Gallery News 2026.03.25
日常的诗学重构
——葛彦、亓文章、徐大卫三人展
Poetic Reconstruction of the Everyday
学术主持 Academic Host
吕澎 Lü Peng
策展人 Curator
李国华 Li Guohua
艺术家 Artists
葛彦 Ge Yan
亓文章 Qi WenZhang
徐大卫 Xu DaWei
展期 Duration
2026.03.22-2026.05.20
地址 Address
中国深圳市福?区福中路184号深圳当代艺术与城市规划馆L2层2-7，那特画廊
L-Art Gallery, Room No. 2-7, 2/F, Shenzhen Museum of Contemporary
Art and Urban Planning, 184 Fuzhong Rd, Futian District, Shenzhen，China
展览团队/Exhibition Team
甘挺 Gan Ting
王晶 Wang Jing
梁宇 Liang Yu
林纹洁 Lin Wenjie
L-ART Gallery (Shenzhen) is pleased to announce its first exhibition of 2026,Poetic Reconstruction of the Everyday – A Three-Artist Exhibition of Ge Yan, Qi Wenzhang and Xu Dawei,opening on March?22 and on view through May?20.Under the academic direction of art historian Lü Peng and curated by Li Guohua,the exhibition focuses on the practices of three post?1980s artists: Ge Yan, Qi Wenzhang and Xu Dawei.It not only offers a stage-based presentation of their painterly explorations,
but also responds to a shared question through three distinct paths:at a time when contemporary art is confronted with a kind of “excessive rhetoric”,how can we re?enter the experiential structure of real life through painting,and explore the poetic possibilities of everyday experience in contemporary painting?In our time, everyday experience is being fragmented by algorithms and piecemeal information.Yet through their different approaches to “reconstruction” —Ge Yan’s theatrical treatment of cultural memory and spatial experience,Qi Wenzhang’s subtle narrative shifts in scenes of ordinary life,and Xu Dawei’s poetic abstract expressions of visual psychology —the three artists share a common effort to return to the “real everyday”:the everyday is not merely a superficial layer of experience,but a structural field where perception, memory and history continuously overlap.As the opening project of L-ART Gallery (Shenzhen)’s 2026 annual exhibition program,this exhibition upholds the gallery’s consistent academic orientation,continuing to explore the possibilities of contemporary painting within experience, narrative and perceptual structures.Against the intensive rhythm of art weeks,L-ART Gallery (Shenzhen) hopes to provide a quieter space for viewing,allowing the audience to return to the direct, unnamable sensations first awakened by painting.
▲飞鸟与舞者｜Birds and Dancers 葛彦（中国）Ge Yan (China) ▲之间｜Between 葛彦（中国）Ge Yan (China) ▲远处是座城市 ｜A city lies in the distance 亓文章（中国）Qi WenZhang (China) ▲大桥下｜Under the Bridge 亓文章（中国）Qi WenZhang (China) ▲背影、远山与黑洞｜Back ,Mountains and Void 徐大卫（中国）Xu DaWei (China) ▲延伸的风景｜The Unfolding View 徐大卫（中国）Xu DaWei (China)
Poetic Reconstruction of the Everyday
On the Paintings of Ge Yan, Xu Dawei and Qi Wenzhang
By Li Guohua
When we examine the history of contemporary Chinese painting, we find that the cynical realism, political pop, and the various derivative styles and movements that prevailed in the 1990s have not won unanimous approval among critics. From the outset, some critics analyzed these emerging painting trends in China during this period using terms such as "Chinese cards", "global integration" and "post-colonialism". It was not until after 2005 that "New Painting", as a loosely defined concept, gradually gained currency in the art circle. Characterized by a rejection of essentialist pursuits, it embraces a globalized outlook, a distinct contemporary stance, sustained engagement with real-world issues, and surreal methods unconstrained by realism. Today, in 2026, amid the continuous infiltration of technology, interdisciplinarity and globalization into the art world, contemporary Chinese art has trended comprehensively toward "New Art", while "New Painting" continues to evolve—giving rise to new phenomena such as "New Surrealism", "New Abstraction", "New Cartoon" and "Tech Painting" built upon its foundation.
