Exhibition title /  Beijing Contemporary’s group exhibition | Story – Painting, mapping
Duration / 2018.8.30-2018.9.2
Curator / Bao Dong
Venue / National Agriculture Exhibition Center,No.16 Dong San Huan Bei Lu, Chaoyang District, 100026, Beijing, China.

He Xun will participate in Beijing Contemporary’s group exhibition “Story – Painting, mapping”. Curated by Bao Dong, the exhibition brings forth a collection of signature works by sixty Contemporary Chinese artists, aiming to unfold the experimental trajectory and development of Chinese contemporary art. Continuing with He Xun’s “Juxtaposed Practices” series, the featured pair works “Calligrapher – By Invitation Only” and “Calligrapher – The Bone Method” explore and examine the aesthetics and the techniques of contemporary Chinese painting through the renderings of geometric shapes, color theories and structural re-composition, from which the works map out artist’s unique painterly languages. Moreover, by juxtaposing textual letters and painting, artist unveils his perception of time and space through this attempt of parallel practicing. We insert the two letters below, which form the conversation between the two paintings, and hope to let the readers know more about He Xun’s works.

 He Xun, Calligrapher – By Invitation Only, 2017,  Oil on board, 120x160cm (Envelope 12x23cm)

 He Xun, Calligrapher – the Bone Method, 2017,  Oil on board, 120x160cm (Envelope 11x22cm)

About Artist

He Xun was born in 1984 in Jiangxi. Graduated from the Department of Education, China Academy of Art with a BA in Fine Arts in 2006, He Xun currently works and lives in Beijing. His selected solo exhibitions include: The Second Oracle (A+ Contemporary, Shanghai, 2018), Pearls of Citta (Enclave Independent Publishing House, Shenzhen, 2017), Rural Rhapsody (A+ Contemporary, Shanghai, 2016), Hive · Becoming I: Empty Baggage (Hive Center for Contemporary Art, Beijing, 2013). His selected group exhibitions include: Painting, Mapping(National Agricultural Exhibition Center, Beijing, 2018), Low Vision-Fruitless Illumination(Huai Gu Lin Art Garden, Beijing,2018) , Wandering (Power Long Art Center, Hangzhou, 2018), Go Live (Art Museum of Nanjing University of the Art, Nanjing, 2018), Bi-city Biennale of Urbanism\Architecture Collaboral Exhibition- Ideals on the Move (Sally Project, Shenzhen, 2017), I Could See The Smallest Things (Antenna Space, Shanghai, 2017), Jungle-Common (Platform China Contemporary Art Institute, Beijing, 2017), Hina’s scroll (SZ Art Center, Beijing, 2017), parentheses (Platform China·dRoom, Beijing, 2017), The Dilemmas of Painting (organized by A+ Contemporary, Asia Art Center, Beijing,2017), Heiqiao Generation, (Hi Art Center, Beijing,2017), Go Live (Tong Gallery+Projects, Beiing, 2016) , □(organized by A+ Contemporary, Asia Art Center Taipei I + II, Taipei, 2016), Utopia & Beyond (Castello di Rivara Centro d’Arte Contemporanea, Turin, Italy, 2016), Winter Discovery (A Thousand Plateaus Art Space,Chengdu, 2016) , The Twelve Paintings (L-Art Gallery, Chengdu, 2015) , Paratissima 11 (Paratissima, Italy, 2015), Concept and Language in Painting Process (Right View Art Museum, Beijing, 2015), Shanghai Deal (Radical Space, Shanghai, 2015), Happening at the Very Moment – Performance Art in the Contemporary Society (Kong Contemporary Art Agency, Beijing, 2015), Sovrapposizioni Di Immagini (Casa Dei Carraresi Museum, Italy, 2015), Art Discovery (L’OFFICIEL Art Space, Beijing, 2015), The Bride Stripped Bare by Her Bachelors, Even (Pekin Gallery, Beijing, 2015), The Cabinet of Wonder (HeiQiao Art District, Beijing, 2015), Wind Veers to the East – BOAO Asian Art Exposition (BOAO Asian Style Plaza, Hainan, 2015) , Drawing Stars Overseas – History and Culture Exhibition of Sino-African Maritime Silk Road (Tanzania National Museum, Dar es Salaam, 2014) , BBCT (MAMALA Contemporary Art Center, Beijing, 2014) , Carnival–Hei Qiao Artist Community (Mizuma and One Gallery, Beijing, 2012) , Clumsy Birds Have to Do an Early Start–Contemporary Art Exhibition (China Academy of Art Exhibition Hall, Hangzhou, 2005).