托马斯·鲁夫 Thomas Ruff（ 1958 - Zell am Harmersbach, Germany )
托马斯·鲁夫1958年出生于德国 ,毕业于杜塞尔多夫美术学院美术和摄影系，是杜塞尔多夫学派的代表人物。他的作品系列非常多，涉及建筑摄影、新闻摄影、人像、天文学、情色照片等诸多系列。每个系列又各有特点，所以很难说有哪一系列最能代表他的风格。鲁夫对传统或新兴图像媒体技术具有强烈的探索欲望，可能是摄影界最早使用数字图像技术的艺术家之一。在创作上，他有分寸的使用生成图像的各种语言和媒介，将摄影或图像恢复到一个机器生成的客观状态，以这种减法的图像观念反观了世人对图像的滥用以及美学化和意义性的处理。某种程度上，中国摄影界对鲁夫的认知是比较匮乏的，虽然鲁夫名声很大，但由于其作品中冷冰冰、甚至令人乏味的外观和并没有具体指涉的内容，使很多人回避对他作品的艰涩内在的探究。
Thomas Ruff was born in Zell am Harmersbach, Germany, in 1958. He studied at Staatliche Kunstakademie, Dusseldorf under Bernd Becher from 1977 to 1985. His work has been featured in exhibitions at the Museum of Modern Art,New York, the Metropolitan Museum of Art, New York, and the Museum of Contemporary Art, Chicago, among others. He has participated in international exhibitions such as the Sao Paulo Bienal in 2002. He lives and works in Dusseldorf, Germany.Ruff scrutinizes a range of photographic genres—architectural photography,newspaper images, portraiture, astronomy, pornography and nighttime imaging used by the military. He is fascinated with the processes of photography and image manipulation. Like those of many of his contemporaries, his photographsare typified by a thoughtful approach to the "non-truth" of the medium. Ruff first became known for a series of large-scale portraits that had the deadpan formatof passport photographs. His portraits and architectural photographs use similar compositional devices: a balanced, frontal pictoral structure, and an emphasis on the building or person being photographed to the exclusion of surroundingdetails. Ruff explores a wide range of genres—portrait, landscape, found image,cityscape, etc. His work
尹秀珍 Yin Xuzhen （ 1963- Beijing, China )
尹秀珍，1963年生于中国北京，目前生活和工作于北京。作为中国当代艺术的女性领军人物之一，尹秀珍自1989年于首都师范大学美术系专业毕业之后，便开始了其艺术创作生涯，并且广泛活跃于国际艺术舞台。艺术家的作品通过对旧物的拼接，传达了现代社会在全球化过程中被不断同化等问题的探索。她利用回收的材料形成一种雕塑性的记忆文献，在高度城市化、现代化以及全球经济增长的急速变换中，试图将那些通常会被忽略的细小事物个性化，以暗示其生命的个体性，并将记忆作为审视其周围政治、社会以及环境的批判工具。作品的主题包含了记忆、过去和当下，以及人与不断变幻的社会之间的复杂关系。通过将旧物聚集在一个新的语境之下，尹秀珍成功地将过去的经历与当下的体验和状态编织在一起，也将“记忆”与“经验”融合起来。
Yin Xiuzhen was born in 1963, Beijing, China, as one of the leading female figures in Chinese contemporary art, she began her career in the early 1990s after received a B.A. in oil painting from the Fine Arts Department, Capital Normal University,in 1989. Her artworks have since been shown extensively in various international exhibitions. Most well known for her works that incorporate second-hand objects. Yin uses her artwork to explore modern issues of globalization and homogenization. By utilizing recycled materials as sculptural documents of memory, she seeks to personalize objects and allude to the lives of specific individuals, which are often neglected in the drive toward excessive urbanization, rapid modern development and the growing global economy. She also uses memory as a critical tool to examine the political, social and environmental constructs that surround her.Inspired by the quickly changing environment of her native Beijing, common themes in Yin Xiuzhen’s work include memory, the past and the present, as well as the complex relationship between individuals and the constantly shifting society they live in. Through collection and assemblage of old materials in a new context, Yin is able to weave past experiences together with the present. In this way, she embraces the notion of memory and experience in an attempt to convey aspects of individual lives in relation to global transformation.