Although the academic community has yet to fully elaborate on these emerging painting trends, they have evidently gained recognition in the market. In the present day, there are no unified rules of the game in the art world, only distinctions in terms of influence. The market’s scope and possibilities are expanding day by day, to the extent that its standards have become the most valued criterion beyond academic discourse. Meanwhile, questions surrounding the historical legitimacy of these New Painting movements have fueled anxiety over artistic standards among some critics. Indeed, China’s institutional "dual-track system" has created two distinct realities—the official system and the non-official sphere, where the market serves as the most effective instrument. The richness of contemporary New Art is dazzling, and the vitality of New Painting trends has effectively manifested itself through the expansion of the market. For when artistic creation can proceed with relative freedom, and when artists enjoy a space free from political interference, new rules begin to take hold, and new artistic judgments, empowered by the market, steadily erode the old order. Supported strongly by the market, these emerging painting trends in China have rapidly expanded their influence. This parallels the close link between the rise of neo-expressionist painting in Europe and the United States in the 1980s and the market, as well as the scenario that unfolded when American galleries traveled to Europe to promote the market for neo-expressionist painting.
▲飞鸟与舞者｜Birds and Dancers 葛彦（中国）Ge Yan (China) 150×130cm 布面油画 Oil on canvas 2024
Of course, the realistic context in which China’s new painting phenomena emerge differs greatly from that of contemporary Western painting. They are products of the extra-institutional sphere, sustained by market forces; they represent a continuation of the progressive liberation of painting since 1978; and they rely heavily on the individualistic tradition of contemporary art. Indeed, by focusing on personal experience and new knowledge, exploring distinctive painting methods, and drawing inspiration from the works of preceding generations, contemporary artists—especially young ones—have developed styles distinct from Western modernist painting. This has also stimulated their reflection on new aesthetic sensibilities in painting and guided their practice toward directions more aligned with China’s cultural context. Consequently, we observe that numerous highly ‘everyday’ scenes have become favored themes for many young artists.
Undoubtedly, the fundamental point of departure for Chinese artists ought to remain their own culture, society, and lived experience. Only by grasping this key issue can artists imbue their work with authenticity and a sense of the times. At the same time, we must not treat concept and imagination as everything; real daily life, together with all the civilizational elements it contains, should also be valued by artistic creators. For in any case, thoughts formed in the mind still require ution by hand, enriched or opened to accidental possibilities through bodily intuition. And the everyday undoubtedly exerts a direct influence on human cognition and vision. Furthermore, only in this way can painting maintain a reflective attitude toward civilizational traditions; only in this way can painting, as a uniquely human emotional and creative activity, avoid being entirely replaced by machines and science. Precisely for this reason, painting has continued to exist vibrantly in the present day despite being repeatedly pronounced ‘dead’. And it is for this same reason that, in the works of Ge Yan, Xu Dawei, and Qi Wenzhang, we see the impact of everyday life on their creative practice. Rather than employing documentary methods, they fully deploy their imagination to deconstruct, collage, and restructure, while poetically reworking scenes from ordinary reality.
▲之间｜Between 葛彦（中国）Ge Yan (China) 150×130cm 布面油画 Oil on canvas 2025
The Classical Shines into the Present
Classicism and theatricality are the most immediate impressions left by the paintings of Ge Yan (b. 1984). With intense, slightly exaggerated brushwork, forms and colours, he constructs human nature, sites and spatial orders amid interwoven time and space. In his works, he often freezes a fleeting moment of landscape or figure using an almost flat application of paint.We know that the inherent meanings of old images were once fixed within their original social contexts, and people have grown accustomed to accepting their framed narratives and interpretations. Yet for Ge Yan, the free recombination of historical images can give rise to new ways of seeing, invisibly dissolving their established historical significations.His creative practice is akin to that of a traveller wandering through time and space. He extracts visual forms from the profound tradition of classical art, frequently appropriating compositions from European classical oil paintings, historical images and sculptural figures. Assuming viewers’ familiarity with these historical references, he uses this established system of knowledge to create surreal scenarios while constructing an open platform for free interpretation. In engaging with historical resources, he expresses no clear ideological inclination; instead, driven by an interest in painterly language itself, he internalises those influential classics as the foundation of his own expression.Although the scenes depicted by the artist are filtered through a classical and theatrical lens, they remain deeply familiar everyday moments: a sun-dappled kitchen in the afternoon, several dancers, overlooked streetscapes. He does not simply replicate classical scenes, but redirects the classical pursuit of eternity and order as a way of seeing onto the present. In this way, the ordinary is imbued with a ritual calm, revealing the texture and poetry of accumulated time. One could say that classical imagery and theatrical scenes become his calm and profound response to the everyday world. He shows us that the metrics of aesthetics and the solemnity of the spirit can still be awakened in the here and now.
