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  • The Public Sector will showcase outdoor projects, such as larger scale sculptures and installations and introduce the public to the notion of public art. With art being increasingly connected to market value and collectors’ worth, the meaning of art for the public to see and appreciate will be newly negotiated by selecting art works that establish a dialog with their immediate surrounding. 


    Public Sector 2020

    The Public Sector 2020 will continue to draw attention to bigger artworks and installations set against unexpected open air backdrops across 798 Art Zone.


    Sculpted | Form (Su | Xiang)

    Su (sculpt, shape) nods to the way that the machinations of the professional art world dictate and shape art making itself. It’s a process: a concept is formed in the artist’s mind, materialized at the artist’s studio, and fleshed out and examined in the field of art criticism. Xiang (form, image) refers to art as it’s presented in front of the viewers. The mission of the Public Sector is to elicit thinking about the presentation and interpretation of the art along these lines. We aspire to create a bridge between art and the public, to engage the public in organic ways, and to enrich the artwork’s cultural contribution and relevance to daily life.

    Public art should not simply mean independent, isolated fixtures planted in public spaces. It should epito- mize the public’s cultural life. The significance of public art lies beyond people’s daily interaction with it. Rather, the public’s thinking, imagination and creativity inspired by the public art piece should come togeth- er and transform the personality of a specific public space.

    Compared to a decade ago, people are not as intimidated by contemporary art exhibitions or spaces. As the public’s awareness of civil rights develops, people also increasingly hope to participate in the discourse of art as either creators or critics. We believe that the public’s active participation in art is conducive to the formation of public subjectivity and narrative in a modern society.

    The Public Sector of Gallery Weekend Beijing 2020 presents public art projects that pertain to and com- municate with the public’s cultural identity and lifestyle, and have certain interactive aspects that enable visitors to engage the pieces. While respecting artists’ intentions and curators’ theses, we may also incor- porate the public’s readings of and reactions to the art pieces into the art’s meaning. The art world can find potential in the public’s shared cultural knowledge, which will provide a value system that creates new momentum in the art.


    Curator:You Yang


    You Yang has worked for over a decade at various art institutions. He has been deeply involved in many aspects of the art world, serving as an administrator, columnist, curator, lecturer, and public relations and marketing consultant. He has worked with numerous museums and major art programs as a project planner and consultant.

    In addition to his extensive experience in curation, exhibition planning, and marketing, You is a well-known writer and columnist. His writings focus on contemporary urban cultural studies, consumer behavior, and art in the urban public space. He has published more than 100 articles, including academic monographs, columns, and essays for exhibition catalogues. Having led the public programs, business development, and marketing and communications departments at the UCCA, as well as the design store, he now serves as Director of the UCCA Lab, specializing in strategically expanding and positioning the museum’s platform.


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    Liu Wei: Porcelain IV


    Porcelain, iron

    Dimensions Variable

    2010


    The artist combines ceramics - a material that symbolises traditional, classical culture - and the form of rocket, a symbol for technological advancement. The work derives its impact from this contrast in its visual and cultural dimensions.

    Liu Wei b. 1972, Beijing. He graduated from the China Academy of Art in 1996 and currently lives and works in Beijing. He won the top prize at the China Contemporary Art Awards in 2008, and was also honored in the Martell Artists of the Year 2012 competition. He has participated in the Venice Biennale, Lyon Biennale, Busan Biennale and many other influential exhibitions around the world.


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    Li Weiyi: Bird, Sphere, Star & Book


    Mirrored stainless steel sculpture

    200 × 200 × 270 cm

    2019

    Courtesy of the artist and Hive Center for Contemporary Art


    Public art and (Internet celebrity) artworks available for souvenir photographs have become the current art world’s main approaches in the fight for popularity on Internet social media platforms. Li Weiyi’s latest public sculpture can be taken as an interesting response to the current phenomenon, and it’s based on the visual experience and collective aesthetic unconscious of Chinese people on “public sculpture”. Based on her great amount of research on public sculpture in the Chinese context, Li Weiyi has not only worked on such typical elements of sculpture in socialist aesthetics as bird, sphere, star and book, but also extracted such functions of these sculptures as gather-ability and availability for souvenir photography for a comparison with other public works in the current world. 


