9. 3 - 6 Booth B11
탕 컨템포러리 아트(Tang Contemporary Art)는 Ai Weiwei, Andres Barrioquinto, Diren Lee, Etsu Egami, Gongkan, Jigger Cruz, Jonas Burgert, Julio Le Parc, 우 국원(Woo Kukwon), Wu Wei, Yue Minjun, Zhao Zhao, Zhu Jinshi등 13명의 명성 높은 현대 예술가들의 최신 작품을 전시합니다. 예술가의 시각으로 현재를 담은 작품들을 통해 그들의 예리한 감각과 창의력을 몸소 느껴보시기 바랍니다.
Ai Weiwei 아이 웨이웨이
1957년생, 중국 베이징
Ai Weiwei는 회화, 영화, 전시기획 등 전 방위적으로 활동하는 예술가이며 지정학적 세계 현상에 공감할 수 있도록 강렬한 예술적 표현을 사용하는 것으로 유명합니다. 그는 건축에서 그림, 설치미술, 다큐멘터리까지, 관객이 사회와 사회적 가치에 대해 고찰할 수 있는 새로운 표현 방법으로 다양한 미디어를 활용합니다.
최근의 전시로는: RAIZ, OCA 전시 공간, Ibirapuera 공원, 상파울로(São Paulo), Belo Horizonte 브라질 문화 센터, 리오데자네이로, 브라질 문화 센터 2019; Bare Life, Kemper 미술관, 워싱턴 대학교, 워싱턴D.C. 미국, 2019; Resetting Memories, MUAC 박물관, 멕시코, 2019; Life Cycle, Marciano 아트재단, L.A. 미국, 2019; Refutation, 탕 컨템포러리 아트, 홍콩, 2018; Wooden Ball, 탕 컨템포러리 아트, 홍콩, 2015; Inoculation 부에노스아이레스Proa 재단; Good Fences Make Good Neighbors Public Art Fund, 뉴욕; Ai Weiwei on Porcelain 이스탄불 Sakip Sabanci 박물관; Ai Weiwei: Trace at Hirshhorn Hirshhorn 박물관 및 조각 공원, 워싱턴 D.C.; Maybe, Maybe Not 이스라엘 박물관, 에루살렘; Law of the Journey 프라하 국립 갤러리 및 Ai Weiwei; Libero Palazzo Strozzi, Florence 등이 있습니다. (파란색은 작품명)
Ai Weiwei는 2019년 예술가 부문에서 ‘GQ Magazine Men of the Year’ 를 수상하였으며 그의 가장 큰 규모인 전시물 ‘Raiz’ 또한 The Art Newspaper의 2019년 방문자 설문조사에서 단일 예술가로서 최상의 순위를 차지하였습니다.
Andres Barrioquinto 안드레스 바리오퀸토
1975년생, 필리핀 마닐라
Andres Barrioquinto는 필리핀 마닐라에 거주하는 비주얼 아티스트입니다. Santo Tomas대학교(UST) 순수예술 및 디자인 학부에서 회화를 전공한 그의 작품은 싱가포르 미술박물관 같은 중요 기관에서도 수집되고 있습니다. 최근 그의 작품은 아크릴과 오일을 세밀하게 두드려 가라앉힌 상태에서 형상을 재현해 내는, 독특한 형태의 초현실주의 초상화입니다. 그의 작품은 꽃, 새, 나비, 그리고 일본 에도시대부터 전해오는 전통문화인 목판 무늬 ‘우키요에’ 등으로 차분하게 표현하기도 하지만 그의 이전 스타일인 어두움 또한 새로운 작품에 여전히 남아 있습니다. Barrioquinto의 덧칠한 무늬의 아름다운 이미지들과 아시아 문화를 다양하게 차용한 신비로운 이미지들이 역동적으로 배치돼 폭넓은 해석을 가능하게 함으로써 아시아뿐 아니라 전 세계 비평가들의 관심을 불러일으키고 있습니다.
