THE MISTERY OF FORM
形态之谜
Artist: Zhao Lu
Opening: 6:00 pm Friday 1st July,2017
Duration: 1st- 20th July 2017
赵露简介
1980年出生于山东青岛
2005年毕业于鲁东大学美术学院国画专业
2009年毕业于清华大学美术学院油画专业，硕士研究生，师从忻东旺教授
2014年入职文化部直属中国艺术研究院，特聘研究员
现为中国艺术研究院特聘研究员、美国油画家协会会员、CCTV微电影频道特聘专家顾问、四川省当代艺术研究会委员，居住并工作于北京
作品被多家美术馆，博物馆，基金会收藏，以及中国，美国，意大利，德国，西班牙，瑞士，日本，澳大利亚，加拿大，香港地区，澳门地区等藏家私人收藏
Galleria TOTEM- IL CANALE
Accademia,878/B- 30123 Venezia
Tel.+39 041 5223641
我们诚邀您于7月1号莅临赵露先生在威尼斯 TOTEM- IL CANALE 画廊开幕的“形态之谜”，展览将持续到7月20日。
具象和抽象之间的复杂关系是当代艺术悬而未决的大问题之一。尽管当代绘画已经能够解决所有问题，将所有语言和所有可能的介质进行混合和拼凑，但是一百多年前先辈们提出的问题至今仍然存在。什么是真实的？我们相信可视世界呈现出的纯粹能够代表复杂的物质，即我们通常所说的“真实”？再次：我们如何看待最亲密和最深刻的实体物质和它所象征的符号之间的关系？反过来，我们如何看待现实与我们通常所说的我们现世存在的“精神状态”或和某种形式的神性或往生理念之间的关系？即使今天，尽管经过一百年的语言实验，事实上我们觉得现在比以往任何时候都更真实有形的，正如康定斯基一百多年前所写的，“世界回荡着声音。这是一个拥有精神行为的宇宙存在。因此，死亡物质的精神是活的。”为找到“摆脱”限制地球生命所依据的日常精神行为的沉默的方式，现今人们仍然是寻求在有形和无形之间，在我们周边日常可感知的世界和我们精神生活无法感知的物质之间建立一个桥梁，如果不通过人为的艺术创作去符号化解读，这都是不可看到和不可听见的。
但真实的同样表现，如果仔细地校准，就构成了一个“门”和一种神秘的、秘密的与事物亲密生活交流的工具。“没有什么比有形世界更抽象”，乔治·莫兰迪，并非偶然的，写道，发现在他的书房里面瓶子的线条都是一样的，真实元素的秘密行动超越了他们纯粹的现实表现。现实世界提供的材料是无穷的：因此，在内在秘密原则的指导下，艺术家依据其敏感性去组织这些活的材料，明显的，使其成为与宇宙中其他物体的联系。 那么，什么是真正的“真实”，什么是严格意义上的“抽象”？形成天空的曲折线和蔓藤花纹是真实的还是抽象的，要懂得怎么去观察，向南方迁徙的飞行的小鸟，或行星路线形成的神秘构造，或者天气变化形成的彩虹线，或夜晚我们心中悸动响起的星系的声音？最终，是否存在一个明确的分界点，可以区分具象和抽象的符号，或在这两个不可调和的元素之间存在着一个微妙和秘密的平衡，隐藏在我们探索宇宙未解之谜的秘密深处。再次，我们是否在代表性的具象和纯粹的抽象提供的可能性中，到达了一个融合的时刻？事实上，似乎不是一百年而是千年来，从最早的抽象创作或马列维奇的直观论断，据此只有接近“纯粹”的绘画才能给表达神秘感知的存在，通过死亡和战胜自身来衡量。然而至今，关于具象和抽象的二分法研究仍是毫无寸进。
毫无解决办法？然而不是：解决方案是在不断重复的时间中始终以不同的形式进行相同的探索，但总是等同于自身。中国当代艺术在具象和抽象的复杂关系道路上持续的战斗。在这次展会中，艺术家赵露将通过自己的方式，探究在后现实时代其可能的分支和虚拟入侵及“液体”社会到来所产生的现实碎片。赵露是一位对这两个对立体之间关系调查的非常清晰和明确的艺术家。他的作品是一个以观看者眼观的捉迷藏的游戏：艺术家以一个明确真实的形象达到相反的抽象概念，纯净的物质似乎在我们的目光下变得稀薄。使用物品的刻板面孔，这对于赵露是一个挑战，也是对观看者的警示：材料本身是流动的，是彩虹色的，是移动的。我们和现实的关系不是常规的，和已经看到的事物并置的。两名士兵在坦克炮塔下的身影，一个女孩的面部，一位孕妇的肚子，一个小女孩的礼服，在手术室的两位医生，一个和尚，一棵树，一个胎儿：每个形象似乎本身就包含他分解毁灭的规则，无关于感性的材料，但有关于我们宇宙自身的形态数据，伴随着其自身再生的钥匙。两个骷髅胎儿在母体内拥抱的画面，悲壮而美丽，是一位画家的完美典范，从他的非代表性深入调查其现实自身的结构：我们相信看到了所谓的“真实”，但也是这只是我们能辨别的事物存在的影子。我们，所有人，就如苏格拉底在“理想国”中提到的那些囚犯，被强迫着不看其他事物，只看洞穴内移动的影子。对于被拖出的人，“经历陡峭和快速上升”，最终能够面对阳光，如果材料不是液体和总是彩虹色的将更难辨别，他揭露的过程只能是渐进的：“首先”，柏拉图写到，“他应该学会辨别阴影，事物倒映在水中的，然后直接是事物本身。”赵露的绘画在这模糊和神秘的区域变换，是从图像到真实存在的辨别过程，反之亦然。
- 意大利著名艺术批评家、策展人 亚历山德罗·里瓦
The m i stery of form
Alessandro Riva
We cordially invite you to visit Mr. Zhao Lu's “The mistery of form" opening at TOTEM- IL CANALE Gallery in Venice in July 1st. The exhibition will last until July 20th.
The complex relationship between iconic and anonymous is still one of the great unresolved themes of contemporary art. Even after contemporary painting has been able to tackle all the issues, by mixing and contaminating itself with all the possible languages and media, the problem raised over one hundred years ago from the early historical avant-gardes is still current. What is real? And are we sure that the pure representation of the visible world can represent the complex matter of what is commonly referred to as “reality”? Similarly, what relationship do we intrude with the most intimate and deep substance of the existence, and with its symbolic representation? And what relationship does the reality have with what we commonly call the “spiritual