    Li Weiyi is an artist (http://weiyi.li), a designer (http://weiyiandfriends.com), a curator (http://bigbadgallery.com), a publisher (http://re-publication.com) and a shop owner (http://currently-available.com). She lives and works simultaneously among these five links. 



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    Daniel Buren: Confinées: trois grilles colorées translucides, travail in situ


    Metal, Plexiglas, translucid coloured vinyls, black and white adhesive stripes 8.7cm large

    Site specific

    2020

    Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana / Rome


    The new in situ work installed on the external wall of the gallery consists of the partition of the whole wall into three segments. The left and the right segments are like windows, surrounded by a red frame, into which visitors can look and stand in front of the coloured background which is composed of a plexiglass transparent wall, lit from behind. The brightness of the colours is enhanced by this backlit feature. The central part of the wall is a plain white surface interrupted by Daniel Buren’s signature 8.7cm wide stripes, that are for this work executed in black, creating a monochromatic addition to the smooth, white part of the wall. An immersive introduction into the wonderful works that are held in the internal gallery space, once again Daniel Buren draws the visitor in with a space-changing intervention that means the visitor's experience of Buren’s work and of Galleria Continua Beijing begins even before stepping foot in the door. 

    Daniel Buren was born in Boulogne-Billancourt (Paris) in 1938, Daniel Buren lives and works in situ. In 1965, when he was painting pictures that combined rounded forms and stripes varying in sizes and colours, he chose to use an industrial fabric with fixed vertical 8.7 cm-wide stripes alternating white with another colour. Beginning from this extremely simple and banal visual register, Buren further impoverished it by repeating it systematically to reach the grade of zero painting. This reflection will cause the observer’s attention to shift from the work to the physical and social environment within which the artist intervenes. Eventually, he abandoned his studio in 1967, to favour work in situ, starting from the street, then the gallery, the museum, the landscape or the architecture. His “visual tool” is based on the use of alternating stripes, which let him reveal the significant details of the site where he is working, by employing them in specific, and at times complex, structures lying somewhere between painting, sculpture and architecture.



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    Wu Daxin: Great Wave


    Stainless Steel

    500 × 500 × 650 cm

    2020

    Courtesy of the artist and Triumph Gallery


    Great Wave represents the sea and is a kind of surging. The creation of Great Wave originates in the special affection for the sea I inherited from my grandparents. But in the context of this era of upheaval, she seems to be of great significance. The work Great Wave is a monument to the courage of the ancestors to seek their future in the ocean of the Southeast. It’s a sculpture with the instantaneous energy of the frozen sea, a sign of the dawn of a new era.

    Wu Daxin, b. 1969, Quanzhou, Fujian Province. In 1992, he graduated with a bachelor’s degree in Japanese from Huaqiao University. The same year, he studied in Japan with Professor Yamaguchi, specializing in Japanese art history at Saitama University. In 2001, Wu Daxin moved to the United States, studying video art technology at the City University in New York and graduating in 2007. In Wu’s work, Eastern and Western cultural resources are grasped and skillfully applied, creating interesting visual presentations by way of transplantation and juxtaposition, which penetrate and melt into one other through a process of superposition. The splicing of symbols from different cultures not only reflects reality, but a manner of discourse in Wu’s work.



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    He An: An Instant of Purity Is Preferable to a Lifetime of Lies


    LED Light Box

    140 × 2500 cm

    2006


    "I hate ownership and being owned." –The English Patient

    "An instant of my purity is worth a lifetime of your lies." – Natural Born Killer

    These are two lines from two movies; I removed the outer contours of their Chinese-character subtitles and formed a line of spasm. I light up the negative moulds of these characters along with the negative notion of the city. And people say they resembled the noodle restaurant by Bin Laden. Actually I simply took some parts of these negative Chinese-character moulds and parts of the outer contour and connected them in a line. 

