Feng Chen Solo Show 冯晨个展

In spring 2017, Capsule Shanghai will present artist Feng Chen’s solo show. The exhibition opens on May 20 and runs through August 6. It is Feng Chen’s first solo show since returning to China, after participating in the Rijksakademie residency in Amsterdam from 2014 to 2015. The exhibition’s works unfold from experimentation and research into a diverse range of media, incorporating video installation, sound installation, sculpture, and painting.

The exhibition also includes carbon fiber sculptures, resin sculptures and Ebru paintings, a traditional Middle Eastern paper marbling technique. The works breathe and metabolize with a specific rhythm, like organs in an inorganic system.

胶囊上海将在2017年春季推出艺术家同名展览《冯晨个展》。此次展览是冯晨参加荷兰阿姆斯特丹皇家艺术学院的驻留项目(Rijksakademie Residency,2014 - 2015年)回国后举办的首次个展,将展出录像装置、声音装置、雕塑和绘画等形式的作品,呈现艺术家对不同媒材进行研究与试验的发现。展览将在2017年5月20日开幕,持续至8月6日。







Feng Chen’s first solo exhibition at Capsule Shanghai incorporated light, visual, sound, and machine-controlled movement, among other elements.


Capsule is located in downtown Shanghai at the end of an alley tucked inside a residential compound. The middle room of the gallery contains three large windows that look out into a courtyard filled with bamboo and other greenery. For the exhibit, Feng Chen installed flickering blinds activated by a device controlled by sound. The installation regulates the flow of natural light into the room, sculpting space with rhythmic movement.


Feng Chen was born in 1986 and graduated from the New Media Department of Chinese Academy of Fine Arts. His video works are concerned with media language and viewing methods. A few years ago, he started a series of experimental audio works to accompany the video. “The Darker Side of Light” (2017), a site-specific light installation created for the show, marks an expansion of the artist’s oeuvre.


Through the transformation and control of the blinds, Feng Chen creates an audio language that is visible, including weaving daggers of light filtered through blinds and the silhouette of projections. Sound is imbued with a certain tangibility, as in the projected video images that pulsate rhythmically. Synchronized rhythm becomes central to the audience experience. When the sun sets, the audience’s shadow casts a natural projection onto the wall, becoming another vivid aspect of the work.


“The Darker Side of Light” explores the relationship between man and machine, movement and sound. In “Untitled” (2015), Feng Chen used sound to control the movement of a camera lens, resulting in a perpetually unfocused lens that produced vibrating images. The three-channel video “Convulsion” (2017) continues on the theme by depicting mechanized convulsions of human limbs synchronized with sounds from nature, computers and handclaps.


In many cases, art is understood as a production process, and is usually a process that is being simplified. The principle of mechanical operation we know is far from the artist’s creative intentions. For Feng Chen, the logic and order reduce human feelings, leaving only the occasional or accidental opening for senses. The surprise of flickering blinds and convulsing limbs highlight the role of the human body. In fact, Feng Chen’s work reveals the potential vulnerability of the body in the face of greater power, whether physical, mechanical, social or institutional.


Feng Chen attempts to explore new interpretations of the relationship among image, sound, and space. His video concept and work method reference what Deleuze and Guattari describe as the instability of subjectivity; the existence of which can only be regarded as one in constant flux. In dealing with these relationships, Feng Chen raises an important question regarding controlled environments: the extent to which an artist is able to focus on the changes that take place from one instant to the next, and, moreover, the viewer’s ability to understand the work—considering everything is always in flux.


Translated by Philana Woo



In Capsule Gallery, nestled at the back of a small neighborhood off Anfu Road, Feng Chen has turned the space from a typical white cube into a house alive with the automated movements of the machinery from which Feng extends his reach into all the visitors. The effects of the artwork are an invasion of reality. “My work does not talk about stories. It is about reality and how people relate to real life.” In the space of the gallery, every decision of the experience down to the color and texture of the carpet has been chosen by Feng Chen. The entirety of the space is curated to point at how our senses have created the illusion of reality.

