Exhibition time:2018.4.7-2018.6.15

Opening time:2018.4.7PM 15:30

Exhibition address: No. 1,Zhongshan North Road, Hangzhou

Renke Art Gallery is very honored to present Nan Tian Jade Color Exhibition-Nanqi  & Tian WeiNew-Modernism Ink-Painting. This exhibition is curated by Dr. Xia Kejun, and will present the recent year research outcome of artists Nanqi and Tian Wei in attempt to respond to questions, including what the value of ink and wash is in the present time. Does ink art end? Do ink and wash still have the potential of modernity? The paradox of ink and wash situation starts when it seems to end, and maintains the meaninglessness of nihilism, and reactivates natural elements of the ink? If the ink and wash still have the possibility of rewriting aesthetic modernity, and restating "Neo Modernism", what is the core value of it?


Nan Qi 


1960 Born in Yongkang City, Zhejiang Province, China.1986 Graduated from the Chinese painting Course at People’s Liberation Army Fine Arts Academy, Beijing. Currently Lives and works in Songzhuang Art District, Beijing. Full-time artist and member of the Chinese Artists’ Association. Solo Exhibitions

2017 “Ink.Dot.Pop the Art of Nan Qi Exhibition”, The LUXE Art Museum, Singapore

2016 “Art Home: Power of Dots” Private Viewing Exhibition. Basel, Switzerland.

2015 “What's In A Dot? NanQi's Post-Pop Experiment”,  G-Dot Art Space,  Midtown Pop, HongKong  

“Retrospective Show Of Nan Qi : The New Era Of Chinese Ink ”, The Luxe Art Museum, Singapore 

“Nan Qi Contemporary Ink Exhibition”, Art Plural Gallery, Singapore

“Art Car: Car, Power, Sex” Pop-Up Exhibition, Green Art Asia, Hong Kong

2014 “Source Point: Nan Qi Contemporary Ink Exhibition”, Shanghai Dingyi Fund

2013 “Power. Sex. Money. A Solo Exhibition by Nan Qi”, Art Plural Gallery, Singapore

2012 “London 2012: China Art Exhibition”, Royal Academy of Art, London

2011 “Digital Ink Images: Art by Nan Qi” , Shanghai Art Museum, Shanghai “Eerie 3-D: 3-D Ink Fine Art by Nan Qi”, G-Dot Art Space, Songzhuang, Beijing 2006 “Ink and Sex Series: Works by Nan Qi”, Yisulang  Art Gallery, Singapore 1998 “Landscape and Seascape: Nan Qi Ink Painting Exhibition”, Hong Kong Arts Centre, 

Hong Kong 1997 “Ink Paintings by Nan Qi”, Xianggena Gallery, Shanghai 1989 “Landscape Paintings by Nan Qi”, National Museum of Art (Confucius Temple), Beijing

Group Exhibitions2017 Art Basel 2017 HK, Alisan Fine Arts Limited,HK

2016 “Being and Inking: Documenting Contemporary Ink Art(2001-2016)”. Redtory Museum of 

Contemporary Art. Guangzhou, China 

 “Figures in Ink Painting”. Art Museum, Nanjing Normal University. Nanjing, China.

 “Annual Review Exhibition of China Contemporary Ink Painting 2015-2016”. Today Art Museum. Beijing, China. 

“The 9th International In Art Biennale of Shenzhen: New Chinese Painting vs. New Ink Painting”. Guan Shanyue Art Museum. Shenzhen, China.

“In Retrospect 2016: Contemporary Ink and Wash Exhibition”. G-Dot Gallery. Beijing, China.

2015 “Like / Not Like. Contemporary Ink Exhibition”, Wuhan Art Space, Wuhan

“Exhibition of Fine Artworks of Contemporary China”, Chinese Culture Tour to South Asia, India Habitat Centre, New Delhi and Bangladesh National Museum, Dhaka

2014 “Western Clouds and Eastern Language: Chinese Contemporary Art Research Exhibition”, Wuhan Art Museum, Wuhan

“Ethereal Dimness: New Water Ink Research Series”, Avant-Garde Contemporary Art Centre, Nanjing

“In Retrospect: Contemporary Ink Exhibition”, Art Space 21, Shanghai

“Freehand Chinese Ink: Contemporary Chinese Ink Painting Nomination Exhibition”, 

2013 “Water and Ink Methods: Chinese Academic Invitational Exhibition”, Today Art Museum, Beijing

