艺览北京 2022

児島 善三郎 Zenzaburo KOJIMA

王 家增 WANG Jiazeng

前田 正宪 Masanori MAEDA

内田 江美 Emi UCHIDA

戈 子馀 GE Ziyu

小林 麻衣子 Maiko KOBAYASHI

松枝 悠希 Yuki MATSUEDA

門田 奈々 Nana MONDA

中村 绫花 Ayaka NAKAMURA

艺览北京 2022

Published 木曜日, 6月 30, 2022

Shun Art Gallery is pleased to announce the gallery exhibit at “JINGART” from June 30th to July 30th, 2022. Affected by the epidemic, the 2022 “JINGART Beijing” will be moved online and presented through the online unit PLATFORM of the art fair. Shun Art Gallery has extended its rich gallery exhibition program to PLATFORM, presenting nine artists’ works. The participating artists include a number of artists who have held or will hold solo exhibitions in the gallery this year. Among them, several works by Zenzaburo Kojima (1893-1962) were exhibited on domestic platforms for the first time, while the works of several Japanese artists such as Masanori MAEDA(b.1964), Nana MONDA (b.1980), and Ayaka NAKAMURA (b.1988), whose works were rarely exhibited at Chinese art fairs before, will show in this PLATFORM.



児島 善三郎 Zenzaburo KOJIMA (1893-1962)

During his 3-year and half years of study in France since 1925, Zenzaburo Kojima formed his own striking and vibrant 3-dimensional styles. With his unique sense for contrasting colors, he left many well-beloved works of portraits, landscapes, and still life.

However, the turning point of his style came when he moved to Kokubunji. He embraced the wild Jomon style in his work, a unique cubist way of representation where details of the scenery area baldly omitted and tree are rendered into flat lots of shapes.

Zenzaburo KOJIMA also had succeeded in configuring compatibility of emotion and color. He applied these dynamics freely into still-life painting and flower-vase painting in his final years. The paintings were strictly configurated one by one, and they have been giving viewers still pleasure and satisfaction.

As such, his works are highly regarded in Taiwan, Hong Kong, and mainland China. In recent years, the works of Zenzaburo Kojima have been sold at high prices at auctions in Hong Kong.


王 家增 WANG Jiazeng (b.1963)

Wang Jiazeng has been rooted in the old industrial base of Northeast China since he was a child, and the urban imprint of his youth is deeply embedded in his consciousness, which has become an inexhaustible driving power for his creation. In his more than 30 years of artistic career, Wang Jiazeng’s creative language has become more and more refined, growing from a printmaker to an abstract artist, and from an abstract artist to an installation artist. In recent years, the artist has focused on the study of “folds”, from “folds of space” to “folds of objects”, in addition to focus on the change of industrialized cities, he has more philosophical reflection. Wang Jiazeng mainly uses rusted iron, steel, aluminum and other metals to condense the distant and heavy history in the remnant fragments, and return to the trauma that is difficult to name. “Punctum” is just a glimpse into this trauma, and the desolation of bodies and minds left over from China’s northern industrial age.

Wang Jiacheng has won several national print works awards, and more than 60 works have been selected by the British Museum, the Ashmolean Museum of Cambridge University, the Dusseldorf Museum, the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the Central Academy of Fine Arts, China Printmaking Museum, Today Art Museum, Zhejiang Art Museum, Guan Shanyue Art Museum and art museums in Anhui, Sichuan, Guizhou, Qingdao, Liaoning, Heilongjiang, etc.


前田 正宪 Masanori MAEDA(b.1964)

Compared with acrylic or oil painting materials, the Japanese pigments used in Nihonga are not only complex but also difficult to be effectively used in abstraction. It is this complexity that gives the genre called Nihonga its captivating allure, and an emerging school of contemporary Japanese painters is bringing this centuries-old tradition, previously leaning heavily on figurative painting, into the 21st century with bold colors and striking abstractions. Masanori MAEDA is one of the pioneers.

The prestigious Tokyo Art University is recognized as the most difficult art university to be admitted to in Japan, its glittering alumni essentially comprise the modern art history of Japan since the Meiji Period. Maeda graduated from this university and won the Ataka Prize. The artist’s early figurative works are quiet and implicit, the simple colors have the slightest changes, the glimmer of time is attached to the depicted still life, and the sight is kept in an eternal moment for a long time. In recent years, Maeda has renewed his focus on abstraction, a style of painting that he had always wished to paint, inspired by the simplicity of the Mono-ha movement and the pine trees of the legendary Medieval Japanese painter Hasegawa Tohaku. His brushstrokes reveal a tension in the void, which contains hidden unknowns, as if it is the sensibility honed in the cold and windy winter, serenity and gracefulness. Maeda tries to capture the superposition between “visible and invisible” in the image. The elements of life and death, pain and happiness are juxtaposed, once forgotten, the audience can enter another realm of transcendence, tranquility, and power.