Repetitively, Feng isolates a sense, sound and sight and even emotion, and then prods at the brain’s interpretation of the information. In his solo show, Feng Chen aims to break the imposition of perception to liberate the audience from their hypnosis. Yet, by taking total control of the experience within the gallery, Feng Chen also aims at the institution of art and there too attempts to undermine its own authoritarian position.

After putting on headphones, Feng and I walk into the first room on the left. Sounds of slaps begin playing in our headphones as Feng conducts the tour, explaining the piece in front of us. It is one channel of “Convulsion,” a video projected across the wall. In the video, the inside of a wrist twitches. Our headphones continue to play the slap, which is almost synchronized with the twitch on the screen. Like someone trying to hit a moving target and just missing the mark ever-so-slightly each time, the twitching wrist is only a fraction of a beat away from being in-synch with the slap. Suddenly, the blinds start to shudder alongside the sound and the video. The three fuse. Together, they envelop the audience.

“Did you design the exhibition to make the audience uncomfortable? Because when I watch this video I long for them to join.”


“My work tries to invade a person. Because I use video often and sometimes I want to make something different. You watch television every day and you don’t know it invades you,” explains Feng in the back office of Capsule. Screens of convulsing arms, backs, and buttocks controlled by electric charges and are paired with conspicuous sounds. As viewers enter the gallery they are invited to wear headphones, isolating them within the exhibition. His work includes carbon fiber installations, Erbu marbling paintings, thermal ink, and sound installations.

Moving room to room, the audience is exposed to these video and sound pairings. The sounds are artificially synchronized and at times desynchronized with the spasms. Of course, the sound of a frog in Convulsion has no real-world connection with the twitch of the shoulder.

“How the mind comes into [the exhibition], that is what I am interested in. Like this mind is kind of a sense perception. How do senses build the mind. How do you do that? But the mind has different kinds of layers. If people see the work and get mad I think it is a good idea. When you get mad some people maybe really like it. You get mad because there is no purpose.”

He forces the audience into an illusory synthesis that is routinely broken. It is our own unconscious that causes the relation between the audio and visual: there is no casual relationship between an arm muscle and a slap. That is a marker of the illusion. We are blind to our own blindness when we long for the synchronization of sight and sound and are wholly unable to divorce the two. Even more, Feng Chen manipulates the space by pairing moving blinds with the video and audio. Here, even the slightest discrepancy in the timing becomes almost unbearable as we long for synchronicity.

In this exhibition, I see Feng Chen’s work as compelling the audience to examine reality through the senses by blurring the line between synthetic and natural through projecting this now-opaque distinction directly into our (hopefully) conscious awareness. To achieve this effect, he must control all aspects of input by using technology, space and time, and the gallery itself as the media. The space and role of the gallery is obscured when Feng Chen imposes his artificial reality: there is no need for the gallery now if Feng is attempting to disarm the authority of the senses. The gallery is manipulated into a passive host in order that the artist can highlight the lines between misinterpreted reality and true reality directly into the viewer. This action is fundamentally destructive with the hope that the viewer can begin to reconstruct her own idea of reality.

Feng explains, “You can help the audience look a little bit further. I know and I want you to know. I think you should know, unless you do not want to know and then you will never know.”

Feng Chen circumvents the space for intimate contact with the audience, isolating them in a curated reality through technology (headphones, video, and moving objects) to separate the audience from both the world outside the gallery and even the gallery itself. Although Feng is not physically in the space, he extends his autonomy through mechanized interactions that touch the senses of the gallery-goer. “For me, for now, the machine helps man build the world. Everything is controlled by the man. The machine is like a hammer or measuring tape. It just helps you be more precise.”

It is through clever subversion that results in the audience succumbing to the illusion of a new reality through sense, which in itself is an illusion of reality as well. His art, therefore, is an illusion built upon an illusion, with one, the illusion through art, aimed at breaking the authority of the illusion through the sensory. His presentation is forceful and deceptive. His goal is to help the viewer come to a conclusion of what reality is. The things Feng Chen has created are illusory and deserve a chance to be a valid experience. They represent misinterpretations of reality but letting these misinterpretations of reality exist is the beauty of art.


Hu Arts is a platform hosting art events, writing in-depth articles and connecting with artists in China.