▲远处是座城市 ｜A city lies in the distance 亓文章（中国）Qi WenZhang (China) 180×230cm 布面油画 Oil on canvas 2025
▲大桥下｜Under the Bridge 亓文章（中国）Qi WenZhang (China) 250×200cm 布面油画 Oil on canvas 2025
Reconstructing the Everyday with Humorous Absurdity
In his approach to life, Qi Wenzhang (b. 1981) adopts a tone of humour and absurdity. He is keen to capture the subtle absurdities, logical fractures and silently amusing moments of everyday life, magnifying them to an unavoidable scale through exaggeration, parody, collage and other techniques. A farmer in a suit walking solemnly, a drunkard lying in the mountains, anthropomorphised animals… this humour and absurdity is by no means shallow comedy, but incisive wit and a gentle form of ‘subversion’.
Our numbness toward the everyday stems from overfamiliarity with the fixed functions, labels and operating logic of things. Qi Wenzhang works like a mischievous child, suddenly pulling away the building blocks of these concepts to reveal things in their original, undefined, unfamiliar state. He once described such a scene in his creative notes:
> “Looking at you, I am reminded of *Reveries of a Solitary Walker*. You too are alone, without family or friends, drifting through life in a daze. Hands on hips, back hunched, you carry unvented frustration and resentment. Beside you, a couple whispers, and you catch their words of affection. An injured stray dog slinks into a corner, and you sense its sorrow and despair at being beaten by humans. A cleaner rakes waterweed from the lake, and you perceive the weariness of his humble life, mirrored in his distorted reflection amid the rippling light on the water. Yet none of this concerns you. The sky does not belong to you, and the distant city offers no place to rest. You are truly like a homeless dog.”
> — *Daytime Blue Dreams: Recent Works and Notes by Qi Wenzhang*, August 11, 2024
On the neglected margins of cities and villages live forgotten people. The artist seeks to veil this cruel underlying logic with romance, transmuting it into one reverie after another. Yet the pressures of the times do not simply vanish for these groups. These stumbling, solitary figures carry identities and stories deep within their forms.
The different characters in his paintings remain alienated from one another, leaving viewers uncertain of any narrative direction — perhaps the artist never intended one. The inner psychology of his figures is subtly exaggerated, a key entry point into these ‘daydreams’. His characters often exude a compulsive nervousness, trapped in the humblest and most fragile conditions of life. Their gestures seem caught in meaningless, endless cycles — detached yet stubborn.
Yet precisely beneath the artist’s playful irony, cracks are chiselled into our rigid understanding of the world, allowing new ways of seeing to seep in. This deconstruction brings not only new perception but also liberation: a break from fixed thinking, and a renewed, distinct vision of the world.
▲背影、远山与黑洞｜Back ,Mountains and Void 徐大卫（中国）Xu DaWei (China) 120×160cm 布面油画 Oil on canvas 2025
▲延伸的风景｜The Unfolding View 徐大卫（中国）Xu DaWei (China) 150×200cm 布面油画丙烯 Oil and Acrylic on canvas 2023-2025
Escaping the Everyday through "Distant Lands"
In the works of Xu Dawei (b. 1980), a geographical and spiritual “elsewhere” is introduced, serving as a mirror to reflect on everyday life. His “poetry and distant lands” represent a temporary departure from reality, a kind of spiritual displacement. He paints a series of figures travelling or labouring in the wilderness: backpackers heading for the horizon, labourers standing alone in open fields, and young people sitting in the countryside gazing into the distance. These works can be read as inner self-portraits of the painter.
The artist is highly sensitive by nature, a psychological trait that has defined his stylistic orientation from the very beginning: to narrate inner stories and distant realms.
“The people I paint are not specific individuals in reality. I only borrow the external symbols of hikers, labourers and other figures, but in essence they are ‘travellers’ — individuals who leave the everyday world behind and enter another spiritual space.
These figures do not exist to fulfil a mission or address certain social issues; instead, they inhabit an intermediate zone: lonely yet courageous. They symbolise a temporary relationship between humans and their surroundings, a state of ‘being on the way’. In the end, every person is only a temporary state within a process relative to this world.”
Xu Dawei: The Condensation of Figuration and the Emergence of Atmosphere*, conversation with Sai Lin, April 15, 2025
Of course, telling inner stories does not mean turning away from the everyday; in fact, all of this stems from resistance to, or reconstruction of, his daily experiences. These images produce a curious chemical reaction: they interrupt people’s automatic, instrumentalised everyday thinking, suddenly making viewers aware that the self trapped in trivialities is also connected to the vast nature and boundless universe.
