Tag Archives: Hua Jun

Hua Jun 花俊 (b. 1970)

Hua Jun was born in Jiangsu, China in 1970. He graduated from the China Academy of Art in 1994. He moved to Sweden in 1995, obtaining a Master’s degree from the Royal Swedish Academy of Fine Arts in 2002, and taught Chinese calligraphy at Stockholm University and Royal Academy of Fine Arts in Sweden. He returned to his alma mater, China Academy of Art, to pursue his PhD under world-renowned contemporary artist Wang Dongling in 2006. He is currently a professor and master tutor of China Academy of Art, the vice dean of the Chinese Painting and Calligraphy College, a member of Chinese Artists Association and the director of Zhejiang Chinese Figure Painting Research Association.

Si Shunwei, the curator of Zhejiang Art Museum, once commented that Hua Jun was a talented artist who started his painting career as a child prodigy but paid more diligence than ordinary people in the process of pursuing art. At a young age, Hua Jun left his hometown for that purpose. Upon returning to China eight years later in 2003, in addition to bridging Eastern and Western artistic aesthetics, his works reflect more of this talented artist’s observation and understanding of his surroundings and the world. Although the talented Hua Jun is also involved in performance art, installation art, photography, printmaking and so on, his works never deviated from ink calligraphy.

While Hua Jun practices the spirit of Chinese traditional culture meaningfully, he is not satisfied with sticking to old customs. In his opinion, as the times change with each passing day, ink calligraphy inevitably must keep pace. He is dedicated to advancing contemporary art and has a keen eye for it. The past decade has been devoted to the creation of the Heart Sutra, seeming ethereal and otherworldly, but in fact, is permeated with modern life. The life of all living beings is an eternal process of constant alternation between elimination and prosperity. It is a constant, but also a delicate balance, that all things rise and fall. Hua Jun’s works bring to mind the first law of thermodynamics, which states that energy can neither be created nor destroyed. As Hua Jun’s artistic interpretation is often based on and applied to reality, his works contemplate and exude the charms of humanity.

Hua Jun has held many solo and group exhibitions in China, Japan, South Korea and other parts of Asia and Europe. He has won several awards, including the 12th Zhejiang Province Fine Art Exhibition (Gold) (2009), First place in Shanghai Youth Art Exhibition (2005), Silver in the 10th National Art Exhibition (2004), and Second Prize in the Swedish 53rd Art Salon Exhibition (1997). His works are permanently collected in the National Museum of China, Beijing, National Art Museum of China, Beijing, Zhejiang Art Museum (China), Wuhan Art Museum (China), Liu Haisu Art Museum (China), Lingnan Museum of Fine Art (China) and Yesurui Jeondang (Korea). Hua Jun lives and works in Hangzhou, China.

Education

  • 2006 | China Academy of Art (PhD.)
  • 2002 | Royal Swedish Academy of Fine Arts (M.A.)
  • 1994 | China Academy of Art (B.A.)

Selected Solo Exhibitions

  • 2015 | Recent works at The 18th Hangzhou Westlake Art Fair, Hangzhou, China
  • 2012 | “Regards”, Sanshang Contemporary Art Museum, Hangzhou, China
  • 2002 | Melllan Rummet Gallery, Stockholm, Sweden / Rinkeby Gallery, Stockholm, Sweden / Tersaeus Gallery, Stockholm, Sweden
  • 2001 | Alex Wiberg Gallery, Stockholm, Sweden
  • 2000 | Tersaeus Gallery, Stockholm, Sweden
  • 1998 | Mejan Gallery, Stockholm, Sweden / Alex Wiberg Gallery, Stockholm, Sweden
  • 1996 | Kyrkskolan Gallery, Stockholm, Sweden

Selection Group Exhibitions

  • 2021 | Flower, Not, iPreciation, Singapore
  • 2017 | “Tribute 2018 – Future Media / Art Manifesto – China Academy of Art @ Strasbourg”, Strasbourg, France / “Open Books, Artists and the Chinese Folding-book”, Connecticut College, US; Rajasthan Lalit Kala Akademi and Ravindra Manch, India / “Contemporary Experience in East Asian Visual Culture—from Great Vacuity Buddha King to Chinese Characters/Writing”, Hangzhou, China
  • 2016 | “Global China” at Art Zhengzhou, Zhengzhou, China / “Southern Imaginary, Northern Aura”, National Center for Performing Art, Beijing, China / “Transcending Spirit—Baima Contemporary Art Exhibition”, Xing Guang Avenue Mall, Hangzhou, China
  • 2015 | “Leaders · People—Modern Classic from the Museum Collection”, National Museum of China, Beijing, China / “On the Road—Nomination Exhibition of Chinese Young Artists”, Inside-out Art Museum, Beijing, China / “Writing/Non-Writing 2015– Hangzhou International Modern Calligraphy & Documents Exhibition”, CAA Art Museum, Hangzhou, China
  • 2014 | “Climate: 2014 Young Artists Research Exhibition”, Wuhan Art Museum, Wuhan, China
  • 2013 | “The 8th International Ink Art Biennale of Shenzhen”, Guan Shanyue Art Museum, Shenzhen, China
  • 2012 | “The 2nd Chinese Painting Biennale of Hangzhou”, Zhejiang Art Museum, Hangzhou, China
  • 2011 | “Decanter Ink”, Sanshang Contemporary Art Museum, Hangzhou, China
  • 2010 | “Breakthrough Thinking” at Hangzhou Art Fair, Hangzhou, China
  • 2009 | “Presentation and Construction—Invitation Exhibition of Contemporary Ink Art”, Renke Art Center, Hangzhou, China
  • 2008 | “Counting the Heros—2170 Chinese Painting Exhibition”, Jiangsu Art Museum, Nanjing, China
  • 2007 | “CAF Contemporary Art Exhibition”, The Museum of Modern Art, Saitama, Japan
  • 2006 | “Literalism—Nomination Exhibition of Young Artists”, Red Sun Gallery, Shanghai, China 
  • 2005 | “The 2nd Beijing International Art Biennale”, National Art Museum, Beijing, China
  • 2004 | “China-Korea Exchange Exhibition of Modern Calligraphy”, Seoul, South Korea  2003 | “International Invitation Exhibition of Modern Ink Art”, Xi’an, China