    He An, b. 1971, Wuhan. Currently lives and works in Beijing. He is among the leading post-'70s contemporary artists in China. He has shown work in the Tate Modern and participated in numerous international contemporary art exhibitions, employing neon lights as his signature creative material.





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    Zhao Xu: lllusory Metatron Cube


    LED Installation

    250 × 250 × 260 cm

    2020

    Courtesy of the artist and Dreamland Art Center


    Artist Zhao Xu extracts elements from the easel works of his Interstellar series, digitizes them, and regroups them in the form of new media art. Illusory Metatron's Cube is composed of four elements and three-dimensional figures corresponding to the ether. This work of art uses these three-dimensional figures to explain the universe. The artist presents new media works about the interstellar universe in the form of cubes, trying to break through space and time from the state and explore the traces of the universe.


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    Nhozagri: A Period of Life


    Second-hand bicycle, sponge, cloth, cotton, foam and other mixed materials

    150 × 150 × 250 cm

    2019-2020

    Courtesy of the artist and Space Station


    This is a remodeled and functional bicycle, whose figure comes from Nhozagri’s kingdom. As an open narrative space, 798 Art District in toto, as well as the remodeled bicycle as a role in the narrative, participates in the narration of the real world. There is no need for a fixed display space; all needed is driving at a fixed time every day, and then wandering in the district. During the Gallery Weekend Beijing 2020 Public Sector, the bicycle can function as a temporary mobile space to take an active part in real life and broaden the dimension of the device itself.

    Nhozagri, 2012-2015, the sixth studio of Printmaking Department of Central Academy of Fine Arts, the Possibility of the Extension of Illustration Language.2007 - 2010, the fourth studio of Printmaking Department of China Academy of Fine Arts, Comprehensive Application of PrintmakingHer works are committed to exploring various narrative forms, especially unconventional ones; and related to easel painting, sculpture, animation, and independent publishing, etc. Her style is strange and lovely, fresh and detached.


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    Timur Si-Qin: Fires of the Future (Forgiving Change)


    Cast steel

    Dimension variable

    2018

    Courtesy of the artist and Magician Space


    Since the early 1980s forest fires have increased by 600-800% in size, frequency, and duration. Scientists say fires of the future will be unrecognizably larger still. Some predict forest fires will increase until sometime around the 2050s when there won’t be enough trees left to sustain large fires anymore. Ancient ecosystems will and are changing forever.

    Being alive in 2019 is a unique experience, to say the least. Witnessing the 6th major extinction happening just slowly enough for it to almost be unnoticeable to human scale experience and yet being 10-100 times more deadly than any of the previous five extinctions in earth history. Needless to say, the planet is changing and change is the truth.

    This sculpture’s scan was captured in the aftermath of the 2017 Tubbs fire near Santa Rosa, California.

    Timur Si-Qin, b. 1984. He is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing, and a Native Indian community in the American Southwest. Growing up in a multi-cultural environment helped inform Si-Qin's unique sensitivity to the relationship between nature and culture. Now living in New York, Si-Qin has become a leading figure in a post-internet generation of artists who reference new developments in science and technology to challenge the separation between the human world and the biological laws of the natural world. Exhibitions include major solo shows at: Magician Space, Beijing (2018/2015); Spazio Maiocchi, Milan (2018); Société, Berlin (2018/2015/2013/2011); Art Basel Hong Kong (2018); Konfuzius Institut, Berlin (2017); Team Gallery, Los Angeles (2016); and Art Basel Statements, Basel (2016). He also participated in the 2019 Asian Art Biennial; in the 5th Ural Industrial Biennial of Contemporary Art in 2019; and the 9th Berlin Biennale in 2016.



