtain are unified on the painting plane by the same sway and freehand brushwork. The most eye-catching picture is the large area of paint scratches. This heterogeneous visual element, in addition to the painter's fun and pleasure in his creation, also constitutes a peculiar material landscape. An abrupt form manages the illusion of contemporary painting's self-dismantling, which has a certain paradoxical meaning, that is, only in the hiding of paintings can reality be revealed.
被隔除的园林之五 The Gapped Classical Gardens No.5
夜窗之浮事 Window of the Night - Floating
For many years, the art world still finds it difficult to get rid of a popular view that with the advent of photography, painting’s commitment to reality, which means that representation becomes no longer effective. Painters are digging their heads to find the reality that photography can't reach, just as human beings do everything possible to reach the "back of the moon." After all, the so-called "truth of painting" a hundred and fifty years ago has become an old modern myth in the 21st century. At this moment, Chen Yan confronts the dilemma between reality and illusion, object and ontology in contemporary painting in a straightforward manner. She suspended the illusory dispute between painting and photography, and directly faced the more specific and essential issues of form and shadow, concealment and appearance. Putting aside the familiar brushes and canvases, she directly portrayed the ghostly landscape, directly on the silver salt film. High Mountain and Distant Water No.2 Silver Gelatin Engraving, Lightbox InstallationIn our usual experience, photography seems to be the "amber of time", which can seal up the elapsed time. However, photography itself is an event that takes place in time. The original name of photography is the writing of light, which summons its inherent temporality. In the inherent temporality of photography, the writing of light and the memory of the world together create a "theater of time". All this happens on the thin occluder of film. The black and clean silver salt film not only conceals, but also hides it. Chen Yan portrayed the landscape on the surface of the silver salt film. The landscape was like Cezanne's repeated deduction of the space structure in his later years, which also seems like the vastness of Huang Binhong's light in works. The scenery painted by Chen Yan is weak and blurry, like a backlit cicada's wings; it is a kind of memory and awareness, a mind that grows darkly and repeatedly in time. The silent and dreadful memory is transformed into the traces of corrosion and eroding years in the smooth and dark silver salt film, creating a shadow of a dream and a relic of light. 苏轼的一天之四至之六 One Day of Su Shi No.4-6 Silver Gelatin Engraving, Lightbox InstallationPaul Varelli discovered early on that what Plato’s "Allegory of the Cave" describes is actually a huge black box: the world we live in is just a negative in the eyes of God. What art creates is just some observations and memories in the dark box of this world. Because of this observation and memory, painters conjure objects of gaze from the night of the world. The repeated additions on the canvas and the continuous depiction on the film are often for the purpose of showing in concealment. The display and appearance through obscuration is vast and tasteful. This is a process from “darkness” to “brightness”. In this process, the memories that have been inexplicably summoned in the gaze of the light are condensed into images. Beyond the light, the darkness seem more grand. As I stared, everything in the world became mysterious and woeful again.October 21, 2021 in Beijing