Awards

  • 2009 | Golden Prize, “A Historical Gaze -Exhibitions of Works with Important Historical Themes of Zhejiang Province”, Hangzhou, China / Golden Prize, “The 12th Zhengjiang Province Art Exhibition”, Hangzhou, China
  • 2005 | 1st Prize, Shanghai Young Artists Grand Exhibition, Shanghai, China
  • 2004 | Silver Award, “The 11th Zhengjiang Province Art Exhibition”, Hangzhou, China / Silver Award, “The 10th National Art Exhibition”, Beijing, China
  • 1997 | 2nd Prize, The 53rd Swedish Art Salon Exhibition, Stockholm, Sweden

Permanent Collections

  • National Museum of China
  • National Art Museum of China
  • Zhejiang Art Museum (China)
  • Wuhan Art Museum (China)
  • Liu Haisu Art Museum (China)
  • Lingnan Museum of Fine Art (China)
  • Yesurui Jeondang (Korea)

For full list of exhibitions and collections, please contact the gallery at enquiry@ipreciation.com.


Artwork Images

Heart Sutra 色不異空,2018,190x190cm(Triptych),Ink on Paper

Flower, Not 《花非花》 – A Group Exhibition at iPreciation

 


A Group Exhibition by Oh Chai Hoo 胡財和 (b. 1960), Song Ling 宋陵 (b. 1961), Hua Jun 花俊 (b. 1970), Wang Shaoqiang 王紹強 (b. 1970),  Jiang Heng 江衡 (b. 1972), Tan Seow Wei 陳曉薇 (b. 1979) and Chui Pui Chee 徐沛之 (b. 1980)

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724 

Private Preview: Feb 4, 2021  (By Invitation Only)

Exhibition Opens to Public: Feb 5 – Feb 27, 2021

(Due to social distancing, prior viewing arrangement is recommended. Please cal6339 0678 or email Brian at brian.foong@ipreciation.com)

花非花,霧非霧,

夜半來,天明去。

來如春夢幾多時?

去似朝雲無覓處。

A flower it seems, perhaps not. Was it the mist? I do not know.

She comes at night and leaves at cockcrow.

Much like a dream that could not stay.

Or maybe the clouds, fading away.

– Bai Juyi, Tang Dynasty

Our love affair with the bloom and wither dates back centuries. It continues to manifest in the present time, but there is more than meets the eye. Borrowing a line from Bai Juyis poem, and much like Magrittes La Trahison des images, Flower, Not is a study on the relationship between meaning and representation. Seeking new visual figures of speech, seven artists – Oh Chai Hoo (b. 1960), Song Ling (b. 1961), Hua Jun (b. 1970), Wang Shaoqiang (b. 1970), Jiang Heng (b. 1972), Tan Seow Wei (b. 1979) and Chui Pui-Chee (b. 1980), drew on their cultural heritages, socio-political backgrounds and generational influences to imbue fresh connotations to the age-old imagery.

The lionhearted Song Ling presents his rebellious take on the ironic phenomenon of alienation and isolation in an increasingly connected world. Maintaining an unwavering stance to celebrate imperfections, Oh Chai Hoo is back to question an impetuous world that downplays the beauty of flaws. Just as Wang Shaoqiang continues to sail through contemporary Chinese ink with his landscape imageries that interweave latter-day influences and ancient origins, the ancient Heart Sutra finds its perpetual modern relevance through the quirky lens of Hua Jun. Jiang Heng remains committed to confronting the pervasive nature of materialism and the struggle to uphold established moral ideals. In such times of uncertainty, Tan Seow Wei has constructed a quaint, whimsical place for retreat and to embrace oneself. Chui Pui-chee too finds solace in a realm that is long gone yet vividly present within his retrained brushstrokes.

Together, their works form a critical subtext of modernity.