Subtle psychological dynamics also shape Xu Dawei’s aesthetic sensibilities. His sensitivity allows him to develop delicate methods: to infuse an ordinary scene with lyricism, enabling it to form an independent narrative even without clear indications of time, place or context. Furthermore, as an artist adept at expressionist techniques, he commands a highly skilled narrative approach. He continuously poeticises life — whether through concrete landscapes or abstract textual poetry — translating them into soothing emotions and reinjecting them into our increasingly desensitised everyday perception.
The three artists represent three distinct paths of exploration: Ge Yan leads us into the past, drawing tranquility and dignity from the depth of time; Xu Dawei takes us outward, connecting imagination and transcendence through the vastness of space; Qi Wenzhang makes us “disconnect”, breaking free from fixed mindsets to rediscover the world we inhabit.
Their methods differ, yet their core is shared: all hold a profound curiosity about daily life and a deep humanistic concern, refusing to let life fall asleep in repetition. The so-called “poetic reconstruction of the everyday” ultimately reconstructs not objects themselves, but our way of seeing. It offers no scheme for escaping reality, but gifts us a set of versatile “filters” or “lenses”. Wearing them, we rediscover the meaning of life amid repetitive and monotonous days.
From the creations of these three artists, we can also see that painting, as the most reliable foundation of the human spirit, carries forward existing creative achievements while suggesting its own limits and opening possibilities for future creation. Humanity requires a complete spirit, not merely intellect. This also reminds creators of new art: amid the rapid development of artificial intelligence, historical and traditional skills can still form part of our drive to advance civilisation. Images made by hand will always remain the home of human visual perception in the history of art!
图文设计\排版\编辑：林纹洁
策展人
Curator
李国华
李国华，中国美术学院毕业，从事艺术批评、艺术家研究、展览策划，现工作生活于成都/深圳。
艺术家
Artists
葛彦
葛彦的创作深入探索时空、物性与空间的悖论。早期以具象雕塑和空间叙事构建画面，随后转向极简色彩与单纯物象的表达，进而摒弃图像依赖，以直觉主导创作，在实像与幻象的交错中追求绘画自身的完成感，呈现一种超越既定秩序的场域。
葛彦，1984年生于安徽。2010年毕业于中国美术学院油画系（学士），2013年毕业于中国美术学院油画系（硕士），2023年毕业于中国美术学院油画系（博士）。
个展： “舞台、角色、自由射手”，光之画廊 ，成都，中国（2024）； “荒诞的交错”，黄盒子美术馆， 青岛，中国（2022）；“序曲”，MAO SPACE， 上海，中国（2016）。
群展:“现实，超现实——中国当代绘画大展”，当代艺术与城市规划馆， 深圳，中国（2025）；“现实之上——第七届昆明美术双年展“，云南美术馆 ，昆明，中国（2025）；“月光的半径” ，RAY GALLERY，上海，中国（2025）；“出格：工作室之后 “，虹·美术馆， 苏州，中国（2025）；“念念远山” ，逸空间， 南京，中国（2024）；“GLOBAL NEW PAINTING”，艺博画廊， 上海，中国（2024）；“Farewell From Hometown ”，象牙门画廊， 上海，中国（2024）；“中国新一代绘画”，特伦托和罗韦雷托现当代艺术博物馆，罗韦雷托， 意大利（2023），“ARRIVAL”，ARR gallery， 杭州，中国（2023）； “图像的震撼”80、90中国新绘画，成都美术馆，成都，中国（2022）； “再造霓虹”全国青年艺术邀请大展，海派艺术馆，上海，中国（2022）；海上新族第八季——“缓”，春美术馆，上海，中国（2022)；“新西湖·湖中岛” ，当代艺术馆，上海，中国（2021）；华泰新锐艺术大展 ，华泰美术馆，上海，中国（2018），“没展”，喜马拉雅美术馆，上海，中国（2018）；“拟像与真实”，墨非墨画廊，青岛，中国（2018）；“退相干”，香格纳画廊，上海，中国（2017）；“绘画：20×20 ”，保利艺术博物馆，北京，中国（2016）；“十二张画”，那特画廊，成都，中国（2015）；“飄惚”真实与真相 ，Gallery Huit， 香港，中国（2015）；南京国际美术展，南京国际博览中心，南京，中国（2014）；“发现?重建”中国青年艺术家优秀作品展，上海多伦现代美术馆， 上海，中国（2013）
Ge Yan’s practice delves into the paradoxes of time, materiality, and space. In his early works, he constructed images through figurative sculpture and spatial narrative, before transitioning to an expression marked by minimalist color and pure objects. Gradually discarding his reliance on imagery, he now allows intuition to guide his creation. Moving between reality and illusion, he pursues a sense of completion intrinsic to painting itself, presenting a field that transcends established order.