“Re-Portrait: The 2013 Hall Three Official 1 Art Exhibition”, Hubei Museum of Art, Hubei

“Ink and Wash Articles: The Creation of Cultural Context”, Wuhan Art Museum, Wuhan

“Freehand Cina: Mostra Degli Artisti Nominati Cina Contemporanea Dei Quadri Ad Inchiostri”, Casa Dei Carraresi in Italia, Treviso, Italy

“Way: Contemporary Ink Art Exhibition”, Mingyuan Art Museum, Shanghai

 “Re-Ink: Invitational Exhibition of Contemporary Ink and Wash Painting 2000-2012” Invitational Exhibition, Today Art Museum, Beijing

 “In Retrospect: An Exhibition of Works by Nan Qi, Cai Guangbin, and Zhang Quan”, G-Dot Art  Space, Songzhuang, Beijing

“Re-History: Chinese Contemporary Art Invitational Touring Exhibition”, Shenzhen Art Museum, Shenzhen; G-Dot Art Space, Beijing; Today Art Museum, Beijing "New Dimensions in Ink·1st Nomination Exhibition of Chinese Contemporary Ink", National Museum of Art, Beijing

2012 Contemporary International Art Fair Miami. “Re-History: Chinese Contemporary Art Invitational Touring Exhibition”, Shenzhen Art Museum, 

Shenzhen; G-Dot Art Space, Beijing; Hubei Art Museum, Hubei 2011 Art Beijing 2011 Contemporary Art Fair, Chinese Agricultural Exhibition Centre, Beijing 2010 4th Beijing International Art Biennale, National Museum of Art, Beijing China International Gallery Expo, China World Trade Center, Beijing Art Beijing 2010 Contemporary Art Fair, Chinese Agricultural Exhibition Centre, Beijing Beijing Biennale 2010, Caochangdi Art Gallery, Beijing “Through History” Contemporary Art Invitational Exhibition, G-Dot Art Space, Songzhuang, Beijing 2009 “Historical Image” Chinese Contemporary Art Exhibition, Shenzhen Art Museum, Shenzhen; Hubei Contemporary Art Gallery, Hubei China International Gallery Expo, China World Trade Center, Beijing Art Beijing 2009 Contemporary Art Fair, Chinese Agricultural Exhibition Centre, Beijing 2008 3rd Beijing International Art Biennale, National Museum of Art, Beijing “Songzhuang Life” Autumn Exhibition, Songzhuang Art Centre, Beijing “Catharsis” Invitational Exhibition, LDX Gallery, Beijing “Ink/Not Ink” Chinese Contemporary Ink Painting Invitational Exhibition, Shenzhen Art Museum, 

Shenzhen; Today Art Museum, Beijing; Kimmel Center for the Performing Arts, Philadelphia, USA 6th Shenzhen International Ink Painting Biennale, Shenzhen Art Museum, Shenzhen “Asia in Harmony” 23rd Asian International Art Exhibition, City Art Museum of the Guangzhou 

Academy of Fine Arts, Guangzhou “Contemporary Figurative Chinese Ink Painting Invitational Exhibition”, Mingyuan Art Center, 




“Art Beijing 2008 Contemporary Art Fair”, Chinese Agricultural Exhibition Centre, Beijing “Chinese Desires: Li Jin, Wu Yi, Nan Qi”, The Luxe Art Museum, Singapore 2007 3rd Chengdu Biennale, Contemporary Art Museum, Chengdu The 2nd Invitational Exhibition of the Songzhuang Ink Painters Society, Songzhuang East Arts 

Centre, Beijing2006 2nd “Exhibition of Chinese Art Today”, National Museum of Art, Beijing “Contemporary Ink” Invitational Exhibition, Songzhuang East Arts Centre, Beijing “Ink and Sex” Invitational Exhibition, A.R.T. Gallery, Beijing “Waves: Contemporary Chinese Ink and Wash Methods”, Tianjin Academy of Fine Arts, Tianjin “Chinese Ink and Wash Documenta 1976-2006”, Nanjing National Museum, Nanjing 2005 2nd Beijing International Art Biennale, National Museum of Art, Beijing “Extreme Brushwork: Leading Fine Arts Ink and Wash Invitational Exhibition, Today Art Museum, 