关于艺术家
About Artists
陈焰，1970年生于杭州，1989年毕业于中国美术学院附中；1993年毕业于中国美术学院油画系，获学士学位；2002年毕业于中国美术学院油画系，获硕士学位；2009年毕业于中国美术学院油画系，获博士学位。2000-2001年获中国青年油画人才奖项公派留学俄罗斯列宾美术学院。2012年美国加州艺术学院访问学者。现为中国美术学院教授、综合绘画系主任、当代综合绘画研究所所长。现工作、生活于杭州。
重要展览：“静音——陈焰 · 郭健濂作品展”（亚洲艺术中心，北京，2021），“杭州模式——山水城市综合绘画展”（良渚文化艺术中心，杭州，2021），“湖 · 山——综合绘画创作研究展”（三尚当代艺术馆，杭州，2020），“第十三届全国美术作品展暨第三届中国美术奖作品进京作品展”（中国美术馆，北京，2019），“世界的面包艺术展”（马泰拉石窟展览中心，马泰拉，意大利，2019），“Paper Exchange——纸张交换”（卡迪夫湾艺术中心，威尔士，英国，2019），“2019上海城市空间艺术季：丝路上的中国当代艺术展”（上海虹庙艺术中心，上海，2019），“形象的链接——中国美术学院油画双年展”（上海油画雕塑院美术馆，上海，2018），“素描即意图——具象表现绘画素描展”（中国美术学院美术馆，杭州，2017），“非常西湖——2016/2017影像西湖艺术现场”（中国美术学院美术馆，杭州，2017），“在意——第三届中国油画双年展”（中国美术馆，北京，2016），“伦敦——中国当代纸本绘画展”（Waterfront画廊，伦敦，英国，2016），“碎现实——2016OCAT西安馆冬季展” （OCAT西安馆，西安，2016），“纸 · 上——2016当代艺术邀请展”（关山月美术馆，深圳，2016），“最绘画——第二届中国青年油画作品展” （中国美术馆，北京，2015），“首届中国综合材料绘画双年展”（宁波美术馆，宁波，2015），“可见之诗——中国油画风景作品展”（鲁台艺术中心，潍坊，2014），“此在的绘画——中国具象表现绘画二十年展”（中华艺术宫，上海，2014），“我们在绘画中——中国油画国美之路展”（中国美术学院美术馆，杭州，2014），“视象的凝聚——法国·中国具象表现绘画特展”（上海美术馆，上海，2012），“Made in China: Ming to Mass Market”（旧金山大学美术馆，旧金山，美国，2012）， “五谷杂粮——中国当代实验艺术展”（中国美术学院美术馆，杭州，2008），“日本埼玉国际当代艺术邀请展” （埼玉县现代美术馆，埼玉，日本，2008），“艳色记录——当代女性艺术家邀请展”（关山月美术馆，深圳，2007），“重庆立场——中国当代艺术大展”（中国三峡博物馆，重庆，2007），“形形色色——浙江青年油画家提名展”（浙江展览馆，杭州，2006）， “浙江省第十一届美术作品展“（浙江展览馆，杭州，2004），“北京青年油画艺术人才大选作品展”（俄罗斯艺苑，北京，2000），”中国女美术家作品展”（中国美术馆，北京，1995），“第二届中国油画展”（中国美术馆，北京，1994），“第八届全国美术作品展”（中国美术馆，北京，1994），“中国油画双年展”（中国美术馆，北京，1993），“第三届中国体育美展”（中国美术馆，北京，1993），“当代青年美术家百人邀请展”（中国美术馆，北京，1993） 获奖：“第六届浙江省青年美展优秀作品奖，2015”、“第十二届全国美术作品展获奖提名，2014”、“第五届浙江省青年美术作品展优秀奖，2011”、“北京中国青年油画人才大选作品展，获金奖，2000”、“浙江青年油画家提名展，获学术奖，2006”、“中国女美术家作品展，获优秀奖，1995”、“第九届浙江省美术作品展，获优秀奖，1994”、“第三届中国体育美展，获浙江省三等奖，1993”
Chen Yan was born in 1970, Hangzhou. Chen was graduated from the Affiliated High School to China Academy of Art in 1989, she later graduated from China Academy of Art, Department of Oil Painting. Chen proceeded to obtain a Master’s degree in 2002 and a PhD in 2009. During her study, she was awarded gold metal in the Chinese Youth Oil Painting Artists Award. With government sponsorship from 2000 to 2001, she was enrolled in Saint-Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I.E Repin, Russia. In 2012, she was a visiting scholar at the California Insititute of Arts, U.S.A.. Chen Yan is now Professor, Master's Supervisor and Chief of the Department of Comprehensive Painting in China Academy of Art. She currently works and lives in Hangzhou. Significant Exhibitions: “Tranquility: Artworks by Chen Yan & Guo Jianlian” (Asia Art Center, Beijing, 2021), “Hangzhou Mode - City of Lakes & Mountains: Comprehensive Painting Exhibition” (Liangzhu Center of Arts, Hangzhou, 2021), “Lakes & Mountains: An Exhibition of Comprehensive Painting” (The Contemporary Art Gallery of Sanshang, Hangzhou, 2020), “The 13th National Exhibition of Fine Arts & The 3rd Chinese Fine Art Awards, Collection of Works Exhibited in Beijing” (National Art Museum of