Artist: Han Dong

Director: Chen Jiu

Venue: 2F-3F, Zhu Qizhan Art Museum, Shanghai

Co-host: Renke Art Gallery

Renke is pleased to present "Reflection of Heaven", the exhibition of new works by Han Dong, on view at Zhu Qizhan Art Museum Shanghai, from Jun 18 to Jun 28, 2015.  For more than 2 decades, the subject of Han Dong’s painting kept some coherence, such coherence is obvious and won’t vary by material or medium. The subject is about “the ways of representation of the world’s existence”. From an ordinary day-to-day object to a very abstract image with a series of succinct brush strokes.

 

 

HAN DONG

 

 

 

 

1958, born in Dafeng, Jiangsu;

1986, graduated from Crafts Department from Nanjing Academy of Fine Art

Currently lives and works in Yangzhou, Jiangsu.

 

Solo Exhibitions

 

2016, Ordinary Objects, HIVE Center for Contemporary Art

2015, Memorandum, Renke Art Gallery, Hangzhou 

2014, Color of Emptiness and Shadow of Ink, curated by Chen Xiaoxin, Renke Art Gallery, Hangzhou;

2013, Tune like a Dream – Chapter Two, Gengsi Art Museum, Nanjing;

2012, Consciousness and Absolute Mind, OFOTO Gallery, Shanghai;

1999, Body Fable: Han Dong’s Painting, Nanjing Classic Auction House, Nanjing;

1993, first solo exhibition was held in Nanjing Academy of Fine Art Museum;

 

Group Exhibitions

2013, Nowhere to Rest: Jiangsu Contemporary Art Research Exhibition, Zhejiang Art Museum, Hangzhou;

2012, Depart from Nanjing: Exhaustion and Extension Exhibition, Sanchuan Modern Art Museum, Nanjing;

2012, The Sun: Contemporary Art Exhibition, OFOTO Gallery, Shanghai;

2009, Yi Pai – Century Thinking Art Exhibition, curated by Gao Minglu, Today Art Museum, Beijing;

2007, Journey to the West Art Exhibition, curated by Zuo Jing, Kunstraum Noe Niederösterreichische Museum, Vienna Austria;

2007, Chinese Version Modern Art Exhibition, curated by Chen Xiaoxin, Today Art Museum, Beijing;

2006, Poetic Realism: A Reinterpretation of Jiangnan Exhibition, RCM Art Museum, Nanjing;

2003, Chinese Art Today exhibition, China Millennium Monument, Beijing;

2000, Back to the Start, Aura Gallery, Shanghai;

1997, painting Clean Hands was selected in Chinese Contemporary Oil Painting Exhibition, Shanghai;

1997, Marginal Vision Second Exhibition, Beijing Contemporary Art Museum, Beijing;

1996, Marginal Vision: the First Exhibition of Jiangsu Young Artists, Jiangsu Provincial Art Museum, Nanjing;

1995, painting Inside Sandalwood Room was selected in the third Chinese Oil Painting Exhibition, China Museum of Art, Beijing;

1992, 1st Guangzhou Art Biennale (oil painting section), won the third prize;

1990, painting Listening to Qin was selected in Chinese Art Exhibition in Hongkong;

1986, 1st  Lacquer Painting Exhibition in China, won the Award of Excellence.

 

 

 

FOREWORDS

Text/Wu Liang 

 

 

Han Dong sticks to the old tradition, he made reasonable connections among several traditions in the last twenty years. Han Dong loves reading for his passion, not for thorough understanding, he focuses on the main idea rather than constrained by details. As Edward Said described, no matter how much wisdom ancient Greeks and Egyptians had, it won’t be sufficient for us to understand everything in the world. Moreover, there are things out of the world, beyond he world and after the world. Knowing the impossibilities but still making the effort, still eager for knowledge, under many circumstances, we can only wait for the unpredictable revelation with curiosity and imagination. For Han Dong, a concept can inspire a painting, every time you read brings inspiration, by patient waiting and smooth unhindered hardworking, the artist gains enlightenment from an enchanted scene or even a daily object. 


 

For more than 2 decades, the subject of Han Dong’s painting kept some coherence, such coherence is obvious and won’t vary by material or medium. The subject is about “the ways of representation of the world’s existence”. From an ordinary day-to-day object to a very abstract image with a series of succinct brush strokes, e.g. in his painting Forenoon, the stool leans against the wall, the courtyard is open, the sunshine is bright, the shadow of the stool reflected on the white wall is the visual center of the painting: a concrete stool needs some accidental shades to prove its existence, the shadow is not the object itself, it is a reflection.

 

 

 

  

 

RALATED LINKS

 

 

www.artohe.com/

exhibit.artron.net/exhibition-34918.html 

news.cang.com/infos/201506/407129.html

www.qinghua211.com/meishuzhanlan/2015-05-27/8141.html

www.sohu.com/a/19765871_114351

www.dangdaiyishu.com/app/13-view-10532.shtml

www.artlinkart.com/cn/exhibition/overview/0b2dxAsj

www.zgbigart.com/info_xx.aspx

www.hiart.cn/exhibition/detail/159iwso.html 

 

 

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