Diren Lee 이수연
Diren Lee는 한 종류의 작품으로는 세상을 온전히 그려낼 수 없다고 생각합니다. 때문에 그녀는 새로운 시리즈를 이전의 작품과 혼합하고 재구성하여 독창적으로 창조해냅니다. 또한 고통을 치유하기 위해 만들어낸 내면세계는 그녀만의 독특한 상징이 되어 신화와 동양 사상에 대한 동경을 묘사하기도 합니다. 더욱이 그녀는 등장인물의 삶과 호흡을 표현하고 인물에 생기를 불어넣기 위해 모든 작품을 붓 하나로 그려냅니다. 한국의 많은 기업들과 협업해 디자인 제품을 선보이는 그녀는 대중과 미술 애호가들로부터 사랑을 받고 있으며 최근에는 미국과 유럽 등지에서도 많은 관심을 받고 있습니다.
Diren Lee는 꿈을 통해 의식을 분석한 후 그것을 캔버스에 담는데, 그녀의 꿈 속 캐릭터들은 정신적 에너지의 일부가 되어 ‘존재’의 의미를 강조하는 피조물로 표현됩니다. 그녀는 깊이 감추어진 콤플렉스를 꿈과 무의식의 해석을 통해 노출시키며 내면의 상처를 분석하는 데 집중합니다. 그러므로 그녀의 작품은 상처 치유의 실패, 혹은 정신적 외상을 극복해가는 치열한 시간의 여정이기도 합니다. 이를 통해 Diren은 우리가 고통을 이겨내는 과정 자체를 아름답고 달콤한 열매라 해석하며 그것들을 연약하고 편안한 색으로 표현합니다. 따라서 그녀의 작품은 그녀가 전하는 위안의 포옹이자 관객들과의 따뜻한 눈 맞춤이기도 합니다.
b. 1994, Tokyo, Japan
Etsu Egami graduated with a B.F.A. from the Central Academy of Fine Arts , CAFA specializing in Oil Painting in 2016. She graduated with an M.F.A. at CAFA under the mentor of artist Liu Xiao Dong and studied in HFG in Germnay. She is now in New York dispatched as talented artist by Agency for Cultural Affairs, Japan Government. Etsu Egami currently lives and works between Tokyo and New York.
Growing up in United States and Europe, and currently living and working in China, Etsu Egami experienced various communication barriers she encountered as a result. She felt that languages can “only be sensed, not explained”, thus becoming more interested in the discipline of language and communication. Etsu’s works comprise of various media forms, such as voice, video and drawings, through which she strives to question human’s instincts and the authenticity of communication. Curator of Pompidou art center Julie said about her , “I saw all these specificities as a source, not only of misunderstanding, but also of creation and richness in people’s relationships. ”. Chinese curator Feng Bo Yi also said “Etsu’s creation is about the concept and the significance of ‘communication’. Through the paintings and videos which embodies these mishearing games, as well as the evolution of times, the clashes between civilizations, we acquire a discourse on the barriers in language communications, and subsequently even trigger a crisis.”
Selected solo exhibitions include ”Etsu Egami: Rainbow”, Whitestone Gallery Karuizawa, Japan, 2022; “Etsu Egami: In a Moment of Misunderstanding, All the Masks Fall”, Tang Contemporary Art, Beijing, 2021; “RAINBOW- ETSU EGAMI”, Whitestone gallery Taipei, Taipei, 2021; “Face book- EGAMI ETSU”, ChambersFineArt, New York, USA, 2021; “Entrance Gallery Vol.1 Egami Etsu”, Chiba City Museum of Art, Chiba, 2020, etc. Most recently she is nominated as Forbes 30 UNDER 30 in 2020 and finalist of Asian Art Prize of Sovereign Art Foundation in 2019.
b. 1989, Thailand
Graduated from Kasetsart University Laboratory School in 2007 and from Silpakorn University, Faculty of Decorative Arts, in 2011, Kantapon Metheekul, better known as Gongkan, currently works and resides in Bangkok, Thailand. After graduating from Silpakorn University, the artist moved to New York City, where he spent 3 years working in the creative departments of advertising agencies. In his spare time, he created street art and illustrations centered on the idea of him being transported through time and space to his homeland. His work, which he named “Teleport Art”, gained notoriety in the New York street art scene and later in Bangkok. The element of time is a predominant concept in Gongkan’s paintings: surrealistic canvas, populated by human figures, realized with graphic flat strokes. By presenting different visions of the present times or rewriting the past, the artist creates alternate realities in the process.