China, Beijing, 2019), “Paper Exchange” (Bay Art Gallery, Cardiff, UK, 2019), “Bread of the World Art Exhibition” (Dali Matera - La persistenza degliopposti, Italy, 2019), “Shanghai Urban Space Art Season - Chinese Contemporary Art on the Silk Road” (Shanghai Hong Miao Art Center, Shanghai, 2019), “Connection of Images - Biennale of Oil Paintings at China Academy of Art” (SPSI Art Museum, Shanghai, 2018), “The Unusual West Lake - The 1st Art Scene of West Lake Photo Exhibition” (China Academy of Art Art Museum, Hangzhou, 2017), “Sketching is Intention - Figurative Expressionism Sketching Exhibition” (China Academy of Art Art Museum, Hangzhou, 2017), “Significant Presence - The 3rd Chinese Oil Painting Biennale” (National Art Museum of China, Beijing, 2016), “On The Paper - 2016 Contemporary Art Invitational Exhibition” (Guanshanyue Art Museum, Shenzhen, 2016), “Puzzles - 2016 OCAT Xi’an Winter Exhibition” (OCAT Xi’an, Xi’an, 2016), “London - Chinese Contemporary Paper-based Art Exhibition” (The Waterfront Gallery, London, UK, 2016), “Artist - The 2nd Chinese Youth Oil Painting Exhibition” (National Art Museum of China, Beijing, 2015), “The 1st China Comprehensive Material Painting Biennale” ((Ningbo Museum of Art, Ningbo, 2015), “Living Though Painting” (China Academy of Art Art Museum, Hangzhou, 2014), “Imagery in Poetry - Chinese Landscape Oil Paintings Exhibition” (Art Center of Lutai, Weifang, 2014), “Painting of Being-there: 20 Years of Figurative Expressionist Painting in China” (China Art Museum, Shanghai, 2014), “Made in China, Ming to Mass Market” (Art Gallery of University of San Francisco, U.S.A., 2012), ”The Forging of Visions - French/Chinese Figurative Expressing Painting Exhibition” (Shanghai Art Museum, Shanghai, 2012), “Contemporary Experimental Art of China” (China Academy of Art Art Museum, Hangzhou, 2008), “2008 CAF Exhibition” (Museum of Modern Art, Saitama, Japan, 2008), “Bright Color Recording - Invited Exhibition of Contemporary Female Artists” (Guanshanyue Art Museum, Shenzhen, 2007), “Chongqing Standpoint - The Contemporary Art Exhibition of China” (China Three Gorge Art Museum, Chongqing, 2007), “Forms & Colors - Zhejiang Young Oil Painters Nominating Exhibition” (Zhejiang Exhibition Hall, Hangzhou, 2006), “The 11th Zhejiang Province Art Exhibition” (Zhejiang Exhibition Hall, Hangzhou, 2004), “China Oil-Painter Contest of Youth” (Russian Cultural Center, Beijing, 2000), “Excellent Works Prize of the China Female Artists Exhibition of the 4th World Women Conference” (National Art Museum of China, Beijing, 1995), “The 2nd Oil Painting Exhibition of China” (National Art Museum of China, Beijing, 1994), “Zhejiang Art Exhibition of the 8th National Art Exhibition” (National Art Museum of China, Beijing, 1994), “China First Biannual Exhibition of Art” (National Art Museum of China, Beijing, 1993), “The 3rd Sport-in-Art Exhibition of Zhejiang” (National Art Museum of China, Beijing, 1993), “Hundred Contemporary Young Artists Invitation Exhibition” (National Art Museum of China, Beijing)
