Su Lei
Su Lei

Who Is Protecting Us?


In the real world there are always ways to exchange object identity besides mimicking. Skepticism produces reality, although can be contradicted by magic, myth, religion, dreams, etc. I will always remain skeptical of a viewpoint perceived as "real" for it is rather a "representation". Taking this further I began to discover just how the distance between reality and the mere representation of reality could be, as the reality of today is simply just a reflection of the past.


This question of reality lead me to Orson Welles's October 30th, 1938 radio broadcast of H.G. Wells novel, The War of the Worlds. Orson Welles cleverly broadcasted in such a way that radio listeners believed it to be real news and  there to be be an actual alien invasion causing mass hysteria throughout the nation affecting more than a million people. Welles use of of a news broadcast to create fiction into reality is just one way of how to create an imitation of a reality into actual reality. The War of the Worlds broadcast now nearly from a century ago still raises some extraordinary views into the human psyche.


I used Welles's broadcast as the source for my visual creation and through the use of shadows I have produced my own extraterrestrial objects. When the viewer is left with only shadows they can be considered "reality" or even another perceived "reality". Judging from the result will be that there are could be many different reactions. As humans on earth extraterrestrials still rise multiple levels of doubt, although a lot of legendary alien morphological descriptions are very close to that of humans, so why have we not seen or officially confirmed their existence?


The reality of extraterrestrials has long been considered a U.S. government secret mainly due to the monopoly of capitalists in the U.S. economy who control all the politics, technology, science and weapons. They murder scientists, doctors and scholars at will while further stripping humans of their freedoms. It is an artist's responsibility to transfer information, although for every murder or revoked freedom that takes place information pathways are being simultaneously destroyed. In this project I have set out to create shadows of alien objects in order to battle the capitalist system.


Chun Zi
Chun Zi

Primavera Spiga received her Masters degree in art management at University of Bologna, Italy. Currently, she is an independent writer, translator, and curator in Italy.  

Growing up under the great influence of her grandfather as an ink and wash painter, she has a peculiar and permanent emotion of the traditional and contemporary Chinese art. Worked as a museum educator in the National Art Museum of China and as a gallery manager in Shanghai, she has built up a large body of contacts and experiences especially in Chinese contemporary art. With the ongoing pace of developments in China, changes develop quickly and are, often, fascinating. International exchange projects and co-operations in this sphere, however, are often burdened with any number of differences in cultural background, negotiating tactics and communication habits. With her knowledge and experiences in art management, she is always willing to devote herself in art exchange project development.

With remarkable precision and control of the oil medium, Italian artist Andrea Chiesi documents echoes of forgotten spaces. Inspired by illicit incursions into anonymous desolated interiors and deserted structures, Chiesi creates haunting scenes charged with an overpowering presence, both symbolic and mysterious. With a limited palette of black, white and gray, and a rigorous, nearly maniac obsessive discipline, the artist reclaims spaces consigned to oblivion and depicts what is absent: the everyday activity and labor with its social implications. He transcends reality and places his locations into a greater abstract and emotional dimension to reveal images of the memory, the invisible. And even though we don’t see the physicality of man, we do perceive and sense his presence and legacy. It is the abstract metaphors in his arresting images that feed the imagination and emotions of the spectator. Andrea Chiesi was born in Modena, Italy in 1966. He has represented his country at the Biennale of Young Artists from Europe and the Mediterranean, Marseille, in 1999, at the Prague Biennale in 2003, and at the XXIX Biennale d’Arte Alto Roncaglia in 2006. Chiesi has also been the recipient of numerous international awards, including the V Premio Cairo in 2004, the Sovereign European Art Prize, Bonhams, in 2006, the Megawatt Award of the Terna Prize for Contemporary Art in 2008, and most recently, the Gotham Prize in 2014.

Catherine Cheng ( Cheng Guoqin in Chinese Pinyin)
Catherine Cheng ( Cheng Guoqin in Chinese Pinyin)

Born in Oct. 15, 1966, Zhengzhou, Henan Province of China


Graduate from Henan Zhengzhou University with major of Electrical Engineering in 1987

Service Industry study at Cornell Hotel School in U.S. for executive program education in 2000

Art History study in Peking University in 2001




2004  start to promote artist and organize exhibition at 798 art center.

