Global Projects

In May 2022, the Unit London group exhibition “Vanguards” was held in London, featuring Tan Yongqing and Zhang Ji as Chinese artists.

Artist Ji Xin recently participated in the group exhibition “UNIVERSES 5” at The Hole in New York and the group exhibition “Off The Beaten Track” at Gallery Baton in Seoul, Korea.

Artist Li Weiyi participated in the exhibition of “TAG·New Contemporary Art Exhibition – Sailing”, a long-term project to support the development of young artists, held in QingdaoTAG Art Museum.

Artists Li Weiyi and Wang Hao participated in the public project of the 2022 Gallery Weekend Beijing and the main unit special exhibition.

Artist Pu Yingwei exhibits in the art museums “ON | OFF 2021: “Carousel of Progress” at the He Art Museum, the “ANOTHER ASIAN ARTIST” at THE SHOPHOUSE Art Space Hong Kong, and the  “Fluid Identity” at Guangdong Museum of Art.

In March 2022, Nanjing YIGUAN Art Center held the “Super Sensibility? Or Superperception” exhibition of 10 contemporary female artists; featuring the artist Zhu Zhengming.

Artists Wang He and Xiao Xu participated in the large-scale exhibition “Chinese Ink Yearbook Exhibition”, held by An Art Museum in Beijing.

Artist Yu Linhan participated in Vacancy Gallery’s group exhibition “Self-dismiss”.

Artist Fang Yuan held her solo exhibition “Battleground” at ATM Gallery in New York in March.


Unit London, London, UK

Tan Yongqing; Zhang Ji


Zhang Ji, Head Works of Sitavana, 2022

Unit London group exhibition “Vanguards” is held in London from 31 May to 2 July 2022. Tan Yongqing (B. 1990) and Zhang Ji (B. 1993) were invited as Chinese artists. The exhibition is committed to providing more recognition and attention to unique and avant-garde artists, breaking the original closed and exclusive art environment, and providing a more diversified development space for creative talents. The exhibition aims to present new perspectives on serious issues in contemporary society, thereby fostering a new and diverse environment for innovation.

In the exhibition, artist Tan Yongqing reflects on his consideration by showing personal and social events through imitative expressions of familiar content. Zhang Ji’s paintings are strongly natural and physical, and who is sensitive and strongly dependent on the constantly changing natural environment and personal body changes, such as temperature, air humidity, mood, and even physical discomfort. Zhang Ji hopes that everything he perceives can be accumulated in his works like knowledge and vocabulary, and he has to edit grammar to weave it all together.


The Hole Gallery, New York City, US

Ji Xin


Artist Ji Xin (B. 1988) exhibited at The Hole Gallery group Exhibition Universes 5 in New York. The Universes series of group exhibitions were held for the first time in 2018, inviting the most interesting young artists around the world. Universes 5 is the largest exhibition in the series. The exhibition is curated by the renowned curator Saša Bogojev, which gathered 26 of the world’s most potential art stars with a rich collection of works in a variety of media, including painting, sculpture, and installation.



Gallery Baton, Seoul, Korea

Ji Xin


Artist Ji Xin (B. 1988) participated in the Gallery Baton’s group show Off the Beaten Track in Seoul, South Korea, in May.  Six artists were invited to participate in the exhibition, whose works present the originality and aesthetic characteristics in different media.

In this world where technological advances reinforce globalization, the cycle of trends is shortening; human life is considered to be the sum of choices. The irreversibility of time means that the results of choices are irrevocable, so trends that reflect the majority view provide an escape and comfort. On the other hand, trends that reflect most of the opinions often provide an escape. Art is a process of listening to and internalizing the artist’s voice, which creates diversity and de-homogenization, rather than trends, are the characteristics of the art field.