Ge Yan, born in Anhui in 1984. Received his BFA from the Oil Painting Department, China Academy of Art in 2010; MFA from the Oil Painting Department, China Academy of Art in 2013; PhD from the Oil Painting Department, China Academy of Art in 2023.
Solo Exhibitions：Stage、Role、Der Freischütz——Ge Yan Art Solo Exhibition, lumière Gallery, Chengdu，China（2024）；Intertwined Absurdity, YellowBox Art Museum, Qingdao，China（2022）；Prelude, MAO SPACE, Shanghai，China（2016）
Group Exhibitions：Reality, Surreality –Major Exhibition of Contemporary Chinese Painting, Museum of Contemporary Art & Urban Planning, Shenzhen, China(2025); Super Reality – The 7th Kunming Art Biennale, Yunnan Art Museum, Kunming, China(2025); Radius of Moonlight, RAY GALLERY，Shanghai China（2025）; Out of Line: After the Studio, Hong Art Museum, Suzhou（2025）； Mountains Of The Mind, East Gallery, Nanjing，China（2024）; GLOBAL NEW PAINTING, Yibo Gallery, Shanghai，China（2024）; Farewell From Hometown, Ivory Gate Gallery, Shanghai，China（2024）； Global Painting——La Nuova Pittura in Cina, MART – Museum of Modern and Contemporary Art of Trento and Rovereto, Italy（2023）; ARRIVAL, ARR Gallery, Hangzhou，China（2023）；The Jolt of Image – 80s/90s New Chinese Painting, Chengdu Art Museum，Chengdu，China（2022）; Reconstituted Neon – National Youth Art Invitational Exhibition, Shanghai Haipai Art Museum，Shanghai，China（2022）; Shanghai New Generation VIII – "Slow", Chun Art Museum, Shanghai，China（2022）；New West Lake ? Island in the Lake, Museum of Contemporary Art, Shanghai，China（2021）； WOW ART, Tai Art Museum, Shanghai，China（2018）; No Exhibition, Himalayas Museum, Shanghai，China（2018）; Simulacra and Truth, MOFEIMO Gallery, Qingdao，China（2018）；Decoherence, ShanghART Gallery, Shanghai，China（2017）；Painting: 20×20, Poly Art Museum, Beijing，China（2015）; Twelve Paintings, L-Art Gallery, Chengdu，China（2015）; Flickering – Reality and Truth, Gallery Huit, Hong Kong，China（2015）；Nanjing International Art Festival, Nanjing International Expo Center, Nanjing，China（2014）；Discovery ? Reconstruction – Exhibition of Outstanding Works by Young Chinese Artists, Shanghai Duolun Museum of Modern Art，Shanghai，China（2013）
亓文章
亓文章在创作中深入现代主义形式经验，同时放眼现实，以极具个人气质的造型手段重构意象，营造荒诞气息。他持续塑造社会空间中的“无名者”，以平视视角关注其生活实况，自身则化身观察者脱离画中情境。作品融合现实主义与浪漫主义元素，通过高度概括的造型与色彩，在平凡日常中挖掘生命的尊严与意义，探讨现实与虚幻、个体与社会的关系。
亓文章，1981年出生于山东，现工作、生活于上海。
个展：“白日梦蓝”，颂艺术中心，北京，中国（2024）；“天涯刺日”，所落 SWALLOW，深圳，中国（2024）；“天空下”，55 画廊，上海，中国（2022）；“你往何处去”，站台中国，北京，中国（2020）；“亓文章个展”，站台中国，北京，中国（2017）；“栖居之地”，J Gallery，上海，中国（2015）；“自画像”，站台中国，北京，中国（2012）；“另一种行进”，EGG Gallery，北京，中国（2009）
群展：“与石头交谈”，香格纳西岸中环，上海，中国（2025）；“现实，超现实：中国当代绘画大展”，深圳当代艺术与城市规划馆，深圳，中国（2025）；“出口”，站台中国，北京，中国（2025）；“讲故事的人：当代绘画中的经验与观念”，香格纳北京，北京，中国（2025）；“柔情同志”，白兔画廊，悉尼，澳大利亚（2025）；“时间的形状：20周年特展”，站台中国，北京，中国（2025）；“现实之上——第七届昆明美术双年展”，云南美术馆，昆明，中国（2025）；“XSWL笑死我了”，白兔美术馆，悉尼，澳大利亚（2024）；“全球性绘画：中国新一代艺术家何多苓美术馆延伸展”，成都，四川，中国（2024）；“记忆”，BLANK gallery，上海，中国（2024）；“乌镇艺术展”，嘉兴，浙江，中国（2024）；“食莲人的海滩”，赛麟空间，上海，中国（2024）；“绘画小时代 Painting Tiny Times”，33ml offspace，上海，中国（2023）；“拒绝修饰”，赛麟空间，上海，中国（2023）；“全球性绘画：中国新一代的绘画”，特伦托和罗韦雷托现当代艺术博物馆，罗韦雷托，意大利（2023）；“自然与我”，新氧艺 