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Dec 2018

Rolling Snowball


At 3:00 afternoon,on December 15, 2018.“Rolling Snowball·Nanjing”will be opened at AMNUA.This exhibition is led by Li Xiaoshan as the art director.Ineke Gudmundsson as the academic adviser and Chen Rui,Li Meilan are appointed as the curators.This exhibition will focus on the art works of 52 Chinese and foreign artists, including sketches,paintings,oil paintings,photography,installations,sculptures,performance,images and some comprehensive mediums.

Since 2010, “Rolling Snowball”project has been initiated by the China European Art Center and has been held for eleventh. The Rolling Snowball event brings together Chinese and foreign artists from different part of the world, whose fields span a wide range of media. This cultural exchange and cooperation has greatly enriched the culture, ideas and concepts of artists from all over the world, and helped them to refine their artistic views and redefine their relationship with the arts. This cross-cultural exchange is part of its thinking and is of great benefit to their work and connections at home and abroad.

International exchange is a nutrient for art itself. Art flows in every corner of the world. Cultural exchange can also be considered an art of perspectives. In the long history of intercultural relations, preconceptions and old narratives were tested, revised and adjusted through both dialogues and conflicts. In the best scenarios, we learn from one another and seek commonality despite differences, leading to deeper mutual understanding and greater mutual respect. The culture of the “other” is also like a mirror, reflecting our own cultural texture, so that we can look at ourselves more objectively through the perspective of the other. A richer perspective brings a broader perspective, and it allows us to become more aware of our own foothold in the broader world.

This winter, Let’s Rolling the Snowball in Nanjing!

Sep 2018



本期唐妮诗画廊继续对话艺术家组合郝经芳 & 王令杰。
The conversation between Danysz gallery and the duo artists Jingfang Hao & Lingjie Wang continues.

Meng YU – Danysz gallery


You both studied engineering, why did you choose art later?

郝经芳 & 王令杰 Jingfang Hao & Lingjie Wang


The engineering study makes us be able to technically coordinate perception base on different sensory inputs. That helps us to predict how the views would perceive our works. Even, our works are sometimes considered technically meaningful, we still belive that they are conceptual. In other words, through technic, the sense gives us the paths to our perception, but what interests us the most is where they are leading us to.


Visually, the rainbows are just some coloful arcs. But these colors and shapes we see become meaningful only when they form a concept in our mind. A rainbow appearing in the sky of a no deserted land is just a phenomenon. A rainbow is only a rainbow after it was seen and understood by our mind.

Fiona CHEN – Danysz gallery


Do you have any other particular piece to introduce to us?

郝 & 王 Hao & Wang

与火烧云同样性质的颜料,我们用在了另一系列作品 ——《在万物运动的宇宙中画一条直线》上。它是在一个深色背景上,一个拖着尾巴的点,像一颗流星一样,极其缓慢地在天幕划过。通常观众一旦发现一个小点在慢慢运动,视线基本就舍不得离开它了。许多人在惊叹之余询问我们在技术上如何做到的。而我们也会问,大家在美丽的晚上,看到夜幕上一颗流星划过,也会问如何制作的么?

The same paint we used to make clouds, we applied it in another work Draw a Straight Line in a Universe Where Everything moves at All. It is on a dark background, a dot like a shooting star, slowly moving on the sky. Once people spot it, they usually can’t take their eyes off it. Being amazed by this artwork, many asked us how we made it. And we always ask as well, in a lovely evening, when we see a meteor flying through the sky, will or should we ask how it is made?



The exhibition allows viewers to appreciate our nature, such as clouds, rainbows, lakes and deserts. I found that your artworks are usually related to the nature. Is this your main concept?

郝 & 王 Hao & Wang


One’s philosophy is complicated. From his/her attitude towards nature, you can also peep into his/her attitude towards society, politics, and somehow life.



I believe that your work can make some visual and spiritual sparks for every viewer. Any preview you could share with us regarding future works?

郝 & 王 Hao & Wang


Thank you. We are both artists and the first audience of our works at the same time, we are also looking forward to the next work which can touch us. Recently, we have some exhibitions in Qing Art Space in Shanghai, AMUNA in Nanjing and Art Museum of Sichuan Fine Arts Institute in Chongqing.