2004 “New Expressionist” Chinese Ink Painting Invitational Exhibition 2004, National Museum of 

Art, Beijing2004 4th Shenzhen International Ink Painting Biennale: Ink/Wash and the City, Shenzhen Art Museum, 

Shenzhen “New Works by Six New Expressionist Chinese Painters”, Yisulang Art Gallery, Singapore 2003 1st Beijing International Art Biennale, National Museum of Art, Beijing “New Expressionist” Chinese Ink Painting Invitational Exhibition 

2003, Yan Huang Art Museum, Beijing2002 3rd Shenzhen International Ink Painting Biennale: Ink/Wash and the City, Guan Shanyue Museum, 

Shenzhen2000 2nd Shenzhen International Ink Painting Biennale: Ink/Wash and the City, Guan Shanyue Museum, 

Shenzhen1990 “Exhibition of Chinese Paintings by Liu Dawei and Nan Qi”, Changfugong Arts Centre, BeijingAwards2003 “The 2nd Golden Award Exhibition of Chinese Art” Excellence Award, Chinese Federation of 

Literature, Yanhuang Art Museum, Beijing 2002 “European International Fine Arts Exchange” Contribution Award, Rotterdam, Netherlands 2000 “Hong Kong, Taiwan and Macau 2000 Art Exhibition” Best Work Award, City University, Hong Kong 1999 “The 9th Chinese National Art Exhibition” Excellence Award, National Museum of Art, Beijing 1996 “19th Japanese International Art Exhibition” Special Association Award, Ginza Art Museum, Tokyo, Japan

1988 “Great Wall Exhibition” Second Prize, National Museum of Art, Beijing 1987 “Celebratory Exhibition for the 60th Anniversary of the People’s Liberation Army” Excellence Award, 

National Museum of Art, Beijing Publications 2012 “Nan Qi: Contemporary Ink Painting”,  Catalogue for the China Art Exhibition, Royal Academy of Art, 


London, UK2011 Cover Story, Oriental Art: Master. March 2011. Issue 225 2011 Cover Story, Oriental Art: Chinese Painting. November 2011. Issue 242 2009 Cover Story: “City Index”, Map Magazine. June 2009. Issue 96 2009 Cover Story: “Nan Qi: Speaking from a Bottle of Red Wine”, Loft Art. October 2009. Vol 9. No. 102009 “Conjunction of East and West: Ink and Wash Works by Nan Qi”, Exhibition Catalogue 2008 Cover Story: “Nan Qi”, Asian Art News. Aug 2008. Vol 18. No. 4 2007 Cover Story, Guohua Dajia. December 2007. Issue 9 2006 Cover Story, Art Guide. Issue 3. Beijing Chinese Art Publications.


2005 “Historic Taiwanese Architechture” Set of 5 stamps designed by Nan Qi and Tian Liming, Hong 

Kong. In circulation from January 30th


Tian Wei

Born in 1973,Work and live in Beijing

Solo Exhibition

2017.06     Between Motion and Stagnation,Tianwei solo Exhibition (Tokyo Gallery+BTAP, Beijing)

2016.11     Hqinwu&Tianwei Double Solo Exhibition (Van Art Space, Hangzhou)

2015.04     Cosmic Sprit, Spritual light, Sang Huoyao&Tian Wei Double Solo Exhibition (Alioth Art Center, Shanghai)

2014.11     Spiritual light, Tian Wei Ink Painting Exhibition (Zhu Qizhan Art Museum, Shanghai)

2014.09     Spiritual light, Tian Wei Ink Painting Exhibition (Today Art Museum, Beijing)

2012.10     Retrospect brings one to the origin, Tai Wei Ink Painting ExhibitionXifeng Visual Art Space, Beijing)

2011.05     Tian Wei,  The Accumulation of Spirit (Fengmian Art Space, Guangzhou)

2011.02     Traces of Water - Art Exhibition of Contemporary Ink Tian WeiGallery49, Beijing

Group Exhibition

2018.03     The 5th Neo Moroism Exhibition (Art Museum,Tsinghua University)

2017.12     The Polars-Part of the New ink wash painting series exhibition, Ink Asia 2017 theme exhibition planning program (Hong Kong Convention and Exhibition Center, Hong Kong)