Artist Ji Xin has inherited the painting style of classical Chinese portraiture and reinterpreted it in contemporary painting language. Different female characters are often shown in his pictures, who are in a state of relaxation and trance. The artist’s control over the tone and structure of his painting undoubtedly reflects his inheritance and control of Oriental aesthetics. The new work “Girl with a Pearl Earring” (2022), the namesake of Vermeer’s famous painting, is a poetic representation of a woman with her head slightly bowed and smiling.


TAG · New Contemporary Art Exhibition —— SAILING

TAG Art Museum, Qingdao, China

Li Weiyi


Li Weiyi, Sonner or Later, 2020
Li Weiyi, Icon Project, 2020
Li Weiyi, Year-end, 2019

Artist Li Weiyi takes part in TAG· New Contemporary Art Exhibition – Sailing”. “TAG· New Contemporary Art Exhibition – Sailing” is the first exhibition of “TAG· New Contemporary” long-term project to support young artists. Zhang Zikang as the chairman of the academic committee, the project aims to provide a platform for the new generation of artists to display and promote their experiments and creations in the current cultural context by relying on the rich academic resources of the Academic Committee. “Sailing” exhibits the recent works of 10 nominated young contemporary artists, including Li Weiyi. The exhibition opens on April 29, 2022, and will be on display until July 31, 2022.

Li Weiyi, born in 1987, graduated with a Ph.D. in design engineering from the Royal College of Art in 2020. She graduated from Yale University with a Master’s degree in Graphic Design in 2012 and graduated from Tongji University with a Bachelor of Art and Design in 2009. 

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The Collective Express

798 Art Zone, Beijing, China

Li Weiyi


Li Weiyi, Li Bai, 2022


Artist Li Weiyi participates in the Gallery Week Beijing 2022 Public Unit with the special project “The Collective Express”. In this project, a “special train” will carry artworks in different media on the tracks laid from the 798 Art Center. The initiator of the project, artist Ge Yu lu, hopes to explore new possibilities for public space to accommodate art in a state of miniature size and continuous movement. The project invited eight contemporary artists to provide creative responses. Li Weiyi created a “flat” version of a street sleeper  Li Bai.“I love watching people sleeping on the street, whether it’s alcoholics spitting in roadside flower beds or homeless people.” ( Li Weiyi )






ON | OFF Carousel of Progress

He Art Museum, Shunde, China

Pu Yingwei


Pu Yingwei, Carousel of Progress,2022


“ON | OFF 2021: Carousel of Progress” large group exhibitions, based ON “globalization” after the era of signs, the recent Chinese contemporary art shows the tendency of recalling the reality, to be interpreted as a kind of creating the future action. Exhibited works include paintings, sculpture, photography, installation, and a variety of art media, such as the theme of the work involving social media, the natural environment, and different issues, such as identity, and geographical boundaries. However, they all present an idea of coming from the inner introspection of the spirit of life,  the introspection of “how to come, how to leave”, corresponding to the accelerating globalization context. Therefore, art is not only a medium to preserve memories, but also a sentient practice that transcends time and space by calling upon the historical consciousness of the observing subject.

As one of the artists participating in the exhibition, Pu Yingwei (B. 1989) has keenly captured the undercurrents and crises hidden in today’s world and explored and interpreted the human picture in the epidemic era across grand propositions such as race, nation, and ethics. Pu Yingwei, meanwhile, was also invited to participate in the “ON | OFF 2021: back to the future” artist BBS issue: “The spirit of intestines and stomach | from the out of memory”.







THE SHOPHOUSE, Hongkong, China

Pu Yingwei



Artist Pu Yingwei participated the group exhibition ANOTHER ASIAN, which was co-curated by Chinese curators Yang Jian, Taku Santiago Sato (Japan) and Choo Sungah Serena (Korea) at THE SHOPHOUSE HK Art Space. The exhibition presents nine Asian artists’ re-recognition and exploration of their identities in the post-covid-19 era. Before the pandemic, globalization had reached its peak in the 21st century. As the dissemination and access of information through the intermediary of digital technology becomes common and unusual, the way that people perceive the world is becoming increasingly distorted by the interplay of social media algorithms and big data. Asians are often labeled as a single group, especially among the new generation of Asian artists. In fact, a cultural identity transcends locality. Hesitating between local roots and the pressures of globalization, this exhibition reveals the unique juxtaposition of Asian identities and the balance of meaning and value in a changing world.