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    Zheng Lu: Anisoptera's Eye


    Composite materials

    600 × 600 × 450 cm

    2020

    Courtesy of the artist and SPURS Gallery


    Anisoptera’s Eye, a compound eye, stores solar energy in the day and gives off light at night. It ‘s a unification of life form with machines, or in other words, a combination of inorganic matter and organic matter. In the wide expanse of the desert, it looks into the starry sky, eager to explore and develop into a more complicated form. When observing this world with our eyes, we look for its sake to penetrate the depth of the universe. As Kevin Kelly summarized the two trend we see today, i.e., the artificial evolution towards life and life in the direction of engineering, and pointed out that the distinction between organic forms and artificial ones are demystified: they are, as they always are, essentially the same. 


    Zheng Lu, b. 1978, Chi Feng, Inner Mongolia. From 1998 to 2003 Zheng Lu studied at the Lu Xun Fine Art Academy in the Sculpture Department, before studying until 2007 in the Sculpture Department at the Central Academy of Fine Art.  Zheng Lu received a grant from the LVMH prize in 2006 and three months training at the École Nationale Supérieure des Beaux-arts, ENSBA in Paris.



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    Hu Qingyan: Go in One Ear and Out The Other No.5


    Carbon steel, air

    410 × 212 × 190 cm

    2017-2018

    Courtesy of the artist and Galerie Urs Meile


    The sculpture was assembled by randomly splicing and welding different types and formats of carbon steel elbows of matching calibers. This seemingly abstract sculpture is, in fact, an intricate or even somewhat messy pipeline that encapsulates the channels of life and the abstract system of society. In other words, it constitutes a slice or a part of a closed system, visualizing the hidden channels and spaces that are normally hidden from us.

    This work addresses the notion of space on several different levels. Hu Qingyan is not only interested in the space around the sculpture, but also in the internal space – what is entrapped within the structure of the work (its steel pipe). These open "horn-mouths" connect the inner and outer space of the sculpture.

    Hu Qingyan, 1982 born in Weifang, Shandong Province, China. He lives and works in Beijing, China

    2006 BFA, Sculpture, Guangzhou Academy of Fine Arts, Guangzhou, China

    2010 MA, Sculpture, Central Academy of Fine Arts, Beijing, China

    SOLO EXHIBITION

    2018 空洞的,多余的 Absent & Superfluous, Galerie Urs Meile, Beijing, China

    2016 空壳 Hollow Husk, Galerie Urs Meile, Lucerne, Switzerkand

    2015 Eternal Glory, Galerie Urs Meile, Beijing, China


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    Sui Jianguo: Portrait


    Cast Iron

    500 × 206 × 230 cm

    2012


    Portrait is made of 16" high copper casting. The artist veils eyes of this half-body, shaping it roughly with clay; the artist cast it based on the original model, amplifying its siza by a factor of 20. This sort of scientific precision is almost insane, but with ridiculous innovative comes motion; any rush to reflect social reality was nullfied by blind infatuation with replication.


    Sui Jianguo, b. 1956, Qingdao, Shandong Province. Sui Jianguo's art explores his unique understanding and approach to creation, form, unconventional media, alternative methods, and spatial temporality. Critics have praised him for being a pioneer venturing to the farthest reaches of Chinese sculpture. His sculptures are ingenious fusions of concept and form, and many of his works utilize large-scale force to impact viewers.


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    Zheng Guogu: The Reveal of a Plain Garden


    Stone

    The size of the area: 500 × 600 cm

    2012


    The Reveal of a Plain Garden uses traditional banter as a way to express the impact on people made by mass culture, consumption psychology, and material desires during an era of information explosion. It tries to use a totally new method for getting people to think and build a garden beyond the real world. Audience will know the hidden meaning under the artistic work.

    Zheng Guogu, b. 1970, Yangjiang City, Guangdong Province. Zheng won the CCAA Chinese Contemporary Art Award in 2006. His works precisely capture contemporary Chinese society and its consumption culture by integrating a spiritual temperament into a multimedia art practice, creating a parallel reality with art as the way.