condition” of our earthly existence, in other words with the idea that we have of some kind of divinity or unearthly existence? Even today, despite one hundred and more years of linguistic experiments, we feel more than ever true and tangible that, as Kandinsky wrote more than a hundred years ago, “the world resounds. It is a cosmos of beings exercising a spiritual action. So the dead matter is alive spirit”. And the way to “tear” away from the silence that is confined to daily life, the spiritual action on which the life of the planet is based want, still today, seek to create a bridge between the visible and the invisible, between the sensitive world from which we are surrounded every day and the impalpable matter of our spiritual unseen and unheard life.
If carefully calibrated, the same representation of reality can constitute a “door” and an instrument of mysterious and secret communion with the intimate life of things. “There is nothing more abstract than the sensitive world,” wrote, incidentally, Giorgio Morandi, and he found in the same lines of the bottles of his studio the secret action of the elements of reality beyond their mere realistic depiction. The material that gives us the real is infinite: so, guided by a principle of secret inner necessity, the artist relies on his own sensitivity to arrange that living, glowing material, so that it becomes the link with other subjects within the cosmos.
So what is really “real” and what is strictly “abstract”? Realistic or abstract is the sinuous and arabescated line that is formed in the sky, and we are able to see it, thanks to the flight of birds when they migrate to the south, or the mysterious conformation of the planetary alignments, or the changing of the weather agents, or the sound of galaxies when they resound the night in our palpitating hearts? Is there, after all, a net demarcation point that divides abstract depiction and symbolization, or is it in the delicate and secret equilibrium between these two seemingly irreconcilable elements that conceals the hidden bottom of our approach to the unresolved secrets of the cosmos?
And again: have we come to a time of melting between possibilities offered by iconic representation and those of pure abstraction? They seem to have passed not a hundred, but a thousand years, from the first abstract compositions or the insights of a Malevich, according to him only the “pure” approach to painting could be able to express the essence of mystical perception, measuring by death and triumphing over it; yet, still today, research into the dichotomy between abstraction and representation has not shifted by just one millimeter. No solution, then? No: the solution is in the same search, in its endlessly repeated times always in different forms, but always equal to itself.
Contemporary chinese art has repeatedly beaten the way of the complex relationship between representation and abstraction. In this exhibition, four artists probe, each in their own way, the possible branches in the post-truth era and the fragmentation of reality caused by the virtual invasion and the advent of “liquid” society.