The experimental artist Feng Chen’s solo show makes full use of Capsule Gallery’s unassuming space located inside a residential lane. In direct contrast to the serene backyard in full summer bloom, the sporadically quivering shutters seen from the outside gives off an eerie vibe—as though an opening scene to a horror movie. With many artists flocking to and sometimes over-abusing topics such as image representation or the power of media, Feng’s unique perspective lies in his ability to technically and thematically construct automated systems that fully integrate our perception of body and space.

As I navigated videos that document the body’s spastic movements distributed across the exhibition space, whether a close-up of a wrist, or the sensual curves of a woman’s nape, my optic experiences are linked by built-in sonic and kinetic signals that fluctuate and bounce off of each other. The convulsing rhythms of a vein is synchronized with otherworldly sounds transmitted through headphones, which in turn trigger the blinds to flicker and let in floods of light. I felt that Feng’s understanding of the relationship between man and machine is in some ways an experiential version of E. T. A. Hoffman’s short story The Sandman, in which the protagonist falls in love with a well-crafted automaton—reality is not what it seems; automated mechanisms can be equally pleasurable, if not cruel.

The artist’s gift in traveling between different sensorial realms can also be seen in his manipulation of material objects. I was greatly drawn to the series of acrylic paintings also on view: using ebru, a traditional Turkish marbling technique, the works exemplify a spectacular instance of synesthesia, the organic colorful spirals pulsating with irregular rhythm and energy. Similarly, the spatial dynamism of the carbon-fiber sculpture “7 Real Magic Book” is realized by drawing in three-dimensional space, comfortably bridging different mediums.


The core of Feng Chen’s solo show at Capsule Shanghai is a group of video installations that each stands alone, but also correlates to one another. Placed in different rooms within the gallery, each work seems to be independent, together they maintain a perfect synchronization. This group of works is originated from Feng Chen’s reflection on the relationship between sound and image. One central view on such a relationship – let’s call it “naturalism” for the sake of simplicity – suggests that since the world is harmonious, the relationship between sound and image is naturally harmonious; yet both sound and image become distorted or incomplete in their representations through various mediums, thus embodying “the sin of technology”. Another view sees the world itself as a form of representation. There is no stable relationship inherent to sound and image; human beings can only speculate about and simulate the world through cognition. It is quite evident through the exhibition that Feng Cheng is more interested in the latter view.

If video is more than a form of recording, then creating a video piece goes beyond shooting and editing materials, but creates more importantly a mechanism to produce a relationship between sound and image. Let’s take Feng’s The Darker Side of Light, a site-specific work for the solo show as an example. Its creation is in fact also about establishing rules – with the help of the rules, the synchronization of the visual and auditory senses in a video is dissected and then reconnected in the artwork. Using sounds to change the focus of the lens, the artist first shot images, then dubbed them with new sounds; as the final step, he used these new sounds to drive the blinds in the room to flap, again making new sounds and causing light changes.

Sound controls movement, movement creates images, and images trigger other sounds. In the looping of “movement – sound – movement – image – movement – sound – movement – image”, information constantly undergoes transformation through various time, space and mediums, finally represents itself as a seemingly unremarkable short audio-visual sequence. The same piece of work is shown on several screens placed in different spots in the gallery while one screen plays multiple pieces on loop. Viewer wandering around the gallery and wearing a wireless headset would hear specific sounds depending on where they are. It is almost impossible for them to tell which parts of their experiences have been altered and how each part relates to the others. The involuntary mechanical quivering of human skin and muscles in Convulsion, the ever-changing focus of the camera in Untitled and the noises resounding in the rooms of the gallery – together they form another world. As the blinds flash open, light from outside enters, merging the imagined and designed virtual world as created by a manifold of transformation and translation of data, with the real world as experienced by the viewers. We can’t help but wonder, which one constitutes reality?

A similar question was proposed more directly in the work 7 Real Magic Books – The Second Hypnosis: can images truthfully document reality? Currently, reality, as captured by images, has become so unstable that as soon as perspectives change, new images appear and bring about new realities. If we further pursue this train of thought, would it be conceivable that reality could host endless possibilities since there seems to be an endless array of perspectives? In fact, seeing itself is no more than our interpretation of external signals. It is our brain that combines the all those bits of information transmitted by optic nerves to form a meaning. People born with cataracts are not able to perform such a task. Even after an operation removing their disabling physical condition, they still can’t put incoming visual information into a meaningful image, therefore, they only see lights in disarray. We hypnotize ourselves into believing that we can objectively observe and describe the world, into believing that what we see is real. The artist, however, makes use of this false belief to hypnotize us for a second time.