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    Cai Lei: The Remaining Yellow


    Stainless steel plated with matte yellow

    435 × 345 × 300 cm

    2020

    Courtesy of the artist and Tang Contemporary Art


    The metal delineates and separates interior and exterior, architectural and street spaces. The condensed corridor creates a dislocation and contradiction with real space. The yellow metal suggests fragmented memories, which achieve a coherence with the remaining broken lines, thereby presenting a real yet unreal sense of place and theatricality.

    Cai Lei, b.1983  Changchun, Jilin Province, China. Cai Lei’s works explore the relationship between illusion and space. From his interest in planarity, he carves out an illusory conceptual space which oscillates between the second and third dimension for his creations. Working in both painting and mixed media sculptural relief, light plays an important factor in enhancing this illusion of depth. Painted spaces of interior hallways or corners simultaneously protrude and recede depending on the viewer’s experience of the work. Cai Lei graduated in 2009 with a Bachelor’s Degree in Sculpture at the China Central Academy of Fine Arts (CAFA) in Beijing. An award winning young artist from the 80s generation, he has exhibited internationally including the Yangtze Art Museum (Chongqing), Foundation Taylor (Paris), Kuandu Museum of Fine Arts (Taiwan), CAFA Museum (Beijing), Poly Art Museum (Beijing), Jacksonville Museum of Contemporary Art (USA), Today Art Museum (Beijing), and Museum of Contemporary Art Bonn (Germany). His solo exhibitions include “23 Square Meters” (2018), Whitestone Gallery, Taiwan; “Échele des plans(2016), Tang Contemporary Art, Beijing; “In Ambiguous Sight, Unaccompanied” (2016), Tang Contemporary Art, Hong Kong, China; Group exhibitions include "Motif and material” (2017), Tang Contemporary Art, Hong Kong; “Among” (2015), Museum of Contemporary Art Bonn, Germany; CAFA Postgraduates Graduate Exhibition” (2015), CAFA Museum, Beijing, China.


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    Daniela Palimariu: High Distance Lounge 


    Wood

    Height 250 cm

    2020

    Courtesy of the artist and CLC Gallery Venture


    You can isolate yourself in the middle of a crowd because you are at a different height. High Distance Lounge offers an idea of social distancing without actually being isolated.

    Daniela Palimariu, b. 1986, Romania. She is the co-Founder of Sandwich space in Bucharest. Her art work is a combination of the medium of sculpture and architecture that transforms the given space and inspires a performative aspect of social behavior.


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    Ye Funa: Exhibitionist Nail Project: Nailhenge


    Mixed material

    Dimensions variable

    2016

    Courtesy of the artist and Space Station


    Exhibitionist Nail Project is an art project initiated by artist Ye funa, which attempts to focus the functional modes, including curation, exhibition, sales, communication, communication, public education, etc., of contemporary art exhibition spaces and institutions such as gallery or art gallery on the specific narrow space of nail, blurring the boundaries of daily exhibitions and art ones.

    Ye Funa, b.1986, Kunming, Yunnan Province. Ye is currently base in Beijing. From 2004 to 2008 she pursued a B.A. in Experimental Art at the Central Academy of Fine Arts and in 2010 received an M.A. in Fine Art from Central Saint Martins College of Art in the UK.  Her works mainly explore the relationship between the structure of authority and multiculturalism, employing the humor and irony of real life – for example, by addressing mass media stereotypes regarding “on-the-edge” figures such as ethnic minorities and the ideal aesthetics of scenery. By way of quoting or parodying some model cultures, she classifies and deals in typical pictures of similar forms, analyzing and extending their themes.


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    Bingqing Dong: Fistsupup Bar


    Mixed Material

    Dimensions variable

    2020

    Courtesy of the artist and UCCA Lab


    Welcome all boxers, come in and throw some punches! Whether you’re a member of the jet set or a farmer in the digital age, we all like to end the day with a strong drink. And what better than a cocktail? Fistsupup Bar is a temporary space, intended not for serious silence or pretentious debate, but heartfelt laughter and enjoyment.