Sep 2018



视觉系还是概念性?—— 专访郝经芳 & 王令杰 (上)


若你近期跨入唐妮诗画廊上海空间,定会被艺术家组合郝经芳 & 王令杰(下为郝 & 王)为画廊群展“微光”所创作的全新装置«彩虹,云梦泽»所吸引。近日,画廊也与艺术家就这件取得热议的作品展开对话,深入了解这对艺术家组合的创作经历。

If you recently visited Danysz gallery – Shanghai, you will be attracted by Jingfang Hao & Lingjie Wang’s newest installation Rainbow, Yun-Meng Lakes, created for the group show MINIMAL LIGHT. The gallery had a dialogue with the couple about this piece which were ardently discussed. Let’s know more about their career.

Meng YU – Danysz gallery


We saw your original artworks about rainbow series, starting with a simple rectangle and going to the complex outline of the lake and sea from last year. What is the opportunity for you to project the rainbow into the rivers and lakes?

郝 & 王 HAO & WANG



From water. The small water droplets scattered in the air are clouds, and the condensation drops into rain and snow, falling on the ground to form rivers and lakes. The conformation of rainbow is just when there are still raindrops in the air, and the sun shines on the numerous water droplets.
The rivers and lakes that we have chosen, all existed in history and benefited one side, but they have disappeared because of the climate change.

Fiona Chen – Danysz gallery


Why did the exhibition choose to present Yun-Meng Lakes? Is there any special significance in recreating rainbow in Yun-Meng Lakes?

郝 & 王 HAO & WANG


The so-called Yun-Meng Lakes are referred from a poem “While vapours all over the Yun-Meng Lakes up roll, bores roar ahead to rock the Yue-Yang City Wall”. These two lakes, the big one is Yun Lake and the small one is Meng Lake. The Yun-Meng area is a hunting area for the ancient kings of Chu, including mountains, plains, and lakes. The lake area is called Yun-Meng Lakes. Because of the intersection of Hanshui and the Yangtze River, the soil is fertile and has nurtured a valuable culture of Chu. As time goes by, Yun-Meng Lakes have completely disappeared, and only with the help of Meng Haoran and Jia Zhi’s verses to live in our memory.



We have heard that you will soon present a sand-faced rainbow in another group exhibition. Is this a new challenge for lighting and space? What difficulties will you encounter in transportation and site layout?

郝 & 王 HAO & WANG


In late September, we will participate in a group exhibition planned by Mr. Tang Keyang at Museum of Sichuan Fine Arts Institute. A large rainbow installation will be displayed in the exhibition, and it will be presented on the lower plane of the space. The work will be produced on site, and we have already implemented a similar program at the Lyon Biennale last year. This exhibition hall is a very challenging space. The audience will have the opportunity to climb up the slope on the side of the exhibition hall, and the rainbow will gradually appear in front of the audience in the process. Until the audience walks to the highest point of the exhibition hall, he will see a perfect rainbow shape.

郝 & 王 HAO & WANG

好几年,我们就一直在研究光。处理光是一件非常棘手的事情,为此我们做了很多实验。由于光线中有许多颜色,彩虹很容易在我们的脑海中浮现。通过在不同的艺术环境和空间中呈现和诠释彩虹,我们试图了解如何在物理世界和人们心中获得彩虹的形式。在我们的中学物理课上,大多数人都已经被告知,彩虹是由太阳光通过空气中的微滴水折射和反射而形成的。 然而,再现一个理论的证明恰恰与我们的意图相反。我们探索了另一种媒介的材料世界,它可以支持我们的这个开发彩虹的可能性的想法,例如,在里昂的展览中,我们使用了玻璃微球来改变视角,它相当于在沙子的表面呈现彩虹。

We have been working on light from several years ago. To work on light is very tricky, so we did lots of experimental things. As there are many colors in the light, rainbow emerges easily in our mind. By performing and interpreting rainbow in different artistic contexts and spaces, we made our approach to try to understand how rainbow get its form in physical world and also in people’s mind. Most of us have already been told during our middle school physical lessons, that rainbow is formed by the refraction and reflection of sun light through the micro drips of water in the air. However, reproducing a demonstration of the theory is just the opposite of our intention. We explored the world of materials for another medium which could support our ideas to develop the possibilities of rainbow and for example, during the exhibition in Lyon Biennial, we used glass microspheres to change the perspective, presented a rainbow on a quite surface of sand on the floor.