Let's start by the artist who more and more specifically investigates the relationship between these two antipodes: Zhao Lu. His play to rewrite with the viewer's view: the artist partially declares from a real image to come to its exact opposite, pure matter that seems to rarefy under our eyes. Zhao Lu's work is a challenge with the stereotyped view of things, and a warning for those who look: the material itself is fluent, it is changeable and floating. Our relationship with reality is nothing but convention, juxtaposition of things already seen. The silhouettes of two soldiers on a turret tower, the face of a girl, the belly of a pregnant woman, a girl's dress, two doctors in the operating room, a monk, a tree, a fetus: every image seems to bear already in itself the very principle of its disintegration, not as sensitive matter, but as a form of our universe, and together the key to its own regeneration. The picture, a tragically and splendidly composition, of the two skeletons of fetuses embracing in the womb, is the quintessence of a painting that deeply investigates the very structure of reality precisely from its irreproducibility: we believe to see what we call “reality,” but perhaps what we can discern is a shadow of the substance of things. We are all still, like those prisoners spoken of by Socrates in Plato's “Republic”, forced to look no more than shadows moving in a cave. And to whom it was dragged out, “for the harsh and steep climb”, and finally to face the sunlight, it would be even harder to discern if it was not a fluent and ever-changing material, so that its discovery could only be gradual: “First”, writes Plato, “he should learn to discern shadows, images of things reflected in water, and then directly the objects”. Zhao Lu's painting moves in that ambiguous and mysterious area, which is the process of discernment from the image to the essence of reality, and vice versa.
Il mistero della forma
Alessandro Riva
Il complesso rapporto tra iconico e aniconico è ancora uno dei grandi temi irrisolti dell’arte contemporanea. Anche dopo che la pittura contemporanea ha saputo affrontare tutti i temi, mescolando e contaminandosi con tutti i linguaggi e tutti i media possibili, il problema sollevato oltre cento anni fa dalle prime avanguardie storiche è ancora attuale. Cos’è il reale? E siamo sicuri che la pura raffigurazione del mondo visibile sia in grado di rappresentare la complessa materia di cui è fatto ciò che comunemente chiamiamo “realtà”? E ancora: che rapporto intratteniamo con la sostanza più intima e profonda dell’esistenza, e con la sua rappresentazione simbolica? E che rapporto intrattiene, a sua volta, il reale con ciò che siamo comunemente soliti chiamare la “condizione spirituale” della nostra esistenza terrena, ovvero con l’idea che abbiamo di una qualche forma di divinità, o di esistenza ultraterrena? Ancora oggi, nonostante cento e passa anni di sperimentazioni linguistiche, sentiamo infatti come cosa più che mai vera e tangibile che, come scriveva più di cento anni fa Kandinsky, "il mondo risuona. Esso è un cosmo di esseri che esercitano un'azione spirituale. Così la materia morta è spirito vivo". E la maniera per “strappare” dal silenzio cui è confinata nel quotidiano quell’azione spirituale su cui si basa la vita del pianeta è ancora oggi quella di cercare di creare un ponte tra visibile e invisibile, tra il mondo sensibile da cui siamo circondati ogni giorno e la materia impalpabile della nostra vita spirituale, non-visibile e non-udibile se non attraverso il grimaldello della trasformazione simbolica creata artificialmente dall’azione artistica.
Ma la stessa rappresentazione del reale può, se attentamente calibrata, costituire una “porta” e uno strumento di misteriosa e segreta comunione con la vita intima della cose. “Non c’è nulla di più astratto del mondo sensibile”, scriveva, non a caso, Giorgio Morandi, ritrovando nelle linee sempre uguali delle bottiglie del suo studio l’azione segreta degli elementi del reale al di là della loro mera raffigurazione realistica. Il materiale che ci offre il reale è infinito: così, guidato da un principio di segreta necessità interiore, l'artista si affida alla propria sensibilità per organizzare quel materiale vivo, incandescente, perché diventi il tramite con altri soggetti all’interno del cosmo.
Cos’è dunque davvero “reale”, e che cosa è invece strettamente “astratto”? È realistica o astratta la linea sinuosa e arabescata che si forma nel cielo, a saperla guardare, grazie al volo degli uccelli quando migrano a sud, o la misteriosa conformazione degli allineamenti planetari, o ancora il gioco cangiante degli agenti atmosferici, o il suono delle galassie quando risuonano la notte nei nostri cuori palpitanti? Esiste, dopotutto, un punto di demarcazione netto che divide raffigurazione e simbolizzazione astratta, o è proprio nel delicato e segreto equilibrio tra questi due elementi solo apparentemente inconciliabili che si nasconde il fondo nascosto del nostro approccio ai segreti irrisolti del cosmo?