Guangdong Art Museum, Guangzhou, China

Pu Yingwei



Pu Yingwei attended the group exhibition Floating Identity of Guangdong Museum of Art. The exhibition focuses on the generation of artists born in France from the late 1970s to the early 1990s. Different from the generation of artists of “Earth magicians”, most of them received systematic and academic education in China and France; and after the completion of the academic education, most of them stayed in Europe to continue their artistic career or traveled between Europe and China for long-term work reasons. Their concerns and living conditions are very different from those of their predecessors in France. They may shift their focus to a more self-centered and diversified context. They pay more attention to the free expression of their own artistic language and the application of media, and are interested in uncertainty and experimental exploration.

Pu Yingwei’s video art “Evening Memories — Returning home” describes a process of acquiring, identifying and constructing memories. After experiencing the anxiety of reality, and the journey of finding, memory, and forgetting, I began to doubt the firmness and clarity of the existing memory. The footage is taken from the city of Marseille in southern France, where the artist lived and filmed in modernist architect Le Corbusier’s famous Marseille apartment. The artist calls the city “the capital of the End” : immigrants, collective architecture, the exotic north Africa on the other side of the Mediterranean, which in turn Outlines the identity of the artistic self. The description at the beginning of the film appropriates Japanese writer Michiko Humitani’s entry of his diary after the atomic bombing of Hiroshima to cover up the turbulence beneath the metaphors. In a sense, “homecoming” not only means the reconstruction of the concept of “native land”, but also means the permanent loss of the native land, a kind of “modernity exile”.





798 Art Zone, Beijing, China

Wang Hao



HyperFocal: 0


As a special exhibition of the main unit of Gallery Week Beijing 2022, Crosstalk observes the existence of the creator’s experience in space, time and text through “bending down” and “wandering into darkness” as two modes of action. Artist Wang Hao was invited to participate in the exhibition. His work “Park” is an installation work of cement composite materials. This series of works created by Wang Hao emphasize the static characteristics of cement materials, and strive to convey a quiet and simple overall atmosphere in the subtle changes and color presentation of cement materials.



Supersensitive or Extra-Senseory Perception

Yi Guan Art Center, Nanjing, China

Zhu Zhengming



In March 2022, Nanjing Yi guan Art Center invited 10 contemporary female artists to show the inspiration of subtle sensibilities. “Supersensitive or Extra-Senseory Perception” is the theme of the exhibition, which focuses on the subtleties of sensibility and perception in women’s art. Light and shadow interweave; color photograph is in harmony; space strewn at random; meet unexpectedly here; find a quiet deck time. As one of the ten female artists invited, Zhu Zhengming exhibited his work “Red god”: rust-red is strong but not gorgeous, solemn and soft, the creation of the absorption of Buddha statues and literati image of the influence of modelling, both Confucianism, Buddhism, Taoism three visual factors. Over the years, Zhu Zhengming with solid and rigorous character modeling ability, vivid personality and distinctive language style, meaningful to create a lot of popular images, in the new meticulous painting trend of thought can be said to be unique.