His selected and recent solo exhibitions include: “Tip of the Iceberg”, Over the Influence, Los Angeles, 2021; “Yestertedaytomorrow”, River City Bangkok, Bangkok, 2019; “Teleport to Taiwan”, Taipei, 2019; “Black Area”, Funstown, Beijing, “Street Art with First Street Green Art Park”, New York City, United States, 2018; “The Another Dimension”, Siri House, Singapore, 2018; Selected group exhibitions include: “Vogue HOPE” by Vogue Magazine, Siam Center, Bangkok, Thailand, 2020; “Wonder Forest: Asian Illustration”, Powering Art Center, Xiamen, China, 2019; “Asia Illustration Fair”, Power Long Museum, Shanghai, China, 2019; “Lucid Exhibition”, Seoul, South Korea, 2016; “The Warmest Winter”, New York City, United States, 2016.
b. 1984, Malabon City, Manila, Philippines
Jigger Cruz graduated with a Bachelor of Fine Arts at the Far Eastern University, Manila and also trained at the De La Salle College of Saint Benilde before pursuing a full-time career as a painter. The artist has been listed in international auction houses around the world, and has exhibited in both solo and group shows locally and internationally, from the Philippines to Thailand, Indonesia, Singapore, Japan, Germany, Switzerland, France, Italy, Austria, and the United States. His work can be found in multiple public collections, including The Dikeou Collection, Denver, CO, USA; Guggenheim Museum, NY, USA; Saatchi Collection, London, UK; and Zabludowicz Collection, London, UK.
Cruz’s art practice is characterized by his idea to play with defacement and vandalization, making use of oil colour, spray paint and rough interventions directly on the canvases, which are sometimes burned and, in some cases, even cut. Each artwork is created by the artist from a canvas previously painted, where he copied the Flemish and Post-Renaissance masters. Apparently, without a logical scheme, Cruz applies layer by layer the dense oil colour, not only hiding, but rather mystifying the classical backdrop. In this way, the artist explores, through his artworks, the deep relationship between the canvas and its meaning, past and present, figuration and abstraction. The figures of the classical paintings that transpire below, remind the viewer of the painstaking pictorial activity and the art historical baggage of the contemporary painter.
b. 1969, Berlin, Germany
Jonas Burgert paints a stage every time that he lifts his brush: with every stroke, with every composition. His works depict the inexhaustible theatre play that Burgert considers to be human existence: man’s need to make sense of his purpose in life. It is a quest that seems inconclusive, but which opens doors to every sphere of reasoning, imagination and desire. Oversized canvases are crowded with fantastical figures of different proportions. Jonas Burgert graduated from the Academy of Fine Arts, Berlin, in 1996 and consecutively studied for a postgraduate title , Meisterschueler under Professor Dieter Hacker in Berlin.
Since 1998, his work has been on view in numerous group shows around the world, including Geschichtenerzaehler at Hamburger Kunsthalle, Hamburg , 2003, and Triumph of Painting Part VI at London’s Saatchi Gallery , 2006. Since 2006 Burgert’s work has been on view in solo exhibitions around the world, including: bluht und lugt, Long Museum, Shanghai , 2021; Blindstich, Tang Contemporary Art, Beijing, China , 2020; Sinn frisst, Arp Museum Bahnhof Rolandseck, Germany , 2020; Ein Klang Lang, Tang Contemporary Art, Hong Kong, China , 2019; ZEITLAICH, Blain|Southern Berlin, DE , 2017; Schutt und Futter, Hannover Kestnergesellschaft, Hannover, DE , 2013; Jonas Burgert: Lebendversuch, Kunsthalle Tübingen, DE , 2010 - 2011; Jonas Burgert: Hitting every head, Haunch of Venison, London, UK , 2009 and Jonas Burgert: Enigmatic Narrative, Victoria H. Myhren Gallery, University of Denver, US , 2008. Public collections include Long Museum, Shanghai; Burger Collection, Hong Kong; Denver Art Museum, US; Rubell Family Art Collection, US and Taguchi Art Collection, Japan.
Julio Le Parc
b.1928, Mendoza, Argentina
Considered as a pioneering figure in association to Op Art and Kinetic Art, Julio le Parc specializes in large sculptural installations and paintings, in which both genres epitomize the artist’s manipulation of rich, often primary, colors and geometric shapes to construct illusionary spaces. These spaces subsequently guide the audiences’ viewpoint across his works, representing and directing ‘movement’ – a concept hallmark to le Parc and is continually experimented with by the artist.