Consequently, the existence of all things should be deemed as indefinite as long as they are not observed. The human perception serves as a kind of “measurement”, making them collapse into some definite state. Expression, perception and reality bond to and interact with each other in labyrinthine ways. We live these days among varied graphic and audio interfaces and have gotten used to modified experiences, but Feng Chen’s work reminds us to be aware of the power of medium in operation. Perhaps we even need to redefine how we stand with reality. According to what Donald Hoffmann calls as “conscious realism”, what matters is not what the perceived world really is, but how we feel and react to what we have perceived. In other words, all our perceptions of reality are,in the end, “illusions”. There is no independent reality beyond our experience. Therefore, experience is the most essential and authentic part of existence and the ultimate nature of reality.



Bruce Ding’s Text, translated from the Chinese by Ken Zhao & Zoey Wan and proofread by Eva Zhao, was originally published on Artforum website and Wechat account.



Click on the link below for the full video of Feng Chen Solo Show at Capsule Shanghai realized by Action Media to discover the behind-the-scenes of the exhibition and an interview with the artist.


Video produced and made by Action Media.



开幕:2017.4.15 下午3点

展期:2017.04.15 – 07.16


Create Spaces

Opening: Saturday April 15th, 3pm

Duration: 2017.04.15 – 07.16

Venue: Luxelakes·A4 Art Museum: Luxelakes Arts Exhibition Center (Luxelakes Eco-City), South Extension Tianfu Avenue, Tianfu New Area, Chengdu, Sichuan, China


胶囊上海 | 冯晨作品参加A4美术馆新馆首展

《W》,2017 ,声音装置(水泥雕塑、音响、电机、机械部分),直径4m | “W”, 2017, installation (concrete, speaker, motor, mechanical parts), diameter 4m|图片来源A4美术馆 Courtesy A4 Art Museum

“创造空间”由国际当代艺术领域的策展人李振华以及馆长孙莉担当艺术总监,联合策展人赫挲·卡斯泰利(Richard Castelli)、李杰、蔡丽媛共同策划完成。展览将于2017年4月15日至7月16日期间举办。“创造空间”不单单是对更加广义的空间的多维度诠释,也源自于策展人对新的A4美术馆的想象。创造空间融合了诗性、声响、内在、运动、超视象与扩延的空间,展览试图通过更加身体性的体验,调动五感,使观者置身于亦静亦动的现场空间,模糊了可见与不可见,现实与虚幻,内在与表象,东方与西方的二元世界,并由此引发我们重新认识我们关于自身、城市以及文化空间的关系。


胶囊上海 | 冯晨作品参加A4美术馆新馆首展

《W》,2017 ,声音装置(水泥雕塑、音响、电机、机械部分),直径4m | “W”, 2017, installation (concrete, speaker, motor, mechanical parts), diameter 4m|图片来源A4美术馆 Courtesy A4 Art Museum

Feng Chen to the Luxelakes•A4 Art Museum’s debut exhibition, featuring his new work “W”, 2017. The work is inspired by sea waves, and uses a cement-molded body of a large-scale sound installation in order to explore themes of sound and motion. “W” brings into conversation the concept of signal transmission, and how different permutations of switches can materialize into sounds. In 2015 Feng Chen created a first smaller version of the sound installation work “W”, which attempted to reconcile the synchronization between sound and motion. The recent larger version of “W”, 2017, was created with the architecture of the A4 Art Museum in mind, by converting the work’s original wooden texture into cement. At the entrance of the museum, a half-open space holds the four-meter diameter large-scale sound installation. The space allows the audience to sit on the side of the sound installation, watch as the movement of the dial through the work’s interior imitates the motion of a sea wave, and feel the resonance of the trumpet-like audio.

