Born in 1960 in Beijing, Feng Boyi graduated from the History Department of Capital Normal University in 1984. In 1990, he pursued studies at the Art History Department of the Central Academy of Fine Arts.
He is an independent curator, art critic, and researcher at the Institute of Art Sociology, Sichuan Fine Arts Institute. He lives and works in Beijing.
From 2007 to 2017, Feng served as Art Director of the He Xiangning Art Museum. From 2012 to 2014, he held the position of Artistic Director of the Suzhou Jinji Lake Art Museum. He was honored with the Curator of the Year award of the “Art Power List” in both 2010 and 2016. Furthermore, he received the Curator of the Year award of the 12th and 13th “AAC Art China” for two consecutive years in 2017 and 2018.
Since the late 1980s, Feng has been engaged in curating, critiquing and editing in Chinese contemporary art. His focus encompasses marginal and alternative artists and groups, the existence and artistic creation of the younger generation of artists, as well as the experimental, critical, and practical nature of Chinese contemporary art. Feng has authored numerous papers and review articles and has curated hundreds of contemporary art exhibitions. He is the author of I Am with the Future in Front of Me: The Past Curations of Feng Boyi.
Important exhibitions planned domestically and internationally include: Traces of Survival-98 Inside Chinese Contemporary Art Exhibition (Beijing); UnCooperative Way I, II (Shanghai, Groningen Museum of Fine Arts, The Netherlands); Reinterpretation – The First Guangzhou Triennial of Contemporary Art (Guangdong Museum of Fine Arts); Beijing Ukiyo-e (Tokyo Gallery, Beijing 798 Art District); China Today – The Reincarnation of Chinese Contemporary Art (Esso Art Museum in Vienna, Austria, COBRA Art Museum, the Netherlands); five consecutive Cross-Strait Art Exchange Programs (He Xiangning Art Museum, Taipei Fine Art Museum, Hong Kong Convention and Exhibition Center, Macao Museum of Art); the first CAFA Future Exhibition: Subphenomenon – China Youth Art Ecology Report (Central Academy of Fine Arts Art Museum, Beijing); Chinese Creation through Generation Transformation – Contemporary Art Exhibition (Aarhus Art Museum, Denmark); Utopia · Heterotopia – Wuzhen International Contemporary Art Invitation Exhibition; Time Has Begun – Wuzhen Contemporary Art Invitation Exhibition 2019; Xu Bing: Ideas and Methods (Beijing 798 Ullens Center for Contemporary Art).
He is one of the most active independent curators and critics in China.
Liu Gang (b. 1983, Changsha), a curator, founder and director of The Pin Projects, and artist, graduated from Central Academy of Fine Arts in 2008. He lives and works in Beijing.
Liu combines local practice with a global perspective to promote cultural exchange between Europe and China. Major exhibitions he curated and produced include: FLOW: Graphics in Motion (OCT-LOFT, Shenzhen, 2022); Wuzhen Contemporary Art Exhibition (2016, 2019); Boundless Encounters (Hangzhou Fiber Art Triennial, 2019); Catch the Light (G-Park, Xi’an, 2018); The Imagined Future Is Not the Future (OCT-LOFT, Shenzhen, 2017); Harper’s Bazaar 150th Anniversary Exhibition (Today’s Museum, Beijing, 2017); Visual Questions (Guangdong Museum of Art, 2017); SeaWorld Light Festival (Shenzhen, 2016); Taikoo Li Light Festival (Beijing, 2016); The Future of Fashion Is Now (Shanghai, 2015; Shenzhen, 2016); We May Have Met Before (FOAM, Amsterdam, 2015); The Nurturing House (Dashilar, Beijing, 2015); Work, Rest and Play (Shenzhen, Shanghai, Chengdu, 2015); Still/Life (Beijing, 2014; Shanghai, 2015); Self/Unself (Suzhou, 2014; Macao, 2015). He also chaired the following forums: “The boundaries, contours and future of contemporary design” (Guangzhou Academy 2015), “Museum management in photography” (CAFA Art Museum 2014), etc.
Wu Wei (b. Chongqing, China) is an art critic and curator. She is currently the associate editor of Art China magazine and Public Art Journal, and the deputy editor of Shanghai Fine Arts Publisher. She focuses on and researches the local practices of contemporary art, as well as the evolution of artistic language and aesthetics in cross-cultural contexts. Her curated exhibitions include: Crisscrosses: Ding Yi’s Public Art for Twenty Years; A Turning Moment: Urban Narratives in Chinese Contemporary Art, 1995-2019; In No Hurry – Qi Lan Solo Exhibition; Shanghai Surprise – A Group Show on Contemporary Art in Shanghai; Jia Aili: Good Morning, World; and other notable contemporary art exhibitions. She has also written extensively on contemporary art and curated the publication of art books such as The Public Art Research Series.