2005  run gallery business with partner at 798 as promoter and organizer for young and emerging Chinese fine artist, as well as international artist from Germany, France, Israel, US, Australia and Italy etc.


2007 co-curator of theme exhibition for 2007 Davos Economic Forum in Dalian


2008 & 2011, panelist for the Christies Auction International forum about Contemporary Chinese art by invitation


2010  curator and manager for the Chinese artist Bo Yun to exhibit in the German Embassy in Beijing


2011 co-curator of the re-inauguration exhibition for Basel Museum of Cultures at the theme of ON THE STAGE


2011 curator and manager for the Chinese artist group exhibition in the Hague, Netherlands


2011 the Member of 798 Art Committee by invitation of 798 Art Center Authority


2012 curator and manager for the solo exhibition for Martin Wehmer at Tianjin Academy of Fine Arts

2012 member of curatorial team for the grand exhibition in Taipei of Taiwan representing 798 art center

2012 advisor of Affordable Art Fair in Beijing

2012 curator of the solo exhibition of Chinese photographer Chen Nong in Amsterdam, Holland


2013 curator of the three solo exhibitions for two lady artists from Holland and Denmark; Maartje Blans and Anne

Sofie Hornemann

         Curator of Guo Changliang Solo exhibition in Cologne, and Art Fair in Cologne.

        co-curator with Jiang Jian for the photo exhibition of Bernard Hollywood Marilyn Manron Photo Exhibition at          Dali International Photo Fair in Dali, Yunnan Province as member of curatorial team; received the outstanding curator award of Chinese photography exhibition due to the joint exhibition of Eva Rubinstein and Jiang Jian.


2014 co-curator for the joint exhibition of Ethereal Conclusions for Feng Ling and Ma Yanling at 798 Art Factory

         Curator of the solo exhibition of Martin Wehmer in Being3 gallery of 798 art center, Beijing



From 2004 till now, over 80 art exhibitions have been organized or curated for both Chinese artist, and international

Artist from U.S, U.K, Holland, Germany, France, Italy, Korea, Japanese and Israel etc., mostly in Beijing and some in Germany, France and Denmark etc. Also organized numerous exhibitions or art event for embassies in Beijing, such as German Embassy, Dutch Embassy, Israel Embassy and Swiss Embassy etc. 

Jiang Jian
Jiang Jian

Jiang Jian Biography

1953    Born in Kaifeng, Henan Province, China

1969    Sent down to Beipiao County, Liaoning Province to be re-educated

1972    Worked in Lingyuan steel and iron factory in Liaoning Province

1973    Was a violin player in art group of Chaoyang district, Liaoning Province

1978      Learned viola in the Orchestral Department of Shenyang Music


1980    Principal viola player in Henan Orchestra

1984    Present       Professional photographer,  in Art Research Institute,Henan



Selected Exhibitions

2013   DIALOGUE TRANSCENDING TIME AND SPACE Joint Exhibition by Eva Rubinstein and Jiang Jian at Lianzhou International Foto Fair

2013    THE JOURNEY OF MASTERS 1986-2011 Solo Exhibition at Henan Museum

2013    THE JOURNEY OF MASTERS Solo Exhibition at Museum of Tianjin Academy of

        Fine Arts

2012    SCENES Group Exhibition by photographers from China, Korea and Japan at

        National Art Museum of Korea, Seoul

2011    City-Builders,Lianzhou International Photography Festival, China

2011    Chinese in Paris DALI International Photography Exhibition

2011    City-Builders, Noorderlicht Photo Festival, Netherlands

2010    Paper Dolls of Chinese Opera, Beaugeste Gallery, Shanghai

2009      Archives on Orphans, Noorderlicht Photo Festival, Netherlands

2009    My Kindergarten (The exhibition of a father and son), M.R. Gallery, Beijing

2008    Archives on Time (1986-2006), M.R. Gallery, Beijing                                              





For China Italy Biennale 2014 – Digital Memory




From the very beginning, Jiang Jian creates a photo from his  subconscious mind. The photo originates from his memory, is about the memory, and brings the memory from the past into the future.