胶囊上海 | 冯晨作品参加A4美术馆新馆首展

《W》,2017 ,声音装置(水泥雕塑、音响、电机、机械部分),直径4m | “W”, 2017, installation (concrete, speaker, motor, mechanical parts), diameter 4m|图片来源A4美术馆 Courtesy A4 Art Museum

“Create Spaces” is curated by international contemporary art curator Li Zhenhua and director SunLi, as well as co-curator team members Richard Castelli, Li Jie and Cai Liyuan. The exhibition will be held from April 15th, 2017 to July 16th, 2017. “Create Spaces” not only bases its narrative on the multi-dimensional spaces of the museum, but additionally is drawn from the imagination of the A4 Art Museum’s curators. The exhibition is in equal turns poetic, aural, internal, and motion-based. The visual, extensive space is designed to impart upon the audience sensual bodily feelings. It is a static and dynamic live space that blurs the line between the visible and invisible, the actual and visional, the interior and exterior, and the East and the West. Thus, visitors will be able to rethink the relationship between the city, culture and ourselves.

“Trembling Surfaces” in Long March Space


Joeun Aatchim, Feng Bingyi, Feng Chen, Huang Songhao, Yunyu Ayo Shih, Su Yu-Xin, Yi Xin Tong, Vivien Zhang, Zhu Changquan

2016.12.10 – 2017.2.19

Long March Space, Beijing

Long March Space is pleased to invite two young artists, Zhang Jianling and Guo Xi to curate the exhibition “Trembling Surfaces”. With the interest in re-discovering modes of narrative, the duo explores the ways in which a constellation of texts-images-objects form new space for artistic practice and channels of perceptions, this exhibition attempts to index these young creators’ life and ideas in recent years, by mapping the traces they’ve left on the geographical routes, we are invited to take a glimpse into how works of art reflect their life experiences on the move. Every artist’s fragility is an appeal to Zhang Jiangling and Guo Xi, that expands into independent sensibilities, allowing the surfaces of reality, image, and concepts to crease and fracture, where new topographies emerge. This exhibition will lead to the first step of winter excursion, allowing the viewers to traverse through nine magical landscapes as theyconstantly zoom inand out on their sensibilities.


Feng Chen prefers we ask him what he has invented recently. Single Eye is closely tied to another young video artist’s unique life experience and sense of space. Viewing experience at the present occurs in high definition and is often homogenized, the headgear Feng Chen invented allows his friends to perceive the depth of the world from the surface of the image, in other words, giving us the opportunity to enter into the 3D world through a single eye.


Group show in Capsule Shanghai Gallery



When We Become Us


Opening: 5pm – 8pm, 15th October, 2016

Duration: 15th October – 27th November 2016

Capsule: 1st Floor, Building 16, Anfu Lu 275 Nong, Xuhui District, Shanghai, China


Capsule, a new gallery in the heart of Shanghai’s Former French Concession, is pleased to announce its inaugural exhibition When We Become Us, on view from October 15th to November 27h. The exhibition features eight international artists working across several mediums. Each artist and their respective works have been selected for the poetic nature in which they, at times share an affinity in intent and expression, while in other instances are clearly diametrically divergent. The artists include Alice Wang, Feng Chen, Yingmei Duan, Katarzyna Kozyra, Sarah Faux, Doron Langberg, Hai-Hsin Huang, and Pixy Liao.

Collectively, the works invite us to investigate the question of how we, as viewers, approach art and what kind of catalysts are used to shape a sense of Self in relation to the Other. Consider what happens when the nature of our relationship to the work changes from a subjective to an objective reaction – is this the instant when We become Us with the artwork itself? Can this shift from subjectivity to objectivity turn our experience into something more meaningful?

LA-based artist  Alice Wang  (b. 1983, Xi’an, China)  employs technology to explore shifts of perception in time and space. Wang’s work invites us, through our own observation, to stretch and reframe the boundaries of these elements.  In the video  Untitled, 2014  the physical exertion that an inversion yoga pose requires, highlights the laws of physics that govern the universe in such a way as to challenge our  understanding  of buoyancy and gravity. The installation Untitled, 2014, combines advanced science and photography with the mid 19th Century daguerreotype technique to capture images of electrified gas (Plasma) which are printed onto small polished aluminum plates. The resulting images are mesmerizing primordial-like forms, seemingly floating on a metal surface.