O2ART，北京，中国（2023）；“捕捉”，站台中国，北京，中国（2023）；“画内：观念之外”，赛麟空间，上海，中国（2023）；“逍遥游”，站台中国，北京，中国（2022）；“人间”，BLANK gallery，上海，中国（2022）；“迎春画展”，站台中国，北京，中国（2021）；“情动——第七届江汉繁星计划青年艺术家研究展”，武汉美术馆，武汉，湖北，中国（2021）；“站台中国15周年特展”，站台中国，北京，中国（2020）；“致青春”，站台中国，北京，中国（2019）；“冬至”，55画廊，上海，中国（2018）；“夏季群展——寻常之物”，站台中国，北京，中国（2018）；“游弋”，杭州宝龙艺术中心，杭州，中国（2018）；“50个月亮”，Van Art Space，杭州，中国（2018）；“东北巴洛克”，三远当代艺术，北京，中国（2017）；“丛林3——寻常”，站台中国，北京，中国（2017）；“绘画的形象”，张江当代艺术馆，上海，中国（2017）
Qi Wenzhang's practice delves deeply into the formal language of modernism while engaging with a broad vision of reality, extracting and reconstructing imagery through a highly personal artistic vernacular to evoke an atmosphere of absurdity. He consistently portrays the "unnamed figures" within social spaces, observing their lived realities from a grounded, equal perspective, positioning himself as an observer detached from the pictorial narrative. His works merge elements of realism and romanticism. Through highly distilled forms and distinctive use of color, he excavates human dignity and meaning from the fabric of everyday life, exploring the relationships between reality and illusion, and the individual and society.
Qi Wenzhang, born in Shandong in 1981, currently lives and works in Shanghai.
Solo Exhibitions：Daydream Blue, Song Art Center, Beijing, China (2024); Stab the Sun at World’s End, SWALLOW Space, Shenzhen, China (2024); Under the Sky, Gallery 55, Shanghai, China (2022); Where Are You Going, Platform China, Beijing, China (2020); Qi Wenzhang Solo Exhibition, Platform China, Beijing, China (2017); Dwelling Place, J Gallery, Shanghai, China (2015); Self-Portrait, Platform China, Beijing, China (2012); Another March, EGG Gallery, Beijing, China (2009)
Group Exhibitions：Conversing with the Stones, ShanghART West Bund Central, Shanghai, China (2025); Reality, Surreality: Major Exhibition of Chinese Contemporary Painting, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China (2025); Exit, Platform China Contemporary Art Institute, Beijing, China (2025); The Storytellers: Concept and Experience in Contemporary Art, ShanghART Beijing, Beijing, China (2025); Tender Comrades, White Rabbit Gallery, Sydney, Australia (2025); The Shape of Time: 20th Anniversary Special Exhibition, Platform China, Beijing, China (2025); Beyond Reality – The 7th Kunming Art Biennale, Yunnan Art Museum, Kunming, China (2025); XSWL (Laughing My Head Off), White Rabbit Gallery, Sydney, Australia (2024); Global New Painting: Extended Exhibition of a New Generation of Chinese Artists, He Duoling Art Museum, Chengdu, China (2024); Memory, BLANK gallery, Shanghai, China (2024); Wuzhen Art Exhibition, Jiaxing, China (2024); The Essence of Painting——Beyond the Concept, Sailing Space, Shanghai, China (2024); Painting Tiny Times, 33ml offspace, Shanghai, China (2023); Refusing Ornamentation, SAILING Space, Shanghai, China (2023); Global Painting: LA NUOVA PITTURA CINESE, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy (2023); Me Mirrored, O2ART, Beijing, China (2023); Capturing, Platform China Contemporary Art Institute, Beijing, China (2023); Within the Painting: Beyond Concept, SAILING Space, Shanghai, China (2023); Carefree Days, Platform China, Beijing, China (2022); The Human World, BLANK gallery, Shanghai, China (2022); Spring Festival Art Exhibition, Platform China, Beijing, China (2021); AFFECT – Jiang Han Stars Plan Young Artists Research Exhibition, Wuhan Art Museum, Wuhan, China (2021); Platform China 15th Anniversary Special Exhibition, Platform China, Beijing, China (2020); To Youth, Platform China, Beijing, China (2019); The Winter Solstice, Gallery 55, Shanghai, China (2018); Summer Group Exhibition – Ordinary Objects, Platform China, Beijing, China (2018); Wandering, Hangzhou PowerLong Art Center, Hangzhou, China (2018); 50 Moons, VanArtSpace, Hangzhou, China (2018); Socialist Baroque, N3 Contemporary Art, Beijing, China (2017); Jungle 3 – Common, Platform China, Beijing, China (2017); The Image of Painting, ZArtCenter, Shanghai, China (2017)
徐大卫
徐大卫的创作在直觉与理性的拉锯中推进，从色彩、氛围或模糊形象出发，探索与关注画面结构、笔触、色彩与色块关系本身的张力与节奏，以及由此激发的情绪和情感反馈。他认为世界的本质是抽象的，而这种抽象性恰能唤起内在的精神空间。画面中的人物作为“旅行者”的符号，并非具体个体，而是处于孤独与勇气并存的中间地带，呈现人与环境的临时关系和“在途中”的永恒状态。
徐大卫，1980年出生于浙江，2001—2005年就读于中国美术学院综合艺术系综合绘画工作室，现工作生活于上海。
个展：“林中空地”，LIANG PROJECT，上海，中国 (2023)；“融摄”，LIANG PROJECT，上海，中国 (2020)；“遗迹”，西岸艺术与设计博览会个人项目，狮语画廊，上海，中国 (2018)；“潜行者”，狮语画廊，香港，中国 (2017)
群展： “现实，超现实 —— 中国绘画大展”，深圳当代艺术与城市规划馆，深圳，中国（2025）；“现实之上”，昆明美术双年展，云南美术馆，昆明，中国（2025）；“新风过蕊”，赛麟空间，上海，中国（2025）；“念念远山”，逸空间，南京，中国（2024）；“城市流体”，武汉双年展，武汉美术馆，武汉，中国（2024）；“春分”，LIANG PROJECT，上海，中国（2024）；“全球性绘画：中国新一代艺术家”中国平行展，艺博画廊，上海，中国（2024）；“微观叙述”，赛麟空间，上海，中国（2024）；“全球性绘画：中国新一代艺术家”，欧美巡展， MART 美术馆，罗韦雷托，意大利（2023）；“画内：观念之外”，赛麟空间，上海，中国（2023）；“象征的游戏”，艺凯旋画廊，北京，中国（2022）；“摩登时代”，艺术仓库，北京，中国 （2020）；“自由与勇气”，张江当代艺术馆，上海，中国（2018）；“拟声词”，榕异美术馆，上海，中国（2018）；“丛林 III：寻常”，站台中国，北京，中国（2017）；“绘画的形象”，张江当代艺术馆，上海，中国（2017）；“不可思议”，艺术门画廊，上海，中国（2017）；青衿计划，北京正观美术馆，北京，中国（2017）；“思考本质不如消费形状”，没顶画廊，上海，中国（2017）；“7080 新绘画”，LIANG PROJECT，上海，中国（2017）；ART 021 当代艺术博览会，没顶画廊，上海，中国（2016）；ASIANOW 亚洲艺术博览会，没顶画廊，巴黎，法国（2016）；釜山艺博会，没顶画廊，釜山，韩国（2016）；艺术北京博览会，没顶画廊，全国农业展览馆，北京，中国（2016）；“微体验 —— 隐秘之境”，深圳美术馆，深圳，中国（2016）；“艺术登陆新加坡”，狮语画廊，新加坡（2016）；“纸?上 ——2015 当代艺术邀请展”，罗湖美术馆，深圳，中国（2015）；“十二张画”，那特画廊，成都，中国（2015）；“此岸，彼岸，旅途上的诗”AYE 画廊，北京，中国（2015）；艺术北京博览会，AYE 画廊，北京，中国（2015）；“新动力青年艺术家展”，狮语画廊，上海，中国（2015）；“常青藤计划 2014 首届中国青年艺术家推荐展”，中间美术馆，北京，中国（2014）
Xu Dawei’s work advances through the interplay between intuition and reason. Beginning with color, atmosphere, or an ambiguous image, he explores the tension and rhythm inherent in the picture’s structure—the relationships between brushstroke, color, and shape—and the emotional responses they evoke. He believes the essence of the world is abstract, and that this very abstraction can awaken an inner spiritual space. The figures in his paintings function as symbols of “the traveler.” They are not specific individuals but inhabitants of a liminal space between solitude and courage, embodying a provisional relationship between people and their environment and the eternal state of “being on the way.”