Beginning as one of the leading figures of the Groupe de Recherche d’Art Visuel (GRAV) since the 1960s, Julio le Parc received in 1966 the Grand Prize in Painting at the 33rd Biennale di Venezia, Venice. Le Parc has produced countless celebrated artwork series, including Sphere Rogue, Modulations, Mobile, Alchimie, La Longue Marche, and more. Le Parc’s recent exhibitions include: “Julio le Parc”, Kaiser Wilhelm Museum, Germany, 2022; “Julio le Parc: Kuboa”, Tabakalera, Spain, 2020; “Julio le Parc: Colour and Colours”, Perrotin Gallery, New York, 2020; “Julio Le Parc & Osgemeos”, Fortes D’aloia & Gabriel, Brazil, 2019; “Julio le Parc: Light - Mirror”, Galerie Perrotin, Hong Kong, 2019.
Le Parc’s works are also collected worldwide including in Havana, Düsseldorf, Montevideo, Caracas, Asunción, Mexico City, Stockholm, Berlin, Madrid, Barcelona, Santiago de Chile, and Porto Alegre.
우 국원 Woo Kukwon
b.1976, South Korea
Woo Kukwon currently lives and works in Seoul. His work focuses on the gap between reality and fantasy, working mainly with oil paints as well as drawings on paper and installations.
Woo was exposed to the heavy subject of life and death at a far too early age, pushing him to hide away from reality and into the fantasy-filled story world. After growing up, he discovered the cruelty hidden behind seemingly beautiful fairy tales, making him re-interpret the world from a new perspective driving him to investigate philosophy and religion. In the same vein, the Three “B” (Beautiful, Baby, Best) always coexist with the death motif in his works. The equivocal co-existence of reality and fantasy called upon the artist to seek truth in fairy tales, humour in philosophy and freedom in the bible.
Woo's early works mainly consisted of roughly scratched paintings, expressing the raw dangers of a wandering ego. His more recent works evolved into a more stable form expressed through the build-up of thick layers of paint into a rich material. Woo Kukwon's work combines cruel fairy tale scenes and roughly scribbled famous words with his natural gift of colour, creating a unique genre that mixes Pop Art and Figurative Art.
Woo is a promising artist who was selected as one of the 20 artists for the 32nd JoongAng Fine Arts Prize, which is one of Korea's most important awards. He has held numerous solo exhibitions since 2009. His art piece has been collected at Culture Convenience Club, a Japanese company that operates Tsutaya, a nationwide bookstore in Japan. Furthermore, his paintings have been collected at various museums in Korea, such as the National Museum of Modern and Contemporary Art, Seoul National University Museum of Art, etc.
Selected Solo Exhibitions include "Woo Kukwon Solo Show", Lee Eugean Gallery,2014; "REDEEMED", Gallery BK, 2017, "Querencia", PYO Gallery,2018; "Art Plage", Lotte Gallery, 2018; "Third Time Lucky", Gallery BK, 2018; "JEREMIAH WAS A BULLFROG", Lotte Gallery, 2020 etc. Selected Group Exhibitions include "Moa Invite", Seoul National University Art Museum; "Korea Tomorrow", Seoul Arts Center, 2013 and "Story Shower", Kolon Space K Museum, 2015 etc.
b. 1981, Zhengzhou, Henan Province, China
In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing. Wu's works are full of sensual desires, involving topics of civilization, barbarism, and mythology, looking for new feelings and possibilities in materials and space. The artist cuts and restructures the paper, presenting furry textures. The ‘beastly pattern’ and certain kind of ‘godly creature’ with a vivid colour appear in parts, or interchangeable forms, and present new meaning with the pure, abstract formal elements. The artist contemplates and investigates contemporary culture consistently, resulting in symbolism in his works.