E ancora: siamo arrivati a un momento di fusione tra possibilità offerte dalla rappresentazione iconica e quelle della pura astrazione? Sembrano infatti passati non cento, ma mille anni, dalle prime composizioni astratte o dalle intuizioni di un Malevich, secondo cui solo l’approccio “puro” alla pittura poteva essere in grado di esprimere l’essenza della percezione mistica, misurandosi con la morte e trionfando su di essa; eppure, ancora oggi, la ricerca sulla dicotomia tra astrazione e raffigurazione non si è mossa di un solo millimetro. Nessuna soluzione, dunque? No: la soluzione è nella stessa ricerca, nel suo ripetersi infinite volte sempre in forme diverse, ma sempre uguale a se stessa.
L’arte cinese contemporanea ha ripetutamente battuto la strada del complesso rapporto tra rappresentazione e astrazione. In questa mostra, quattro artisti ne sondano, ognuno a suo modo, le possibili diramazioni nell’era della post-verità e della frammentazione del reale provocata dall’invasione del virtuale e dell’avvento della società “liquida”.
Partiamo dall’artista che maggiormente e più espressamente indaga i rapporti tra questi due antipodi: Zhao Lu. Il suo è un gioco a rimpiattino con la visione dello spettatore: l’artista parte dichiaratamente da un’immagine reale per giungere al suo esatto contrario, pura materia che sembra rarefarsi sotto il nostro sguardo. Quella di Zhao Lu è una sfida con la visione stereotipata delle cose, e un avvertimento per chi guarda: la materia stessa è fluida, è cangiante, è mobile. Il nostro rapporto con il reale non è che convenzione, giustapposizione di cose già viste. Le sagome di due soldati sulla torretta di un carrarmato, il volto di una ragazza, la pancia di una donna incinta, l’abito di una bambina, due medici in sala operatoria, un monaco, un albero, un feto: ogni immagine sembra recare già in sé il principio stesso del suo disfacimento, non in quanto materia sensibile, ma in quanto forma data a priori del nostro universo, e insieme la chiave della sua stessa rigenerazione. Il quadro, insieme tragico e splendido, dei due scheletri di feti che si abbracciano nell’utero materno, è la quintessenza di una pittura che indaga a fondo la struttura stessa del reale proprio a partire dalla sua irrappresentabilità: noi crediamo di vedere ciò che chiamiamo “realtà”, ma forse quello che riusciamo a discernere non è che un’ombra della sostanza delle cose. Siamo ancora, tutti, come quei prigionieri di cui parlava Socrate nella “Repubblica” di Platone, costretti a non guardare altro che ombre in movimento dentro una caverna. E a chi ne fosse trascinato fuori, “per l'aspra e ripida salita”, e finalmente potesse affrontare la luce del sole, sarebbe ancora più difficile discernere se non materia fluida e sempre cangiante, tanto che il suo processo di disvelamento non potrebbe che essere graduale: “prima”, scrive Platone, “egli dovrebbe imparare a discernere le ombre, le immagini delle cose riflesse nell'acqua, e poi direttamente gli oggetti”. La pittura di Zhao Lu si muove in quella zona ambigua e misteriosa che è il processo di discernimento dall’immagine all’essenza del reale, e viceversa.