Maeda has won many awards, including the Ataka Prize of the Tokyo University of the Arts, the Fuirann Award for Best Artwork, and the second prize of the Chicago International Art Competition. His works have been exhibited at major international art fairs and successfully auctioned at Sotheby’s in Hong Kong. His works were collected by institutions such as Ryumon Temple Collection in Tokyo, Tokyo University of the Arts.


内田 江美 Emi UCHIDA

Emi Uchida’s abstract works are infinitely extending as a whole. But on closer inspection, they revealed a dense interplay of charcoal paintinged lines suggestive of a network.The impression conveyed by the painted surfaces was of space exploding into infinity. Here were the neural networks of the human body connecting with the unbounded expanses of the universe and transporting with them the viewer. The familiar segued spectacularly into the ineffable.

At the same time, Emi Uchida is also engaged in printmaking. She draws nourishment from the “Shunga” of the Edo period, using lines and collages to deal with taboos and explicitness, concealment and revealing, and endow tradition with new interpretation and vitality.

Her works have been exhibited in Japan, China, Taiwan (China), the United States, Europe, Turkey, Singapore, and other places. Some important solo exhibitions were held in 2016 at the Taipei 101 Tower Art Museum (Taiwan, China), in 2018 at the Miura Art Museum (Ehime, Japan), in 2018 at the Kaohsiung City Government Cultural Bureau/Taiwan Cultural Center (Taiwan, China), and in 2020 at the Setouchi Art Museum (Okayama, Japan) and other institutions.


戈 子馀 GE Ziyu

Ge Ziyu graduated from the Department of Art of Donghua University and Central Academy of Fine Arts (CAFA). He currently lives and works in Beijing and Wuxi. Ge Ziyu investigates materiality, abstraction, and perception through the subtle relation between light and space and precisely geometric paintings that he made.

Ge’s works have been featured in exhibitions at multiple galleries and art institutions including Walker Art Center, Singapore Contemporary Art Museum, Chi K11 Art Museum, Overseas Chinese Contemporary Art Gallery in Chongqing, Himalaya Art Museum, EGG Gallery, Linda Art Center, PIFO Gallery, Hive Art Center, etc. In 2018, the China Collectors Association-Contemporary Art Collection Committee conferred the artist the honorary award of “The Most Market Potential Contemporary Artist in China” in the Bird’s Nest in Beijing.

His works are collected by institutions and private collectors in the United States, Italy, Britain, Japan, Singapore, South Korea, Hong Kong, Macau, Taiwan, and other countries and regions: Cushman & Wakefield headquarters in China, Foster + Partners: Architectural Design and Engineering Firm, Wenheyou Art Museum, Jupiter Museum of Art, Major Shareholder of Max Mara, Director of Taipei Contemporary Art Association, K11 Shanghai Executive Director, Senior Chinese Art Collector Liu Gang, etc.


小林 麻衣子 Maiko KOBAYASHI (b. 1977)

Maiko Kobayashi has created a unique and lovely creature, pale and soft, as if threatened by invisible forces and feeling helpless, but she retains a light of courage and hope in her heart. This creature is like a vessel of the human soul, into which the artist puts delicate emotions and affectional connections with others. In addition to studying characters, the artist also invests a lot of time in the selection of materials and painting skills, constantly breaking through to adapt to richer changes and layers. The artist grew up in Japan’s “ACG” and “Hikikomori” cultural background, the image she created is quite universal. With the deepening of her creation, this image has its own unique “lovely philosophy”, which in turn affects her contemporaries.

Since 2009, Maiko Kobayashi has held nearly 20 solo exhibitions in Europe, China, Japan, South Korea and other places. In recent years, her works have been sought after with remarkable achievements, in the international auction market. Meanwhile, several European and Japanese publishers continue to introduce her works.


松枝 悠希 Yuki MATSUEDA (b.1980)

It’s one thing to conform to boring, one-dimensional street signs, but one gets a whole different feeling when obeying the incredible 3D art sings by Japanese artist Yuki Matsueda. These artworks are definitely attractive and easy to pay attention to. The series is fun, creative and unique—the pieces certainly break the mold.