He won the 6th Anniversary Award for the New Artists Space Award in 2015, and won the 3rd New Star Art Festival Art Award in 2012. He participated in an international art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art , Beijing, Bangkok; Whitebox Art Center, Beijing, Power Station of Art, Shanghai, Art Museum of Nanjing University of the Art, Beijing Minsheng Art Museum, Ichihara Lakeside Museum, Chiba, Japan, Leonard Pearlstein Gallery, Philadelphia, U.S.A, Asian Library, University of British Columbia, Vancouver, Canada, XC. HuA Gallery, Berlin, Germany, Migrant Bird Space, Berlin, Germany, FLUC Art Space, Vienna, Austria and many other art institutions; public collections include Minsheng Modern Art Museum, Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Foundation and other institutions.
b. 1962, Daqing, Heilongjiang Province, China
Yue Minjun is one of the leading figures of Chinese contemporary art and internationally renowned artist. He currently lives and works in Beijing, China. Yue Minjun had been creating this exaggerated “Self-image” since the beginning of the 1990s. And in recent years, this image has been used in the field of sculpture and printmaking. Sometimes “it” appears independently, or collectively. “It” closes its eyes and laughs grinningly; with dramatic gestures and confidence.
He became the cover story of Time magazine in 2007, and nominated as one of the “Person of the Year 2007 - People Who Mattered”, on the list of the five award winners, there were Putin, Barack Obama and Hilary Clinton etc., Yue Minjun was the only Chinese, and only artist who had been nominated, Time described Yue Minjun as: “If you think China has a close relationship with the current and future status of the world, then this is the man to paint China”.
On the other hand, Yue Minjun’s artworks have been collected by domestic and foreign art institutions, galleries and museums. For example, San Francisco Museum of Modern Art, Denver Art Museum, The Culture Centre of Francois Mitterrand, Busan Museum of Art, Guangdong Museum of Art, Shenzhen Art Museum and other important institutions have all brought Yue’s works into their permanent collections.
Since participated in the 48th Venice Biennale in 1999, Yue had been invited as one of the regular contemporary Chinese artists in every Venice Biennale, which demonstrates his profound artistic contribution, and his distinctive artistic characteristics have established the non-negligible importance in contemporary Chinese art and the world stage.
Selected Exhibition include ”Yue Minjun in Gwangju”, Gwangju Art Museum, Gwangju, Korea, 2022; ”Yue Minjun: Smile at the Flower Sermon”, Tang Contemporary Art, Hong Kong, China.
b.1982, Xinjiang, China
Zhao Zhao graduated from the Xinjiang Institute of the Arts in 2003 and later attended the Beijing Film Academy. Now he is regarded a significant figure among the young Post-80s generation of contemporary Chinese artists – Zhao Zhao’s work is often associated with anti-authoritarian or non-conformist tendencies, renowned for confronting existing ideological structures and exercising the power of individual free will in his work.
His recent solo exhibitions include “A Long Day”, Macau, China; “Parallel Affinity”, Tang Contemporary Art, Seoul, Korea, 2022; “City of Sky”, Tang Contemporary Art, Bangkok, Thailand, 2022; “Zhao Zhao”, Long Museum, Shanghai, China; “Zhao Zhao”, Tang Contemporary Art, Beijing, 2021; “White”, Tang Contemporary Art, Beijing, 2020; “Green”, Song Art Museum, Beijing, 2019; “In Extremis”, Tang Contemporary Art, Beijing, 2018; “One Second · One Year”, Tang Contemporary Art, Hong Kong, China, 2018; “Desert Camel”, Tang Contemporary Art, Beijing, China, 2017; “Desert Below A Constellation in the Sky”, Tang Contemporary Art, Beijing, China, 2017; Project Taklamakan in Xinjiang, Tang Contemporary Art, Hong Kong, China, 2017; “Zhao Zhao”, Tang Contemporary Art, Beijing, China, 2016; A Sense of Security, Tang Contemporary Art, Hong Kong, China, 2016.
His recent group exhibitions include Echo Among Geographies, Tang Contemporary Art, Hong Kong, 2020; AND NOW. The second decade of the White Rabbit Collection, White Rabbit Gallery, Sydney, 2020-2021; A Fairy Tale in Red Times: Works from the White Rabbit Collection, NGV, Melbourne, Australia, 2019; In Extremis – Art Basel Hong Kong Encounters Project, Tang Contemporary Art, Hong Kong, 2019; Islands, Constellations and Galapagos, The Sixth Edition of the Yokohama Triennale, Yokohama, 2017, The Exhibition of Annual of Contemporary Art of China 2016, Beijing Minsheng Art Museum, Beijing, 2017, Post-sense Sensibility: Trepidation and Will, Shanghai Ming Contemporary Art Museum, Shanghai, 2017, Post-sense Sensibility: Trepidation and Will, Beijing Minsheng Art Museum, Beijing, 2016, Everyday Legend, Minsheng Art Museum, Shanghai, 2016; Spirit, PAC PADIGLIONE D‘ARTE CONTEMPORANEA, Milan, 2015; ZERO TOLERANCE, MoMA PS1, New York, 2014.