部分展览：
个展：
2017 “THE MISTERY OF FORM（形态之谜）——威尼斯赵露作品展”
威尼斯老海关大楼，威尼斯，意大利
2016 “覆膜·中山——赵露作品展”
中山书画院，中山，中国
2016 “覆膜·至尚——赵露广州作品展”
南岸至尚美术馆，广州，中国
2016 “覆膜·马德里——赵露·西班牙马德里绘画作品展”
老香奈儿大厦，马德里，西班牙
2016 “覆膜·新加坡——新加坡当代艺术展·赵露个展单元”
新加坡滨海湾金沙会议展览中心，新加坡，新加坡
2015 “覆膜·米兰——赵露2015意大利米兰世博会邀请展”
米兰世博会威尼斯水馆，米兰，意大利
2014 “另一个世界——赵露水墨作品展”
喂空间，厦门，中国
2014 “隔·寂之境——赵露水墨作品展”
国家会议中心，北京，中国
2014 “覆膜世界——赵露作品展”
保利艺术中心，北京，中国
联展：
2017 “中国当代青年艺术优秀作品展（毛里求斯站）”
毛里求斯中国文化中心，路易港，毛里求斯
2016 “同时代人——中国水墨艺术邀请展”
山水美术馆，北京，中国
2016 “Ink Now；水墨形态”展
威狮国际艺术中心，福州，中国
2016 “天天向上——2011-2016名师提名五年回顾展”
筑中美术馆，北京，中国
2016 “2016青春志——北京青年美术双年展”
今日美术馆、国中美术馆，北京，中国
2016 “BYART首届青年艺术家推荐展”
西泠印社美术馆，杭州，中国
2016 “敞开视野：水墨的生态——2016中国当代水墨学术邀请展”
威海市美术馆，威海，中国
2016 “东方根性的当代生长”展
现·实空间，北京，中国
2016 “TA时代——中间地带”展
时代美术馆，北京，中国
2016 “破冰时代——首届当代水墨邀请巡回展”（上海站）
上海油画雕塑院美术馆，上海，中国
2016 “里应外合——首届峨眉当代艺术国际邀请展”
峨眉当代艺术馆，乐山，中国
2016 “墙势力——首届墙报艺术家展”
今日美术馆，北京，中国
2016 “破冰时代——首届当代水墨邀请巡回展”（淄博站）
荣宝斋，淄博，中国
2016 “破冰时代——首届当代水墨邀请巡回展”（潍坊站）
集文斋美术馆，潍坊，中国
2016 “破冰时代——首届当代水墨邀请巡回展”（北京站）
上上美术馆，北京，中国
2015 “以陶为媒——探索与续航”海峡两岸青年艺术家作品展
福建万旗艺术中心，泉州，中国
2015 “扫一扫”当代艺术展（上海站）
半岛美术馆，上海，中国
2015 “第十届佛罗伦萨国际当代艺术双年展：艺术与城市”
意大利佛罗伦萨展览中心 ，佛罗伦萨，意大利
2015 “第八届巴塞罗那国际当代艺术博览会”
巴塞罗那费拉中心意大利展厅，巴塞罗那，西班牙
2015 “回归——山水美术馆开馆展”
山水美术馆，北京，中国
2015 “图像研究室（第二回）：绘画发生中的观念和语言”展
正观美术馆，北京，中国
2015 2015第四届“*安妇慰**日”周年纪念艺术展（北京）
上舍空间，北京798艺术区，中国
2015 美国格伦代尔第四届“*安妇慰**日”周年纪念艺术展
中央图书馆展厅，格伦代尔，美国
2015 “新秩序-盈艺术中心开馆邀请展”
盈艺术中心，上海，中国
2015 “大美寻源——凤凰雅集”中国艺术研究院美术作品展
凤凰艺展中心，深圳，中国
2015 “扫一扫”当代艺术展
杨·国际艺术中心，北京，中国
2015 “上舍雅藏”展
上舍空间，北京798艺术区，中国
2015 “洛杉矶艺术博览会（LAAS 2015）”
洛杉矶会展中心南馆，洛杉矶，美国
2015 “《时装男士》时装新大陆艺术展”
上品艺琅画廊，北京，中国
2014 “第八届AAC艺术·生态·观察巡展新加坡站”
A次方艺术空间，新加坡，新加坡
2014 “天天向上——筑中美术馆2014年度名师提名展”
筑中美术馆，北京，中国
2014 “青春志——首届北京青年美术家优秀作品展”
今日美术馆、国中美术馆，北京，中国
2014 “艺术澳门博览会”
澳门威尼斯人金光会展展厅，澳门，中国
2014 “黑白之境”
上舍空间，北京798艺术区，中国
2014 “中艺博国际画廊博览会（CIGE）”
国家会议中心，北京，中国
2014 “三亚今日艺术博览汇”
三亚湾红树林度假世界，三亚，中国
2014 “中国艺术品产业博览会”
上上美术馆，北京，中国
2014 瀚海20周年庆典拍卖现当代精品展
瀚海艺术中心，北京，中国
2014 “解构·解放——当代水墨邀请展”
上舍空间，北京798艺术区，中国
2014 “艺术北京博览会”
国家农业展览馆，北京，中国
2014 “身在其中？”
上舍空间，北京798艺术区，中国
2014 “态——当代艺术邀请展”
上舍空间，北京798艺术区，中国
2011 “新学院精神提名展”
环铁时代美术馆，北京，中国
2010 “Premio Terna per l’ Arte Contemporanea”
罗马，意大利
2009 “墨戏——第二届韩中青年艺术家交流展”