Chinese Ink Yearbook Exhibition 

An Art Museum, Beijing, China

Wang He, Xiao Xv



Chinese Ink Yearbook Exhibition” is the second annual exhibition launched by the Organizing committee of China Ink Almanac after “Ink Days: 2020 China Ink Almanac Exhibition”. Curated by Professor Zhao Li, vice president of the School of Art Management and Education of the Central Academy of Fine Arts (CAFA), the exhibition shows more than 60 works of easel paintings, videos and installations by 25 ink artists, including Wang He and Xiao Xu. The exhibition is guided by the Central Academy of Fine Arts, co-sponsored by the CPC Beijing Tongzhou District Committee and The People’s Government of Beijing Tongzhou District, co-organized by the organizing Committee of “Chinese Ink Yearbook”, the Publicity Department of Beijing Tongzhou District Committee, the Canal Business District Management Committee and the New Everbright Center An Art Museum. Exhibition is divided into “Wan Chung mountains, lying Tours” “ Wan Chung mountains, with aperture” two plates, tried to in the form of diversity and a variety of media mix, objectively reflect the artist’s latest creation and artistic change, discuss the exploration and direction of Chinese ink painting in the present, actively clues to comb the contemporary ink painting, trying to interpret the new era of ink painting landscape.

After graduating from the Academy of Fine Arts of Tsinghua University in 2008, Wang He entered the Palace Museum and engaged in the reproduction of ancient paintings and calligraphy. He has practiced his craftsman’s craft for more than ten years and awakened his desire for personal creation through the accumulation of aesthetic quality for ten years. What is clear is that he has inserted a lot of visual elements outside Chinese tradition and a more contemporary lens language into his base of ancient Chinese painting and calligraphy.

Xiao Xu was born in Chongqing in 1983. He received his bachelor’s degree from Sichuan Fine Arts Institute in 2007. He received his master’s degree from Sichuan Fine Arts Institute in 2010. Xiao Xu is skillful in ink painting and pays attention to texture and color processing. Based on traditional Chinese paradigm and inspired by social context and mass psychology, he intends to express his unique meaning as an individual artist through diversified creative methods such as Chinese and western, ancient and modern, narrative, deconstruction and experiment.



Self Dismiss

Vacancy, Shanghai, China

Yu Linhan



Vacancy Gallery group exhibition “Self-Dismiss” will display the works of six young contemporary artists including Yu Linhan. The exhibition shows the individual body through externalization, externalization and deconstruction, exploring the possibility of self-realization in the artist’s corresponding language.

In the works of Yu Linhan (B. 1990), the self is reflected in the repair relationship between organic and inorganic materials constructed by him. The artist presents the dualistic characteristics of the individual and self on the physical and spiritual levels through his silk screen tracing, collage of medical images and interlaced brushstrokes. Walking between restrained and accurate reproduction and uncontrollable randomness.Yu Linhan’s works starts from the basic components of the body, not only simulates the winding internal nervous system under the skin, but also extends to the complex construction of self and spirit. Extracted from the artist’s long personal experience with medical care, the work introduces the concept of medical imaging and the shadow of medical devices. The intervention of the instrument penetrates the integrity of the original body on a visual and biological level. The action is “daubing” rather than “obliteration”, intended to move the body around rather than disintegrate, and to place an irreversible difference in a prolonged and continuous movement.





ATM Gallery, New York City, US

Fang Yuan



Fang Yuan, Setting Off 04, 2022


Fang Yuan, Setting Off 01, 2022


Artist Fang Yuan’s (B. 1996) solo exhibition “Battleground” was held at ATM Gallery in New York in March this year. Entering the exhibition, an unstoppable force and momentum beyond definition hit us instantly. Some body give it a spiritually shape, some ignore it, and for a few, they find refuge. Fang yuan’s newest exhibition is divided into three series: Seeding, Battleground, and Setting Off, and explores the interlude between growth and destruction with a thought-provoking middle ground. Instead of looking back at past art movements, the artist found a glimmer of eternity in abstract expressionism. It was through abstraction that Fang Yuan realized that she could harness reality and get rid of appearances. Driven by a nameless force, the forms are reborn, circling endlessly among each other, circling in the vicissitude of the life cycle.







Hive Center for Contemporary Art

Hive Center for Contemporary Art was founded by XIA Jifeng and stated to operate as a gallery in 2013. Located in the renowned 798 Art Zone in Beijing, the gallery owns five exhibition spaces in a 4000m² building. By representing outstanding artists and providing high quality artconsultant service, Hive Center for Contemporary Art is committed to building itself as one of the most professional contemporary art galleries in China.


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