Awards:Outstanding Work Award of the 6th Zhejiang Youth Art Exhibition, 2015Award Nominations for the 12th National Art Exhibition, 2014Excellence Award of the 5th Zhejiang Youth Art Exhibition, 2011 Excellent Works Prize at the Zhejiang Youth Art Exhibition, 2006Gold Prize at the China Oil-Painter Contest of Youth, 2000 Excellent Works Prize of the China Female Artists Exhibition of the 4th World Women Conference, 1995Excellence Award of the 9th Zhejiang Province Art Exhibition, 1994The 3rd Prize of Sport-in-Art Exhibition of Zhejiang, 1993
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郭健濂，1977 年生于福建莆田，毕业于中国美术学院油画系。2000 年获学士学位，2003 年获硕士学位，2008 年获博士学位。现为中国美术学院油画系副教授、硕士研究生导师，美术学博士。中国美术学院油画系第四工作室主任。现工作、生活于杭州。
重要个展：“内与外——郭健濂作品展”（光达美术馆，杭州，2018），“艺术杭州：网·景——郭健濂作品展”（杭州和平会展中心，杭州，2009）
重要群展：“静音——陈焰 · 郭健濂作品展”（亚洲艺术中心，北京，2021），“中国美术馆学术邀请系列展：江南有约——中国美术学院油画11人展”（中国美术馆，北京，2021），“新西湖——多维表现绘画艺术展”（震旦博物馆，上海，2020），“一带一路——国际美术工程作品展”（中国美术馆，北京，2020），“‘西湖：突破常规’——新西湖&新莱比锡绘画”（EIGEN+ART 画廊，柏林，德国，2019），“2019 上海城市空间艺术季：丝路上的中国当代艺术展”（上海虹庙艺术中心，上海，2019），“第十二届中国艺术节全国优秀美术作品展”（中华艺术宫，上海，2019），“精神 · 图式——首届中国写意油画双年展”（吉林艺术学院美术馆，长春，2019），“最绘画——第三届中国青年油画作品展”（内蒙古美术馆，呼和浩特，2018），“中国精神——第四届中国油画进京展”（中国美术馆，北京，2018），“写意中国——古代文明与当代社会：中国国家画院油画院专题研究展”（中国美术馆，北京，2018），“江南如画——中国油画作品展”（苏州美术馆，苏州，2017），“素描即意图——具象表现绘画素描展”（中国美术学院美术馆，杭州，2017），“另一种视野——绘画语言研究展”（北京时代美术馆，北京，2016），“中华史诗美术大展”（中国国家博物馆，北京，2016），“可见之诗——第二届中国油画风景作品展”（十笏园美术馆，潍坊，2016），“中国精神——第四届中国油画展：心象——当代中国油画的表现性研究展”（中国油画院美术馆，北京，2015），“最绘画——第二届中国青年油画作品展”（中国美术馆，北京，2015）， “同行——2014 美术馆联合大展：此在的绘画——中国具象表现绘画二十年”（中华艺术宫，上海，2014），“我们在绘画中——中国油画国美之路”（中国美术学院美术馆，杭州，2014），“第十二届全国美术作品展览油画作品展”（浙江美术馆，杭州，2014），“悦色青黄——快速转换中的人性：中国当代百位优秀中青年艺术家赴欧美艺术联展”（摩尔美术馆，伦敦，英国；矶帕萨迪纳展览馆，洛杉矶，美国，2013），“视象的凝聚——法国·中国具象表现绘画特展”（上海美术馆，上海，2012），“视觉之象——艺术现象学研究展”（中国美术学院美术馆，杭州，2011），“人文江南——吾土吾民油画邀请展”（浙江美术馆，杭州，2011），“中国油画名家研究展”（岭南美术馆，东莞，2011），“形形色色——浙江省青年油画家提名展”（浙江展览馆，杭州，2006），“重叠——浙沪当代绘画艺术展”（浙江展览馆，杭州，2005），“维诗凯亚之春——当代中法艺术沙龙” （上海维诗凯亚，上海，2005），“‘218’第一回当代绘画艺术展”（杭州红星文化大厦，杭州，2004），“‘视觉的方向’邀请展”（杭州印象画廊，杭州，2002）
获奖: “最绘画——第二届中国青年油画作品展获佳作奖，2015”、“浙江省第六届青年美术作品展获优秀奖，2015”、“同心塑美——浙江省第十三届美术作品展览获优秀奖，2014”、“浙江省群星奖——浙江省青年油画家提名展获学术奖，2006”
Guo Jianlian, was born in Putian, Fujian Province, China. Guo graduated from Oil Painting Department, China Academy of Art (CAA) with Bachelor's Degree in 2000, Master's Degree in 2003, and Doctor's Degree in 2008. He is currently a Vice Professor and mentor for post graduates of CAA. He currently works and lives in Hangzhou. Significant Solo Exhibitions: “Inside & Outside - Guo Jianlian's Solo Exhibition” (Guangda Art Museum, Hangzhou, 2018), “Net·Scene - Guo Jianlian's Solo Exhibition” (The 2nd Art Expo, Hangzhou, 2009) Significant Group Exhibitions: “Tranquilty: Artworks by Chen Yan & Guo Jianlian” (Asia Art Center, Beijing, 2021), “National Art Museum of China Academic Invitation Series Exhibition: Have an Appointment - Oil Painting Exhibition of 11 Artists of China Academy of Art” (National Art Museum of China, Beijing, 2021), “New West Lake” (Aurora Museum, Shanghai, 2020), “The Belt and Road: International Art Project Exhibition” (National Art Museum of China, Beijing, 2020), “Westlake” (Galerie EIGEN+ART, Berlin, Germany, 2019), “Shanghai Urban Space Art Season - Chinese Contemporary Art on the Silk Road” (Shanghai Hong Miao Art Center, Shanghai, 2019), “The 12th China Art Festival National Outstanding Artworks Exhibition” (China Art Museum, Shanghai, 2019), “Spirit & Schema - The 1st Chinese Freehand Brushwork Oil Painting Biennale” (Jilin University of Arts Art Museum, Changchun, 