Jiang's memory reaches back to his teenage years spent with  his parents in the countryside during Culture Revolution. He began photographing in 1984; it has since become his lifelong passion. Jiang’s photographic vocabulary is direct and concise; he has developed a unique style of objective realism. Removing his own subjective gaze, he brings us directly to the familiar and forgotten details of his subjects' lives.


Jiang Jian’s Master Series takes us to a totally strange environment. The photographer leaves his comfort zone to enter an unknown world. He brings himself close to his subjects until he becomes part of them. To go beyond this personal boundary is the ultimate achievement for a photographer.  He becomes like an actor who cannot distinguish himself from the role he is playing.


In these photos, Chinese  youngsters wear Western clothing and decorate their walls with calendar photos and glamour shots of Hong Kong actors. Television crops up in more than one home, bringing news of fashion and other lifestyles. One migrant gentleman poses with his wife and child before two walls covered with calendars and large photographs of alluring young women.  Poverty is evident, as in the photo with four children, whose family would owe fines due to the one child policy. Poverty helped to preserve the traditional, subsistence lifestyle. As China developed economically, urbanization replaced the traditional farmer’s lifestyle. These scenes of the Master will eventually vanish, turning into a memory of a place and time, remembered through these photos.


By Catherine Cheng


July 4th, 2014

Lu Di
Lu Di

Lu Di

Born in 1963;

Freelance Photographer;

Start photography creation from 1995



2005:The 1st Group Exhibition of Platinum Works  798 Art Zone

2005:Group Exhibition of Large Black and White Works  Pingyao International Photography Festival

2008:Group Exhibition These Two People  Pingyao International Photography Festival

2009Solo Exhibition City Topic-In the Silence Pingyao International Photography Festival

2010Group Exhibition The Sad City Epson Imaging Gallery Beijing 

2010Group Exhibition The Beauty of Technology and Technique  Inter Art Center & Gallery

2010Solo Exhibition 2010 Wandering  Pingyao International Photography Festival

2011Photography Works of Lu Di/ Lu Yanpeng  Caochangdi Photospring • Arles in Beijing

2012Exhibition of Photographer’s Photo Collection  Wu Le Image Space (798 Art Zone)

2013Group Exhibition View in Silence  Guangdong Museum of Art

2013Contemporary Platinum Photography Exhibition  Wu Le Image Space (798 Art Zone)

2013Group Exhibition China • Retain  Xiamen, Fujian

2014Landscape Photography Exhibition of Famous Contemporary Chinese Artists

2014Solo Exhibition Lu Di-2013  Wu Le Image Space (798 Art Zone)




Red Lines by Lu Di

For China Italy Biennale- Digital Memory



Lu Di's photo, Red Lines, originates from one of the little electronic chips that he collected while working in the field of Internet Technology. These abandoned chips, now regarded as electronic garbage, have witnessed the development of digital technology, which has profoundly transformed the world of photography. The chip has all but replaced the traditional film and video that has defined photography for almost two hundred years. Indeed, the little chip has deeply altered almost every aspect of our daily lives.


Conceptually, Red Lines is an image that represents far more than the chip itself, as the chip is also responsible for the photos unprecedented clarity, high resolution, and depth of field, resulting in its unique aesthetic. Lu Di skillfully employs the latest technology to photographically dismantle this mosaic. He processes the image, bit by bit, over one hundred times to realize the final photograph.


As an expression of surrealism, the artwork seems to ask us a series of questions. When closely observed, what has the little chip has recorded? What kinds of changes does it make in our lives? How will it manipulate our lives in the future?


The electronic chip, as a recorded memory of digital time, brings memory forward from the past, as it carries it into the future. Although the digital age makes our life easier, it inevitably influences the structure of our minds.


Nevertheless, the painted red lines in the image could be a metaphor for a diagram of blood flowing in the human body, or the arteries of heavy traffic on the highway. As likely, it can be seen as the mental flow rooted in our ideology, our own self reflection. What will challenge us and what will the crisis be in our future?


By Catherine Cheng

June 4th, 2014