Xu Dawei, born in Zhejiang in 1980. Studied at the Comprehensive Painting Studio, Department of Integrated Art, China Academy of Art from 2001 to 2005. Currently lives and works in Shanghai.
Solo Exhibition：Clearing in the Woods, LIANG PROJECT, Shanghai, China (2023)；Consilience, LIANG PROJECT, Shanghai, China (2020)；Relics (Personal Project), West Bund Art & Design, Leo Gallery, Shanghai, China (2018)；Stalker, Leo Gallery, Hong Kong, China (2017).
Group Exhibitions：Reality, Surreality – Major Exhibition of Contemporary Chinese Painting, Museum of Contemporary Art & Urban Planning, Shenzhen, China (2025)；Super Reality, Kunming Art Biennale, Yunnan Art Museum, Kunming, China (2025)；Spring Breeze & Flower Buds, Sailing Space, Shanghai, China (2025)；Urban Fluidity, Wuhan Biennale, Wuhan Art Museum, Wuhan, China (2024)；Mountains of Mind, East Gallery, Nanjing, China (2024)；Global New Painting — A New Generation of Chinese Artists (Parallel Exhibition in China), YIBO Gallery, Shanghai, China (2024)；Spring Equinox, LIANG PROJECT, Shanghai, China (2024)；The Micro-narration, Sailing Space, Shanghai, China (2024)；Global Painting — La Nuova pittura in Cina (Europe & U.S. Tour), MART Museum, Rovereto, Italy (2023)；The Essence of Painting — Beyond Concept, Sailing Space, Shanghai, China (2023)；The Riddle of the Symbols, Triumph Gallery, 798 Art District, Beijing, China (2022)；Modern Times, ArtDepot, 798 Art District, Beijing, China (2020)；Onomatopoeia, Rongyi Art Museum, Shanghai, China (2018)；Young Thinkers Courage and Freedom Exhibition, ZartCenter, Shanghai, China (2018)；Jungle III — Common, Platform China, Beijing, China (2017)；Images of Painting, ZartCenter, Shanghai, China (2017)；Inexplicable, PearlLam Galleries, Shanghai, China (2017)；Elite Young Artists Program, Right View Art Museum, Beijing, China (2017)；FROM CONSUMPTION OVER SUBSTANCE REFLECTION, MadeIn Gallery, Shanghai, China (2017)；7080 New Painting, LIANG PROJECT, Shanghai, China (2016)；ART021 Shanghai Contemporary Art Fair, MadeIn Gallery, Shanghai, China (2016)；ASIANOW — Asian Art Fair, MadeIn Gallery, Paris, France (2016)；Busan Art Fair, MadeIn Gallery, Busan, South Korea (2016)；Received Busan Artist Award Art Beijing, MadeIn Gallery, National Agricultural Exhibition Center, Beijing, China (2016)；Micro Experience — Hidden Realm, Shenzhen Art Museum, Shenzhen, China (2016)；Art Stage Singapore, Leo Gallery, Singapore (2016)；Paper · Surface — 2015 Contemporary Art Invitational Exhibition, Luohu Art Museum, Shenzhen, China (2015)；The Twelve Paintings, L-Art Gallery, Chengdu, China (2015)；This Shore, That Shore, Poetry on the Journey, AYE Gallery, Beijing, China (2015)；Art Beijing, AYE Gallery, National Agricultural Exhibition Center, Beijing, China (2015)；New Force Young Artists Exhibition, Leo Gallery, Shanghai, China (2015)；Ivy Project — 2014 First China Young Artists Recommendation Exhibition, Inside-Out Art Museum, Beijing, China (2014)
L-ART Gallery is a subsidiary of L-ART Art Group, with a presence in Shenzhen, Hangzhou and Chengdu. It specializes in discovering, promoting and long-term representing artists of great potential and professional merit.As an emerging art space rooted in the Group’s years of academic accumulation and professional system,L-ART Gallery upholds rigorous academic standards and professionalism, connecting the local and international art ecosystems with an open vision.We are committed to building a deeply reflective platform for exhibition and dialogue for artists, promoting diverse expressions and cross-disciplinary explorations in contemporary art.In an era of rapid transformation, we document and shape the artistic language of the future from a broad art-historical perspective, fulfilling our mission to advance the development of art history in the 21st century.
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地址｜Address
中国深圳市福田区福中路184号
深圳市当代艺术与城市规划馆L2层，2-7
Room No. 2-7, 2/F, Shenzhen Museum of Contemporary Art and Urban Planning, 184 Fuzhong Rd, Futian District, Shenzhen, China
深圳市当代艺术与城市规划馆
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