His provocative, multidisciplinary artistic practice has garnered him international attention in recent years with critically-acclaimed exhibitions across China, North America and Europe as an ‘artist to watch’. In 2017, the artist won the “Young Artist of the Year” of AAC, Award of Art China.
b. 1954, Beijing, China
Zhu Jinshi produces abstract paintings whose surfaces are built up with thick, near-sculptural layers of oil paint. Resembling colorful landscapes, Zhu’s images range in palette and scale, but the artist is known to always apply his oil paint with spatulas and shovels. Producing dense lashings of color, the artist’s method recalls the style and techniques espoused by the German Expressionists, who Zhu was profoundly influenced by during his years living in Berlin. Zhu belonged to a group of Chinese avant-garde artists named the Stars, which formed in 1979 to challenge aesthetic conventions and exhibit their work publicly.
Zhu Jinshi is a pioneer of Chinese abstract art and installation art. At present, he lives and works in Beijing. Zhu’s major solo exhibitions include Accidental Aesthetics, Tang Contemporary Art, Seoul , 2022; Li Bai’s Snow, Tang Contemporary Art, Hong Kong , 2020; “Wood · Character” , 2020, Fusion Art Center, Beijing, China; The Ship of Time / Rejecting River Currents , 2018, Tang Contemporary Art, Beijing, China; Zhu Jinshi , 2016, Yuan Art Museum, Beijing, China; Performance in Paint: Zhu Jinshi , 2015, Inside-Out Art Museum, Beijing, China. His major group shows include “TRILOGY OF CONTEMPORARY ART IN CHINA: The Scar” , 2020-2021, Busan Museum of Art, Busan, Korea; “AND NOW. The second decade of the White Rabbit Collection” , 2020-2021, White Rabbit Gallery, Sydney; “Ways of Working: Artists’ Time, Space and Body” , 2020, One Art Museum, Beijing; The Allure of Matter: Material Art from China , 2019, Los Angeles County Museum of Art, Los Angeles, USA；Abstract and Beyond—The Research Exhibition of Abstract Art in China , 2016, Minsheng Art Museum, Shanghai, China; 28 Chinese , 2013, The Rubell Family Collection, Miami, USA; The 5th Shanghai Biennale: Hyper Design , 2006, Shanghai Art Museum, Shanghai, China; Orient/Ation, 4th International Istanbul Biennial in Turkey , 1995, Istanbul, Turkey; Chinese Avant-Garde Art , 1993, Palace of World Culture, Berlin, Germany; The 2nd Xing Xing , Stars Group Exhibition , 1980, National Art Museum of China, Beijing, China.
Zhu Jinshi’s works have been collected internationally by notable public and private collections：Allison and Warren Kander, USA; Asian Art Museum of San Francisco, San Francisco, USA; Basma Al Sulaiman Museum of Contemporary Art, Saudi Arabia; Brooklyn Museum, New York, USA; Busan Museum of Art, South Korea; Dean Valentine Collection, USA; Delphine Arnault, France; Deutsche Bank, Germany; East West Bank, USA; Fubon Art Foundation, Taipei, Taiwan; Inside-Out Art Museum, Beijing, China; Mario Testino, UK; Minsheng Museum, Shanghai, China; M+ Museum for Visual Culture, Hong Kong, China; National Museum of Contemporary Art, Seoul, South Korea; Picasso Foundation, Málaga, Spain; Rubell Family Collection, Miami, USA; Song Museum, Beijing, China; The Guangdong Museum of Art, Guangzhou, China; The Schaufler Collection, Sindelfingen, Germany; The National Gallery of Victoria, Melbourne, Australia; Today Art Museum, Beijing, China; Vancouver Art Gallery, Vancouver, Canada; Wall Art Gallery, Beijing, China; White Rabbit Collection, Sydney, Australia.