驻华韩国文化院，北京，中国
2009 “CUVE 1st”
韩国Space DA画廊，北京798艺术区，中国
2009 “新视觉’09——证伪（第六届全国美术院校油画专业毕业生优秀作品展）”
何香凝美术馆，深圳，中国
2007 “清华大学美术学院优秀学生作品展”
清华美院展览馆，北京，中国
出版经历：
《艺术家图典》，四川美术出版社，2010
《隔·寂之境——赵露水墨作品集》，《艺术汇》杂志副刊，2014
《大美寻源 凤凰雅集》，文化艺术出版社，2016
《中国当代艺术家系列画集（第三辑）——赵露》，江苏凤凰美术出版社，2015
《中国当代艺术家系列画集（第四辑）——赵露》，江苏凤凰美术出版社，2016
《东方根性的当代生成——当代中国性艺术家研究样本》，江西美术出版社，2016
《覆膜世界——赵露作品集》，人民美术出版社，2016
《水墨正青春 第二季》，福建美术出版社，2016
《敞开视野——水墨的生态》，北京联合出版社，2016
《青春志——北京青年美术双年展优秀作品集》，中国文联出版社，2016
《当代油画——当代艺术专辑》，安徽美术出版社，2016
《TA时代·中间地带 展览作品集》，河北美术出版社，2016
《当代油画——学院专辑》，安徽美术出版社，2017
媒体报道：
曾作为《美术文献》、《芭莎艺术（艺术生活指南）》、《东方艺术·大家》、《新视觉》、《收藏投资导刊》、《艺术财经》、《典藏·今艺术》（台湾）《典藏·读天下》、《艺术生活快报》杂志的“封面人物”对其作品与艺术成就进行重点推介
作品与评论多次发表于国家核心期刊《美术观察》、《中国艺术》、《文化月刊》、《艺术市场》，以及《芭莎艺术》、《美术文献》、《东方艺术·大家》、《艺术界》、《艺术财经》、《Hi艺术》、《VISION青年视觉》、《艺术当代》、《艺术银行》、《艺术商业》、《艺术汇》、《新视觉》、《收藏投资导刊》、《中国证券报》、《中国贸易报》、《南方都市报》、《南方日报》、《典藏·读天下》、《典藏·今艺术》（台湾）、《PIPELINE》（香港）、《亚洲艺术》、《人民艺术》、《289艺术》、《库艺术》、《看艺术》、《画刊》、《画廊》、《享悦艺术》、《艺术客》、《艺术相》、《艺术生活快报》、《时装男士》、《罗博报告》、《云端》、《中山日报》等重要杂志。
百度百科、新华网、腾讯网、新浪网、搜狐网，凤凰网、中国证券网、雅昌艺术网、99艺术网、今日艺术网、墙报、Artnews、艺典中国、艺术眼、艺术中国、艺术先知等重要网络媒体也对赵露作品与展览有众多报道。
作品与展览被CCTV——书画频道，湖南卫视、BON电视台（国际）等多次报道，并拍摄艺术家个人纪录片。
更多赵露作品与资料，请关注“赵露官方网站”，
网址:http://zhaolu.artron.net
http://zhaolu.artart.cn
艺术家个人邮箱：leiart@163.com
Introduction of Zhao Lu
Born in 1980 in Qingdao, Shandong province
Graduated from the major of traditional Chinese painting in the Academy of the Fine Arts, Ludong University as bachelor in 2005
Graduated from the major of oil painting in the Academy of Art & Design, Tsinghua University as master in 2009
A student of Professor Xin Dongwang
In 2014, was invited as a distinguished Research Fellow by Chinese National Academy of Arts，
Now he is the distinguished Research Fellow of Chinese National Academy of Arts, member of the American Oil Painters Association, distinguished expert of CCTV micro film channel，member of SiChuan province contemporary art Research Council.
living and working in Beijing, China
His works have been collected by a lot of Gallerys,Museums,foundations and individuals in China,The US,Italy,Germany,Spain,Switzerland,Japan,Australia,Canada,Hong Kong Region Macao area ,etc.