2017.09     Art Shanxi (Shanxi Art Museum, Taiyuan)

2017.08     Open Sky (Renke Art Gallery, Hangzhou)

2017.06     Heaven Beyond the Sea International Contemporary Art Exhibition (E Museum of Contemporary Art,Shenzhen)

2017.05     Special Exhibition of the 20th Anniversary of the HKSAR (Hong Kong Convention and Exhibition Center, Hong Kong)

2017.05     Vision- Group Exhibition (Sichuan Art Museum, Chengdu)

2017.01     Heaven Beyond the Sea International Contemporary Art Exhibition (SanYa Museum of Modern Art,Hainan)

2016.11     Neo Mōrōism-Group Exhibition (Tokyo Gallery+BTAP, Beijing )

2016.10     Metaphysical under- Invitation Exhibition of Contemporary Ink (Enjoy Museum, Beijing )

2016.09     In Retrospect 2016, Contemporary Ink and Wash Exhibition (G-Dot Art Space, Beijing)

2016.08     Wu Kong-Cross Media Experimental Art Exhibition (Shanghai Duolun Museum of Modern Art,Shanghai)

2016.08     Retrace of The World (Renke Art Gallery, Hangzhou)

2016.06     Annual Review Exhibition of China Contemporary Ink Painting (Today Art Museum, Beijing)

2016.06     Being and Inking-Documenting Contempoary Ink Art (Redtory Museum of Contempoary Art , Guangzhou)

2016.04     China Line-School Art Contemporary Research Exhibition (Epoch Art Museum, Wenzhou) 

2016.04     Undoing and Liberation of Shuimo (Changjiang Museum of Contemporary Art , Chongqing)

2016.01     Collaborate from Inside and Outside (Museum of Contemporary Art, Emei)  

2016.01     Undoing and Liberation of Shuimo (Phoenix Art Palace, Wuxi)

2015.12     The Exhibition of Annual of Contemporary Art of China (Beijing Minsheng Contemporary Art Museum, Beijing)

2015.12     2015 Art Critics Nominated Exhibition(Beijing Jin Merchant Museum, Beijing)

2015.11     Black Dimension-The Gaze of Orpheus(Ying Art Center, Shanghai)

2015.10     China Infra-Color Aesthetics (Zhuzhong Art Museum, Beijing)

2015.09     Colors of China(Asia Art Center, Beijing

2015.09     2015 The Second Nanjing International Contemporary Art ExhibitionNanjing International Exhibition Center

2015.05     Dialogue Art & Design Exhibition (3812 Art Space, Hong Kong)

2014.11     New Water Ink Research Series, Ethereal Dimness (Avant-garde Contemporary Art Center, Nanjing)

2014.10     Art Exhibition on the 60th Anniversary of Capital Normal University and the 50th Anniversary of Its College of Fine Arts (National Art Museum of China, Beijing)

2014.08     Vacancy and Silence (Soka Art center, Taipei)

2014.07     New Context from Ink (Sishang Museum, Beijing)

2014.03     Image Invisible, Chinese Contemporary Abstract Art Invitation Exhibition (Today Art Museum, Beijing)

2013.09     Context of Contemporary Art-2013 China Critics Nominated Exhibition (Xian Art Museum,Xian)

2013.03     New Abstraction, 2013 Art Wave Invitation Exhibition (Phoenix Art Palace,Wuxi)

2012.08    New Abstraction: Contemporary Trend of Painting The 15th Beijing International Art Exposition (China Trader Center, Beijing)

2012.03     Abstract Art Invitation Exhibition (Museum of Tianjin Art Academy,Tianjin) 


Nan Tian Jade color : Nan Qi & Tian WeiNew-Modernism Ink-Painting

Xia Kejun


What is the value of ink painting in the present time? Does ink art end? Do ink painting still have the potential of modernity? The paradox of ink painting situation starts when it seems to end, and maintains the meaninglessness-emptiness of nihilism, and reactivates natural elements of the ink. If the ink painting still has the possibility of rewriting aesthetic modernity, and restating "Neo Modernism", what is the core value of it?


This is the opening secrets of Ink-Art: the double sense Between natural-elements of the ink and emptiness-touching of ink, the jade tactile sensation of the implied time-folds, and the cloudy-sense that goes beyond nihility. The reactivation of such three elements faced with the abstraction of Western modernity and the textualization of contemporary conceptual art remain nothing in the end, but they make the ink painting spirit exert their aftertaste again. This is the inner correspondent among Emptiness, Nothing and Opening.