2019), “The Upmost Paintings - The 3rd Chinese Youth Oil Paintings Exhibition” (Inner Mongolia Art Museum, Huhhot, 2018), "Chinese Spirits - The 4th Chinese Oil Painting Exhibition in Beijing” (National Art Museum of China, Beijing, 2018), “Chinese Freehand Style: Ancient Civilization and Contemporary Society” (National Art Museum of China, Beijing, 2018), “Southern Yangtse - 2017 China Oil Painting Exhibition” (Suzhou Art Museum, Suzhou, 2017), “Sketches is the Intentions - Figurative Paintings and Sketches Exhibition” (China Academy of Art Art Museum, Hangzhou, 2017), “Another Vision - Research Exhibition on the Visual Language” (Times Art Museum, Beijing, 2016), “The Visible Poetry - The 2nd Chinese Landscape Oil Paintings Exhibition” (Ten Shaku Art Museum, Weifang, 2016), “Chinese Civilization History Theme Art Project” (National Museum of China, Beijing, 2016), “Chinese Spirits - The 4th Chinese Oil Painting Exhibition: Image in Heart - Contemporary Expressing Study Exhibition for Chinese Oil Paintings” (Museum of Chinese Oil Painting Institute, Beijing, 2015), “The Upmost Paintings: The 2nd Chinese Youth Oil Paintings Exhibition” (National Art Museum of China, Beijing, 2015), “Painting of Being-there: 20 Years of Figurative Expressionist Painting in China” (China Art Museum, Shanghai, 2014), “Living Through Painting” (China Academy of Art Art Museum, Hangzhou, 2014), “The 12th National Fine Art Exhibition, the Oil Painting Exhibition” (Zhejiang Art Museum, Hangzhou, 2014), “Blue & Yellow - Swift Transitions of Self: A Joint Exhibition of Contemporary Chinese Art by close to One-hundred Emerging Chinese Artists Showing in London and New York” (Mall Galleries, London, UK; Los Angeles Pasadena Visitors Center, Los Angeles, U.S.A., 2013), “The Forging of Visions - French/Chinese Figurative Expressing Painting Exhibition” (Shanghai Art Museum, Shanghai, 2012), “Images to Configurations” (China Academy of Art Art Museum, Hangzhou, 2011), “Migrating Modern - Oil Painting in the Literati Tradition” (Zhejiang Art Museum, Hangzhou, 2011), “Study Exhibition for Chinese Famous Painters” (Lingnan Fine Arts Museum, Dongguan, 2011), “Forms & Colors - Zhejiang Young Oil Painters Nominating Exhibition” (Zhejiang Exhibition Hall, Hangzhou, 2006), “Overlapping - Contemporary Painting Exhibition of Zhejiang & Shanghai” (Zhejiang Exhibition Hall, Hangzhou, 2005), “The Spring of Viscaille - Contemporary Sino-France Art Salon” (Shanghai Viscaille, Shanghai, 2005), “218: The 1st Contemporary Painting Exhibition” (Hangzhou Hongxing Culture Building, Hangzhou, 2004), “Visual Direction Invitational Exhibition” (Hangzhou Image Gallery, Hangzhou, 2002) Awards:The Upmost Paintings, The 2nd Chinese Youth Oil Paintings Exhibition, The Grand Prize, 2015The 6th Youth Fine Art Exhibition, Zhejiang Province, Excellent Prize, 2015Hearts to Shape the Beauty: The 13th Fine Art Exhibition of Zhejiang Province, Excellent Prize, 2014The Star Prize of Zhejiang Province: The Young Artists of Oil Paintings Nominating Exhibition, Academic Prize, 2006编辑 / Editor：冉云琪 Seraph Ran
正在展出 Current Exhibitions
亚洲艺术中心（北京）《静音——陈焰·郭健濂作品展》
亚洲艺术中心（台北）《My Secret Garden》
广东美术馆（广州） 《山高水长 心曲万端——李可染、李玉双父子艺术对话展》
宁波美术馆（宁波）《世界是方的——桑火尧境象主义艺术展》
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