Matsueda’s work consists of signs, ordinary elements and abstract images trying to escape the plastic frame they’re put into. The artist creates a 3D piece by giving the impression that the subject of the image has come to life and is trying to escape its constraints. My favorite has to be the exit man trying to actually exit—it’s extremely ironic and eye-catching.
Yuki Matsueda is a young artist whose intentions were to express through art the need to break with everyday rules and boundaries.

Matsueda completed his PHD in crafts at Tokyo University of the Arts and has since been active as a 3D artist. Although Matsueda’s parents run a printing company in Japan, his interest has been in printing equipment and 3-dimensional solids rather than 2-dimensional prints. Nevertheless, his childhood memories and aesthetic senses still retain a natural affinity for his parents’ printed products. Matsueda’s recent work express motifs from 2-dimensional planes that protrude and encompass 3-dimensional spaces. The author seeks to overcome the limitations of the printing industry and its products — planar objects.


門田 奈々 Nana MONDA (b.1980)

Nana Monda has been drawing works on the theme of women from the beginning. Her work is composed in harmony with the female image by drawing “flowers” to match the female image that is her motif. The complex relationship between inner emotions and beautiful appearances such as beauty and ugliness, strength and weakness, softness and rigidity, calmness and fear, are properly expressed in the artist’s pen.

She was shocked by the natural sculpture and beauty of color when she moved to Kumamoto, changing her style to use her current colorful and vibrant colors. After that, in 2014, he won the New Face Award at the National Art Center, Tokyo, and was selected for the Kumamoto “Drawing Power” 2014 Grand Prix.

In recent years, Kadida has started to create related series inspired by the “Higo (old name of Kumamoto) Rokka (six flowers)” that have been cherished since the Edo period in Kumamoto since the Edo period. Hosokawa Shigekata (1721–1785), the sixth Hosokawa lord of Kumamoto, was an enthusiastic natural historian. Due to the lord’s methodical cultivation of local varieties and an extensive collection of botanical books, planting and appreciating flowers became a desirable gentlemanly accomplishment, and samurai in Kumamoto competed to grow the most beautiful specimens. The artist places traditional flowers and women in traditional costumes in the picture, hiding their real-life background; exaggerated slender necks and warm jade-like faces, seem to coexist harmoniously with flowers in nature, but at the same time, the unavoidable sense of strangeness and alienation are also lingering on in the work. The fate and identity of the woman behind the picture have become a mystery.


中村绫花 Ayaka NAKAMURA (b.1988)

“Ayaka nakamura” creates paintings and video works under the theme of “the existence of life”, aiming to create delicate yet strong visuals.

She was featured in “100 Filmmakers 2015” (BNN Publishing).

Her live painting on a 7m wide and 3m high panel at Roppongi Art Night in 2016 was well received, and he began to do live painting at events. She is active both in Japan and abroad, and has had solo exhibitions at Bunkamura Box Gallery (Tokyo), Enatsu Gallery (Tokyo), and EPIC (Tokyo). She has participated in group exhibitions at EPICENTRO ART (Berlin), White Box (NY), WAH Center ¥ (NY), Anthology Film Archives (NY), ART FORMOSA (Taipei), and OLA Galleri & Ateljé (Sweden). In recent years, She has also been active in the United States, Denmark, and China. She won the Grand Prix in the first edition of “ARTIST NEW GATE”, an art contest to discover new largescale artists.

2009-2013 attended Musashino Art University, Tokyo JP (BA Fine Art, Printmaking). Staying artist in residency and working all over the world, US, Denmark, Shanghai and Tokyo and Kyoto in Japan.


About Exhibition


In the era of globalization, it is difficult for us to distinguish the pure West from the East. In the process of mutual communication, both the East and the West influence each other on the progress of civilization. For example, Van Gogh’s works have the shadow of Ukiyo-e, and David Hockney’s works have borrowed from the perspective of Chinese landscape painting. However, it is undeniable that western cultural awakening has been strong for a long time since the explosion and growth in the 17th century. Although this “Orientalism” proposed by Edward Waefie Said in 1978 was a criticism of the romanticization of the eastern impression, it was hard to avoid the idea of binary opposition. So Oriental aesthetics or constructing the east has been critical in history, it is neither to western forms of simple imitation, nor follow a set of established standards and philosophical framework, but based on east region, with the Oriental philosophy and aesthetic as a thought source, and the Angle of view to the world with Oriental present us.