For artists that are actively faced with the paradoxical situation of ink painting, Nanqi and Tianwei are also new modernism artists for contemporary art who most consciously explore from the natural quality of ink, which goes beyond the inherent concept of ink, making the ink silently transformation integrate into contemporary art, and convert into another kind of new modernism.


When ink paintings are faced with the complex paradox situation, they go through conversion of modernity abstraction. Ink paintings without abstract thinking are unable to be distinguished from the traditional Chinese operation of stylized ink, but also they have to get rid of excessive load of cultural significance; However, they have to keep the sense of texture quality of ink. Furthermore, the texture is aimed at overly restless and uneasy situation of current China, making good use of the potential of ink material. This is the jade texture, because the time staggered jade makes an intersection in the admission time of the ablation time, letting the ink in the face of our individual life breath and breath. This is the jade ink implied patina color, which was activated in the Song Dynasty porcelain and quaint atmosphere.


We will see Nanqi's works, with a layer of ink stained cover, as well as the individual's unique Nanqi style dots with repeated superposition or repeated, forming a halo, look like some kind of flowers like a purely abstract round itself surrounded by vertigo vision, or repeated drawing of bamboo painting like a bamboo mist. However, Tianwei's works also uses the approach of using water and ink repeatedly rendered with water and ink in Xuan Paper, or adding a little color, folding Xuan Paper into a square, which once opens, becomes a crease on the screen of the white light, a white light flashing and abstract. It is also because of scattered halo effect caused by ink penetration, the edge of the white light trance and the endless jumping rhythm form.


As for the aspects of purity of vision, the abstract nature of ink painting, the intensity of the integration of Light and Breath (Qi), the absorption of vertigo, the halo (Aura) and halo sense of ink painting are both the formalization of western vision and the transformation of Chinese cultural life-form.


Moreover, the two artists also use contemporary virtual technology. Nanqi’s dots are visually shaped by 3D in the image vertigo. Through fixed point viewing, the picture can be generated again, and new image effects will be generated, which will remain variation. The white light on Tian Wei’s works creates ray illusion of dark matter in the universe, also has the Buddhist Tantric super undercurrents, and the picture color point flashing, like Space Star picture, can be changed again. The change of traditional misty atmosphere, after the abstract transformation, at the edge of blank, let the blank be reactivated. In the way of abstraction and virtual technology, it can be transformed to the modernization.


Two Chinese ink artists’ works represent a new vision of modernism Chinese style painting, which is different from the western modernity, but keep the picture image continuously generated and have the possibility of maintaining continuous variation and rebirth. It is not fixed in the single visual image abstraction and representation, neither the technology of image design, but to make full use of ink penetration and halo, keep the endless image perception, keep it fresh in both visual and tactile aspects. The fresh nature of it makes ink art have irreplaceable artistic value.


The works of the two artists have a contribution to the “ China Infra-color Aesthetics”. The key difference of Western abstract monochrome and Korea monochrome painting (Dansaekhwa) is that Chinese art, namely contemporary ink painting with its repeated shading, fully make use of water and time. There are gaps, to mutual activation, reawaken "patina color", the Song Dynasty porcelain from patina color and texture, because once again into the mix and muddy tons, forming a muddy color, black and white ink appears because of color and monochrome, muddy empty, because the empty color density and infra-blank add infra-dark, also played Huang Binhong's principle of implicit ink color and color ink hidden, the formation of a new " China Infra-color Aesthetics".


“Jade Made in Lantian Giving Off Steam in the Sun”the charm and enchainment of Ink Painting is waiting for touching and breathing, instead of  seeing, and enter into singing of eternality in ephemeral and passing.


This exhibition held at Renke Art Gallery in Hangzhou adds a new layer of profound meaning. The name of the exhibition has gained the profound meaning of history (old Hangzhou City is the capital of Nan-Song dynasty), which comes from the metaphor and the art of name. The smile solves problem with words, this is songs of Names,  "South": it is more than the Southern Song Dynasty and Nanqi’s art again let us aftertaste; "Tian": Tianwei’s art let He Tian jade come back to touch our hearts; "jade": two artists on the texture and patina feeling let us digestion nothingness impermanence; "color": it is the works of two artists beyond ink, awakened new iris aura and “China Infra-color Aesthetics”.