郝 & 王 HAO & WANG


In terms of the process of arranging the exhibition, the light source needs to be hung from the ceiling to a specific location in the space. This will be a challenge for on-site coordination.



The engineering background of you two makes the artworks more connotative and ornamental. The inspiration for this burning cloud is from the clouds at sunset in Shanghai. Can you tell us about the specific modeling of the cloud and the process of choosing the color of the coating?

郝 & 王 HAO & WANG

For example, if you see a cloud in the sky you will think about it in your heart and will ask how this cloud is made? We don’t really care about leaking specific production methods, and there is nothing to hide. But we don’t want the audience’s focus to deviate from the original intention of the work. The burning cloud is just beautiful, sensitive, shy, it is the cloud that can change with the environment.



What are the similarities and differences between the clouds exhibited in Shanghai and in Europe?

郝 & 王 HAO & WANG

从形态和技术上说,基本相同。但是这次在上海展出的两件云作品,名字分别叫做《云, 19点01分》和《云, 19点28分》。这两个名字的来源和他们所展出的位置息息相关——一年中日照最长的一天——6月22日,在上海,太阳下山时接触到地平线的时间、和太阳完全没入地平线的时间。就这么短短不到半小时的时光里,天空呈现出最丰富的色彩。而云的色彩也是来源于此。同样,在欧洲展出的时候,就会根据欧洲展出地的时间来确定名字了。

In terms of form and technology, they are basically the same. But the two works exhibited in Shanghai this time are called A step to Sky, 19h01 and A step to Sky, 19h28. The origin of the two names is closely related to the position they are exhibiting – the longest day of the year – June 22 in Shanghai, when the sun goes down to the horizon, and when the sun is completely out of the horizon. In such a short time of less than half an hour, the sky is the most colorful. The color of the cloud is also derived from this. Similarly, when it is exhibited in Europe, the name will be determined based on the time of the place of exhibition in Europe.

微 光
郝经芳 & 王令杰
唐妮诗画廊 – 上海黄浦区北京东路256号
周一至周六10 – 18点/周日12 – 18点


Hao Jingfang & Wang Lingjie
Ma Lihua
Song Xi
SEP. 1st – OCT. 31st, 2018
Danysz gallery, 256 Beijing East Road, Shanghai
Open from Monday to Saturday 10am-6pm / Sunday 12am – 6pm

郝经芳 & 王令杰(Jiangfang Hao & Lingjie Wang)


The sunshine of the present day is not the sunshine that shined on the lake at that time. Can the rainbow appearing on the works right now remind us of the once-related relationship with us or maybe it is the vitality of the lake that gave birth to one civilization?

Aug 2018

Minimal Light


Danysz gallery – Shanghai presents a group show of four contemporary Chinese artists this autumn. The title of this group show – Minimal Light, is inspired by a poetry of the legendary Canadian poet and singer Leonard Cohen “Anthem”. In this poetry, he writes: “there is a crack, a crack in everything, that’s how the light gets in.” Light from the crack is usually very small, but it represents a glean hope of survival. In this case, light becomes a kind of spiritual awareness.

In Minimal Light, you can discover Hao Jingfang & Wang Lingjie’s newest creations which come from the on-going project “Rainbow”. They have created several shapes of lakes facing of the danger of drying up. In this installation, light is brought in where refraction and reflection of the microspheres composes a rainbow for the viewers from different perspectives.

Minimal Light also presents several conceptual artworks by Song Xi. His video “Ode to Joy” recorded his performance. In the darkness, he patted the flies with electric flapper. Sparks are produced, and they are as beautiful and brilliant as fireworks. This light reminds us of a collection of poems Fireflies by Rabindranath Tagore. He once said: “You tiny, but you do not small.” Firefly is a small insect with weak light. However, once gathering lots of fireflies, they shine for the world to see.