Exhibitions (part)
Solo Exhibitions
2017 THE MISTERY OF FORM- Exhibition of Zhaolu’s Works
Galleria TOTEM- IL CANALE，Venice, Italy
2016 The Laminated·Zhongshan- Exhibition of Zhaolu’s Works
Zhongshan Painting and Calligraphy Art Museum, Zhongshan, China
2016 The Laminated·ZHISHANG-Guangzhou Exhibition of Zhaolu’s Works
South shore ZHISHANG Art Museum, Guangzhou, China
2016 The Laminated·Madrid-Spanish Madrid Exhibition of Zhaolu’s Works
The Original Chanel Building, Madrid, Spanish
2016 The Laminated·Singapore-Singapore Contemporary Art Show·The Unit of Zhao Lu solo Exhibition
The Marina Bay Sands Expo and Convention Center, Singapore, Singapore
2015 The Laminated·Milan-Zhao lu 2015 Invitational Exhibition Of The World Expo In Milan
EXPO Venice Aquae 2015 Padiglione Silk Road Patr. EXPO MILANO, Milan, Italy
2014 Another World - Zhao Lu’s Ink Painting Exhibition
Wei Space, Xiamen, China
2014 Estrangement, Solitude - Zhao Lu’s Quiescent World Ink Painting Exhibition
National Convention Center, Beijing, China
2014 The Laminated World - Zhao Lu Solo Exhibition
Poly Art Center, Beijing, China
Joint Exhibitions
2017 ART AMOY 2017
Xiamen International Convention and Exhibition Center
2016 Chinese Excellent Contemporary Youth Art Exhibition
Mauritius Chinese Culture Center, Port Louis, Mauritius
2016 ONE Generation- Chinese Ink Art Invitational Exhibition
Riverside art museum, Beijing, China
2016 Ink Now-Chinese Artists Invitation Exhibition
See Well International Art Center, Fuzhou, China
2016 Progress Every Day :2011-2016 Masters-nominated Retrospective Exhibition
Zhuzhong Art Museum, Beijing, China
2016 YOUTH WILL-Beijing Touth Art Biennial Exhibition
Today Art Museum/Guozhong Art Museum, Beijing, China
2016 BYART-First Exhibition of Young Artists’ Works
Xi Ling Yin She Art Museum,Hangzhou,China
2016 Opening the View Wide:The Ecology of Ink Painting Art-Academic Invitational Exhibition of China Contemporary Ink Painting Art 2016
Weihai Museum, Weihai, China
2016 The Growth from The Root of The Oriental Culture Exhibition
Reality Art Gallery, Beijing, China
2016 TA Era-The Zone In-between Exhibition
Beijing Times Art Museum, Beijing, China
2016 The Age of Break The Ice-First Contemporary Ink Invitation Exhibition Tour (shanghai)
Shanghai Oil Painting & Sculpture Institute Museum, Shanghai, China
2016 Echoing Interior And External-In The First International Exhibition of Contemporary Art of Emei
Emei Contemporary Art Museum, Leshan, China
2016 Wall Power-Wallpost Artist Exhibition
Today Art Museum, Beijing, China
2016 The Age of Break The Ice-First Contemporary Ink Invitation Exhibition Tour (Zibo)
Rombonzhai Art Museum, Zibo, China
2016 The Age of Break The Ice-First Contemporary Ink Invitation Exhibition Tour (Weifang)
Jiwenzhai Art Museum, Weifang, China
2016 The Age of Break The Ice-First Contemporary Ink Invitation Exhibition Tour (Beijing)
Shangshang International Art Museum, Beijing, China
2015 With The Pottery For The Media-Exploration And Endurance: The Exhibition of Young Artists On Both Sides of the Taiwan Straits.
