As one of rare galleries existing in Beijing for ten years, Soka Art Beijing witnessed the growth of art market as well as the great change of Chinese art in the ten years. In this exhibition, Commemoration ---10th Anniversary of Soka Art Beijing, many remarkable works will be shown in the two parts, Memories of the Past and Windows to the Future.

Among the artists of exhibition, Xiao Yu and Yang Maoyuan are the representatives of modern artists born in 1960s; Shi Guowei, Xiang Yang and Zhang Jiebai share the same experience of abroad art career; Chen Jiao, Li Chao, Shang Yixin, Zhong Jinpei and Zhao Yiqian represent the emerging young artists. With the exhibition theme of “Micro-life” and special exhibition space of Soka Art Center, their works concentrate on display of personal view and latest art works concerning the relationship and meaning of art and life, as well as the response to the context of “Micro-life” with new constructive approaches.

We may say “Fabricator” is an extensive colorful exhibition. Of course the works on this exhibition may cause some unsolvable questions, but these artists with distinctive styles just prove there are the main bodies of the fabricator. Through exploration for the change of the different painting and sculpture languages, the artists are to present the value of Chinese modern art.

Ever since he started drawing graffiti on the streets at age four, Walasse Ting has reflected his life into his works and transformed into the famously known “Flowers Theif”. The bright and colorful paintings narrate his legend; the bold and frank expression of his works is the style of how Ting faced his life. Died in May 2010 in New York, U.S., Ting showed his love, passion, and strength to the world through his works, and admire the beauty of life.

In this context,“Collage of Memor ies, ”the exhibition of contemporary Korean art, redefines the concept of‘collage ’ through 10 artists who have unique understanding of media, history, private memories, culture, and globalism&identity. Their interpretation of the methodology unmasks the very natures of the changed society. This means we need to see more than a physical technique or a marriage of heterogeneous materials from the exhibition. What becomes more important is a philosophical attitude that can spread over any expressive medium. Those 10 artists commonly arrive at an aesthetic position that makes not only a methodological bridge between art, novel, poetry, architecture, and motion picture, but also a chronological link between the present and the past and even to the future. We need to see collage as not a form but an attitude to open, link, and mix the seemingly incomparable multitude.