    During Beijing Gallery Weekend 2020, the work will take the form of a pop-up bar, exploring the term “cocktail” to discuss the immediacy of public space, gender issues, and online memes. The COVID-19 pandemic of 2020 has greatly impacted culture, the economy, systems of social control, and physiology itself, among other facets of the world we live in. It has also led to the creation of many different “spaces,” time sensitive and different from those that came before; specifically, spaces have been formed through live streams and other online platforms, bringing people into temporary communities. In chat rooms and alongside online video, language and images are exchanged and spread at an accelerated speed, generating a surge of information. In this social context, discussing and practicing art, especially its public nature and the breadth of its links to other areas, takes on a different significance and new meanings. In Fistsupup Bar, IRL and online are integrated, and the host and guests may swap roles at any time. Even the bar itself is flexible: cocktails may be accompanied by art salons, language exchange, improvised performances, live music, and express deliveries of special drinks. 

    Bingqing Dong, b. 1994. Dong graduated from the China Academy of Art, Department of Art History, and lives and works in Hangzhou. She uses widespread contemporary media including WeChat public accounts and live streaming platforms to create new personas online and offline, participating in different industries and using her multiple identities to investigate real and virtual life, gender rights, and more. Using humor, her practice lightheartedly confronts contemporary reality, thought, and behavior.



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    Yang Jiecang: Artists Continue To Try Hard


    Neon light

    110 × 330cm

    2003-2008

    Courtesy of the artist and Tang Contemporary Art


    In the context of globalization, a transformation in Yang’s identity and the environments in which he lives and works has led him to explore the contradictions between and ambiguities of the traditional and the contemporary, East and West. He creates based on his social, cultural, and political environment, and his own ideas about an individual’s existence. He presents humorous maxims in neon lights, rather than beautiful lines of poetry, simply to incite others to react and participate. In an ever-shifting context, he attempts to explore the cultural issues that occupy his mind from different perspectives and on different levels. They reflect out-of-the-box, imaginative ideas, which are unconstrained and refuse to play by the rules, but they are also tightly tied to Eastern and Western cultural mainstays.

    Jiechang Yang was b. 1956, Foshan, Guangdong Province. He currently lives and works between Paris, France and Ittlingen, Germany.

    Yang Jiechang’s artistic trajectory from a calligrapher-painter to global social actor inverts the contemporary Chinese art world norm of using Western avant-garde forms to critique contemporary Chinese society. He accomplishes this by adopting the performative expressiveness of the traditional brush and the paradoxical dialectics of pre-modern Daoist skeptics to expose the underlying social and cultural forces that shape our contemporary global reality. Starting with his censored Massacre series, in which he confronts the human toll of a politically-violent authoritarian government, and continuing with his Crying Landscape series, which he created for the 2003 Venice Biennale, Yang has made the critique of power, wealth, violence, and terror the central concern of his artistic practice.

    With his purely abstract Layers of Ink works, which he began creating for the seminal 1989 traveling exhibition Magiciens de la Terre, and his figurative Ascension and Tales of the Eleventh Day series, Yang has dealt with the contrasting themes of material and spiritual transcendence, the liberation of the individual, and universal love and nature. When Yang deploys seductively masterful technique in service of psychologically disturbing or even horrifying imagery, our experience approaches the sublime  – a realization of the inhuman that is both monstrous and transcendent.



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    Shen Yuan: Sky Ladder


    Reinforced concrete, tin

    Shorter building 250 × 600 × 400 cm

    Taller building 700 × 300 × 300 cm

    Winding stair 1560 cm

    2012


    “Sky Ladder” consists of two unfinished buildings, a slow operating ladder moves between these two high and low buildings with drills in constant process. Friedrich Wilhelm Nietzsche once said: “The greatness of the man is that he is a bridge rather than an end point.” Where the results of our growing struggle in life parallel to the idea of a residential flat that is never completed.

    Shen Yuan, b. 1959. Shen has received considerable renown as a Chinese artist based in France. She has participated in the Venice Biennale, the Cities on the Move exhibition, and a number of other important exhibitions worldwide. Her work is spectacular but closely related to daily life, often touching on globalization, immigration, women and other important issues.