Fujian Wanqi Art Center, Quanzhou, China
2015 SAOYISAO Contemporary Art Exhibition（Shanghai Station）
Peninsula Art Gallery, Shanghai, China
2015 The 10th Florence Biennale: Art and The Polis
Fortezza da Basso in Florence, Florence, Italy
2015 The 8th Swab Barcelona International Contemporary Art Fair
The Italian Pavilion in Fira Barcelona General Programme，Barcelona，Spain
2015 Regression- Riverside Art Museum opening exhibition
Riverside art museum,Beijing, China
2015 Image Research Room(No. 2)-Concept And Language In Painting Process
Right View Art Museum, Beijing, China
2015 The 4th Annual Commemoration of “COMFORT WOMAN DAY” in Beijing 2015
Shone-show Gallery, Beijing 798 Art Zone, China
2015 The 4th Annual Commemoration of “COMFORT WOMAN DAY” in Glendale 2015
Glendale Central Library, Glendale, USA
2015 New-Order: Invitational Exhibition for the Opening of Ying Art Center
Ying Art Center, Shanghai, China
2015 Source of Beauty-Fine Arts Exhibition of Chinese National Academy Of Arts
PhoenixArt Center, Shenzhen, China
2015 SAOYISAO Contemporary Art Exhibition
Yang International Art Center, Beijing, China
2015 Graceful Collections Of Shone-Show
Shone-show Gallery, Beijing 798 Art Zone, China
2015 LA Art Show 2015
LA Convention Center/South Hall J&K, Los Angeles, USA
2015 L’OFFICIEL HOMMES<Art Tells New Fashion Origin>Exhibition
Pin Art Gallery, Beijing, China
2014 The AAC Art·Ecology·Observation Exhibition Tour - Singapore
Artz Space, Singapore, Singapore
2014 Progress Every Day -2014 Masters-nominated Exhibition
Zhuzhong Art Museum, Beijing, China
2014 Youth Will-Beijing Youth Artist Carnival And Excellent Works Exhibition
Today Art Museum/Guozhong Art Museum, Beijing, China
2014 Art Mo International Art Fair
Cotai Expo Venetian Macao, Macao, China
2014 Scope Between White And Blank
Shone-show Gallery, Beijing 798 Art Zone, China
2014 China International Gallery Exposition(CIGE)
National Convention Center, Beijing, China
2014 2014 Sanya Today Art Expo
Mangrove Tree Resort, Sanya, China
2014 Chinese Art Industry Expo
Shangshang International Art Museum, Beijing, China
2014 Hanhai Auction 20th Anniversary Celebration Exhibition of Modern and
Contemporary Art
Hanhai Art Museum, Beijing, China
2014 Deconstruction·Liberation - Contemporary Ink Painting Invitational
Exhibition
Shone-show Gallery, Beijing 798 Art Zone, China
2014 Art Beijing 2014
Agricultural Exhibition Center of China, Beijing, China
2014 Inside?
Shone-show Gallery, Beijing 798 Art Zone, China
2014 TAI - Invitational Exhibition of Contemporary Art
Shone-show Gallery, Beijing 798 Art Zone, China
2011 Nomination Exhibition of New Academy Spirit
Huan Tie Times Art Museum, Beijing, China
2010 Premio Terna per l’ Arte Contemporanea
Rome, Italy
2009 Ink Play - The 2nd Art Exchange Exhibition of South Korean and Chinese
Young Artists
Korean Cultural Center, Beijing, China
2009 CUVE 1st
Space DA Gallery, Beijing 798 Art Zone, China
2009 New Vision ’09 - Perjury (The 6th National Exhibition of Oil Paintings by
College Graduates in Art)
He Xiangning Art Museum, Shenzhen, China
2007 Merit Students’ Art Exhibition of the Academy of Art & Design, Tsinghua
University
Exhibition Hall of Academy of Art & Design, Tsinghua University, Beijing,
China
Publications:
Classic Works of Artists, Sichuan Fine Arts Publishing House,2010
Estrangement,Solitude-Zhao Lu’s Quiescent World, IART Wenyuan Magazine,2014
Zhao Lu-Chinese Contemporary Artists Series Album of Painting,Jiangsu Phoenix Fine Arts Publishing House,2014
Contemporary Oil Painting,Anhui Fine Arts Publishing House,2015
The Growth From The Root Of The Oriental Culture, Jiangxi Fine Arts Publishing House,2015
The Laminated World-Works of Zhao Lu, People's Fine Arts Publishing House,2016
The cover of Fine Arts Literature, Bazaar Art, Oriental Art Master, New Vision, Collection Investment, L'Officiel Art, Artco (Taiwan), Artco China, Art Life,which highlighted his works and artistic achievement(These are very famous Chinese art magazine.)
Works and Commentaries published many times on very famous magazines such as Bazaar Art, Fine Arts Literature, Oriental Art Master, Leap, L'Officiel Art, Hiart,Vision, Art China, Art Bank, Art trade Journal, Iart, New Vision, Collection Investment,China Securities Journal, China Trade News, Artco (Taiwan), Artco China, Pipeline（HongKong), Asia Art, Peoplearts，Art Market, Kuart, No art, Art Monthly, Gallery, Enjoy Art，ArtScope, Art Face, Art Life, L'Officiel Hommes, Robb Report , High Above,and network media such asxinhuanet.com, qq.com, sina.com.cn, ifeng.com, cs.com.cn, artron.net, 99ys.com, artnow.com.cn, wallpost.cn, artnews.cn, yidianchina.com, artspy.cn, art.china.cn, artprophet.org etc.
Works and exhibitions were reported by CCTV--SHPD, Bon TV (foreign language) and were made into a documentary