Feng Chen’s (b. 1986, Wuhan, China) work spans the disciplines of art, engineering and science, intertwined with traditional Eastern aesthetics. Feng’s earlier works employed video and video installation to “question the manipulative power of media”. While later works, influenced by his residency at Amsterdam’s Rijksakademie  (2014-2015), express a deeper exploration and focus on the process of image making, to the extent that the process of making the video becomes a narrative and the artwork itself. S-1, 2016 and S-2, 2016 experiment with thermal ink, as images slowly materialize out of “nothingness”, only to disappear and reappear. His current series, 7 Real Magic Books, 2016, employs carbon fiber as a sculptural expression of images taken from ancient texts and artifacts such as The Tao and The Greek Papyri. Here, Feng uses contemporary technology in the characteristically light, but tensile carbon fiber to introduce a discussion about an ancient type of technology and magic, both of which are heavily charged subjects.

While questioning our role in time and space, the discourse often shifts to embrace topics related to gender, identity and everyday behavior.

Yingmei Duan (b. 1969, Daqing, China) began her career as a painter, eventually becoming a key figure of the Chinese avant-garde community in the Beijing’s East Village. After moving to Germany in 2000, Duan turned her focus on performance art, studying under teachers such as Marina Abramovic. Duan’s art embodies her personality and often has a profound effect on her audience. A video presentation of a selection of Duan’s earlier works introduces a number of her highly confrontational performances,  exposing viewers to emotions such as fear and desire (Sleepwalker, 2002 and Friend, 2003).

In 2013 the Huffington Post named Polish sculptor, photographer, performance artist and filmmaker Katarzyna Kozyra (b. 1963, Warsaw, Poland) as one of the ten most important female artists of the new millennium. Kozyra’s fascination with dance is often used as a platform to discuss the most fundamental issues of human existence, such as identity and transience, life and death, sex and religion. The video Faces, 2005-2006 features close-ups of dancers’ facial expressions during a performance, revealing their intense concentration, tension, and exertion, shedding light onto the grander narrative of dance that is virtually invisible to the viewer.

NY-based American painter Sarah Faux (b. 1986, Boston) depicts bodies in varying fragmented states to recreate out-of-body experiences that investigate relationships between people, body parts and physical sensations. Using a process that entails bleaching, dying and spray-painting, the resulting forms often take the shape of a tantric kaleidoscope, where “fingers, legs, nipples and hair push to foreground, never remaining at a safe distance”. Faux’s work embodies both figuration and abstraction apprehending the viewer, as in Shallow Waters, 2014 or Kindling, 2016 where we cannot help but try to analyze the work, like a sexier version of a Rorschach’s blot test.

NY-based Israeli artist Doron Langberg (b. 1985, Yokneam Moshava) defines his work as a “response to the subtle but pervasive dehumanization of queerness”, sharing his intent to “assert the validity and necessity of queerness in the greater narrative of human sexuality and identity”. The works on show depart from observational drawings (Bent #2, 2012) to depict personal interactions with both people and his immediate environment. Often charged with a raw sexual energy, Langberg’s work invites the viewer to share an intimate moment that simultaneously exposes conflicting feelings, such as erotic desire, vulnerability, awkwardness and tenderness (Sleep, 2014).

NY-based Taiwanese artist Hai-Hsin Huang (b. 1984, Taipei) uses painting and drawing to
unearth what lurks beneath the surface of life’s banalities (Barber Shop # 3, 2015). Huang’s voice is one of social commentary, focusing on cross-cultural and socio-political themes that are evident, if we pay attention, in interactions between people, with our environment and with institutions of sorts. Set in the establishment of The Museum, Huang’s latest series reveals the comical side of the art world and the maniacal behavior of Museum patrons (The MET # 3, 2015).

NY-based artist, musician and actress Pixy Liao’s (b. 1979, Shanghai) social commentary takes the form of video and the use of ready-made objects to express her prickly attitude towards standardized roles in heterosexual relationships.. Her sculptures Soft Heeled Shoes, 2013 and Breast Spray, 2015, with their respective accompanying videos, delve into the topics of fetish objects and gender roles. Sometimes, playfully witty, often boldly ironic, Liao’s images push the viewer to rethink the status quo, be it power symbols, our perception of social norms or the function of breasts.