Another key word of this group show is “minimal” which can be interpreted by Ma Lihua’s paintings. In his creation, the underlying language of white and sand is combined, through the interspersed handwriting, to combine a deep sense of space, forming a rhythm and feeling. Ma Lihua expresses the true spiritual world by means of an appropriate abstract image.

Jun 2018

The Cloud Atlas


The International Cloud Atlas, published in 1896, was compiled thanks to the research and classification work conducted by researchers like Jean-Baptiste Lamarck, Luke Howard and Ralph Abercrombie. It was the first publication to set out a nomenclature for clouds, using Latin names, which allowed all European meteorologists to work together. This was how names like  Cumulus, Stratus and Nimbus were applied to the different types of clouds, bearing witness to the establishment and recognition of meteorology in the 19th century. The theme of clouds has been present in iconography since Antiquity and has been a major source of inspiration over the centuries, particularly in painting and photography.

Symbolic, poetic, threatening, divine… clouds have played a central role in artistic representation. In the 21st century, they continue to fascinate numerous artists, whilst environmental and political issues have also come into play. The Cloud Atlas takes an approach that is both playful and sensory, arousing the curiosity of a broad audience, as it takes us on a geographical, sociological and philosophical journey.

The project encompasses the work of over twenty international artists, with photographs, daguerreotypes, neon works, lightbulb installations, videos, fabric sculptures, drawings and more.

Anne Immelé’s cloud flags ask questions about borders, in the same way as Marco Godinho’s cloud stamps raise issues of migratory politics and the movement of people over the past decade. The cloud composed of 6,000 lightbulbs created by the collective of Caitlind Brown & Wayne Garett invites visitors to play with a tree of light. Pollution and smoke appear in the work of Christophe Urbain, whereas Hoang Duong Cam denounces the systems of Asia’s megacities. Berndnaut Smilde creates ephemeral clouds. And whilst Emilie Faïf sets hearts beating, they are pierced by Marion Baruch. Shilpa Gupta imprisons them or speaks to the sky. Julie Guillem and Jean Gabriel Lopez recreate their own cloud atlas using historic processes.

Artist list : Marion Baruch, Hicham Berrada, Olaf Brzeski, Caitlind Brown & Wayne Garrett, Rhona Byrne, Hoang Duong Cam, Julien Discrit, Arpaïs du Bois, Latifa Echakhch, Emilie Faïf, Marco Godinho, Julie Guillem, Shilpa Gupta, Anne Immelé, Hao Jinfang & Wang Lijie, Feng Li, Jean-Gabriel Lopez, Johan Parent, Berndnaut Smilde, Christophe Urbain, Bruno v. Roels, Sophie Zénon.

Jan 2018

La lumière n’existe pas / Light does not exist


Après leur participation à la 14ème biennale de Lyon et au 62ème salon de Montrouge, Anne-Sarah Bénichou invite Jingfang Hao et Lingjie Wang pour une exposition personnelle à la galerie. Le duo d’artistes, qui vit à Mulhouse et travaille entre Paris et Shanghai, propose principalement des installations. Formés en tant qu’ingénieurs avant d’intégrer une école d’art en France et particulièrement sensibles aux changements indétectables dans la nature, qu’il s’agisse du soleil, des étoiles ou du passage du temps, Jingfang Hao et Lingjie Wang proposent une vision poétique de ces changements tout en les exposant à la vue de tous.

Pour l’exposition, plusieurs œuvres et installations qui constituent des temps forts dans leur travail ces dernières années seront produites, ré-activées ou présentées pour la première fois, avec pour angle principal la réflexion des artistes autour de la lumière. Intitulée « La lumière n’existe pas », elle fait référence à une citation de Francis Picabia : “Ce sont les mots qui existent, ce qui n’a pas de nom n’existe pas. Le mot lumière existe, la lumière n’existe pas.” Il s’agit ici d’interroger notre perception de la lumière, de la beauté et des illusions qu’elle peut créer.