王功新 Wang Gongxin ( 1960 - Beijing, China )
王功新1960年生于中国北京，1982年毕业于首都师范大学，1987年到1989年在纽约州立大学任访问学者并获硕士学位，1996年至今生活和工作于北京,现为职业艺术家。作为中国最早的新媒体艺术家之一，也是中国录像艺术的重要代表人物，王功新的录像作品选用最熟悉、最富有情感的元素来传达他的视觉感受，挖掘那些对当代生存状态产生至关影响的因素。他通常是对日常生活情节进行数码技术的再阐释，将人们对一个普通的行为的潜意识想象以视觉化的方式呈现出来，流露出意念与现实的对抗，并陆续发展成为关乎生存感受、大众文化和权力游戏的议题。
Wang Gongxin was born in 1960, Beijing, PR.China. He graduated from Beijing Normal University in 1982 and then went to US as Visiting Scholar at SUNY at Cortland and Albany, N.Y, 1987. Wang is one of the most important artist associated with New Media Art in China, a wave initiated in mid-1990s. Drawing attention on the living condition and human survival, Wang's video work uses universal and emotional components to mediate his own visual experience. He reinterprets everyday story by feeding them through digital editing, and by doing so transforms the viewer's perception of a simple action on the screen. Wang alludes to the subconscious and imaginative component behind the everyday act. This kind of visual process examines the conflict between human idea and reality. Wang continues to develop his work in relationship to conscious existence, popular culture and power games.
李青 Li Qing （ 1981-Huzhou, China ）
李青1981年出生于中国浙江湖州，2007年毕业于中国美术学院油画系并获硕士学位。目前生活和工作于杭州。在李青的艺术创作中，游戏和矛盾是贯穿其创作的两条主线。相对于中国的前辈艺术家，他更倾向于用一种轻松的方式对当下现实做出评论。富有游戏感的刻意轻化，也许曲折地揭示了现实之重，又或许因为获得一种智性层面的愉悦从而成为化解现实压力的方式。在一些作品中，他故意改变了游戏规则，一些共同的经验在游戏中被还原，这些经验成为发起讨论的基础，例如人在社会中的角色、被工具化的状态、在制度中生存的状态、以及在新的人际关系中自我消耗的经验等等，都是可以被分享的。李青近期的作品着眼于对处于消费社会语境中的物品进行透视和解剖，将外在的诗意与内在的批判相结合，以一种吟咏的方式，构成一种我们自身命运的隐喻，提醒着人们在宏大景观控制下d的世界要保有对人性和生存的关切。
Li Qing, born in Huzhou, Zhejiang Province, 1981, graduated with a master degree in oil painting at the China Academy of Fine Art in 2007. Li is currently living and working in Hangzhou. In Li Qing’s creative practice, game and contradiction are his two main trajectories. In comparison to earlier generation of Chinese artists, Li is more inclined to comment on present conditions lightheartedly through lightening his depiction with a sense of game that, perhaps indirectly reveals the burden of reality, or perhaps dissolves tension from it by gaining an intellectual satisfaction. Among some of his works, he purposefully changed the rules of the game, so common experiences were restored which became the basis for discussion. For example, the individual’s role in society, their utilitarian role, survival within the system, as well as self-consumption within new interpersonal relationships and etc are all experiences shared in Li’s work. Li Qing’s recent works focus on perception and dissection of objects within the context of a society of consumption, conjuring external poetic characteristics with its internal criticism to create a metaphor of our own fate through lamenting, by which to remind people to maintain a concern for humanity and survival under the grand spectacle of the world.
高磊 Gao Lei ( 1980 - Changsha, China )
高磊1980年出生于中国长沙，2006年毕业于中央美术学院新媒体系，目前生活和工作于北京。艺术家通过创作绘画、摄影、装置等综合性媒介作品持续探讨权力对个体内部思维和社会外部环境的塑造、以及物种人工化与自然景观不断异化等诸多问题。他采用各种方式将现成物品与其绘画、摄影和装置进行并置，并使其脱离日常属性，再迫使观者采用一种被动的观看方式来完成作品的现场展示。高磊的作品试图表达同一原始观念在经过不同时间和媒介的表达后所产生的差异与关联。这种差异与关联构成了他作品的特殊语法，这种语法使他的作品产生了某种对可见的现实社会和不可见的世界系统进行破坏与颠覆的企图。
Gao Lei was born in 1980 Changsha, China and graduated from Digital Media Department of Central Academy of Fine Arts in 2006. Currently works and lives in Beijing.By creating mixed media artworks integrated with paintings, photography and installation, Gao Lei continues to approach the subjects of how individual mode of thinking is characterized and external environment of society is shaped by the power system, and the conflict issues in terms of artificial species and alienation of nature. He sets the ready-mades away from their daily properties in various ways to be concatenation with his painting, photography and installation works, and then audiences will watch the artworks by being thrown into passivity to complete his show.Gao Lei's work tells the differences and association of same original concept after being expressed through the different time and media. This differences and association constitutes a special syntax which attempts to make the visible social reality and the invisible world system destructed and undermined.