About the Gallery

Capsule, the newest addition to Shanghai’s burgeoning contemporary art scene, opens its doors in October 2016. Located in the historic Former French Concession, the gallery is set in a stunning 1930’s garden house, away from the hustle and bustle, a haven in which to experience and enjoy art.

Committed to exhibiting the best of international and China’s contemporary art, by both established and emerging artists, Capsule proposes a less conventional gallery formula, acting as both gallery and art laboratory. Special focus is dedicated to artists who through their personal and professional trans-regional migrations are reshaping the borders of the current global art map. More than a place to show art, Capsule is also a lab, an experimental space geared to the unique rhythm and fast-changing dynamic of contemporary art in China. Here, creativity is ignited, as visitors are inspired to learn, to engage and to broaden their knowledge and appreciation of contemporary art.



For more information, please contact:


+86 021 64170700



A group show in Berlin

Opening day

From Painting to Digital

Artists: Feng Chen, Huang Siying, Liao Wenfeng, Shi Zhen

April 28th 2016

Thursday 19:00-21:00

Koppenplatz 5, Berlin

                         Chinese Art: From Painting to Digital
                                 Artists:  Feng Chen     冯   晨
                                               Huang Siying 黄思颖
                                               Liao Wenfeng 廖文峰
                                               Shi Zheng       施    政
Yes No from Liao Wenfeng
no title

Migrant Birds Art Space is pleased to present the work of four young emerging Chinese artists in Berlin. Feng Chen, Huang Siying, Liao Wenfeng and Shi Zheng’s works all react to the consequences of current technological developments. These reactions are rooted in their own life experience, turning their artworks into direct interventions.

As the Digital Revolution leads us into the age of Social Media, regional and individual cultures of knowledge become replaced by new technologies. At the same time, individual techniques of representation are heavily influenced by the rise of the internet: On the one hand, once unattainable material and media become easily accessible worldwide – on the other hand, this informs a trend towards uniformity.

Although this trend appears to be new, many of the theoretical foundations of digital technologies are actually closely intertwined with the historical development of Contemporary Art – so much so that some of the resulting techniques might already seem “traditional” today.

If Painting once marked the entrance into art academies and art discourse, a new generation of artists has moved from the painted picture to Video Art, Sound Art and other multimedia art forms. Their works deeply reflect the influence of digital technologies, often freely oscillating between different media and experimenting with the new possibilities Digital Art offers. We are excited to find out which insights and inspirations the following young Chinese artists will bring to the Berlin audience.

Feng Chen, born in Wuhan in 1986, graduated from the China Academy of Art (CAA) in 2006. In his work, he uses the simultaneity of vision and hearing to explore how our sensory organs affect emotions and imagination. For his video works, he experiments with material from different sources and plays with their temporal nature, for example by manipulating heat-sensitive materials through temperature changes.

New Media Artist and Designer Huang Siying, born in Changsha in 1991, has been strongly influenced by French philosopher Gilles Deleuze. A closer look at her work reveals that she is a well-studied artist who takes interest in a wide variety of topics: From religious tantras to chaos theory, from traditional cartographic methods to the visualization of algorithms, she melts together scientific theories and philosophical concepts, while her use of different parametrization patterns exposes the current digitalization of the human gaze.

Liao Wenfeng, born in Jiangxi Province in 1984, graduated from the China Academy of Art (CAA) in 2006. Major exhibitions include: The 2nd CAFAM Future Exhibition (Beijing, 2015), Creating for the Future: Thinking about the Unthinkable (Berlin, 2015), Cosmos (Shanghai, 2014), 17ZWEI – A Public Art Project (Zurich, 2013). Apart from his career as an artist, he has also worked as a curator for the Zendai Museum of Modern Art and as an Artist-in- Residence in Zurich and Helsinki. He currently resides in Berlin.

Shi Zheng, born in 1990, graduated from China Academy of Art’s (CAA) Institute for Intermedia Art in 2014. As a Media Artist, he is fascinated by the synesthesia that can be created within the topography of virtual spaces. In his works, he mainly uses experimental music and video as well as audio-visual installations and on-the-scene performances.

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