亚洲展讯 | 二即一：王绍强个展

展名 / Title: 二即一：王绍强个展

IF TWO, THEN ONE: Wang Shaoqiang Solo Exhibition

策展人 / Curator: 张子康 Zhang Zikang

艺术家 / Artist: 王绍强 Wang Shaoqiang

展期 / Duration: 2021.7.24 (Sat) - 9.12 (Sun)

开幕/ Opening: 2021.7.24 (Sat)  3:00pm

地点 / Venue: 亚洲艺术中心（北京）

Asia Art Center (Beijing)

北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）

Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing

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亚洲艺术中心荣幸地宣布将于2021年7月24日至9月12日举办“二即一：王绍强个展”。本次展览由中央美术学院美术馆馆长张子康担任策展人，展出艺术家王绍强作品三十余件。从科学、史学、美学等多个维度，系统呈现艺术家的水墨实验探索与实践。

王绍强1970年生于广东，同时兼具艺术家、策展人、美术馆馆长、教授、博士生导师等多重身份。这些多元的身份背景，激发了他对与自己情感相连结的地域文化的思考，王绍强的作品也成为他人生不同角色的浓缩与升华——在对传统文化以及对当代价值的理性思考中，构建出属于自己的当代“人文山水景观”。

王绍强的艺术创作在人文地理学、中西方哲学、古代画论以及水墨媒材方面展开深入的研究和探索。在营造的水墨空间中延续了地理人文景观、东西方哲学与美学在图像学层面的探索，在传统与现代、东方与西方之间寻找每一事物既有其存在的必然性更有其相互依托的共通性。这些元素融合一起，呈现天地的宏大气象，沧海桑田之感。从“形”、“意”差异化的融合入手，尝试将东西方艺术不同的衍进历程和思想观念进行转换，追寻宇宙自然和谐之境。在语言探索中，他借助水墨的意境、叠加与累积，将自然与人文融会贯通，赋以万物以生态气象的和美之象。在作品中，王绍强借助古老九宫格及当代地理坐标等地理元素融入创作中，形成特有的艺术表达方式。探索水墨创作的边界，在时空之间寻找平衡。如本次展览展出的《列宿垂象》、《天光》、《千米》，以及最新创作的《夅》系列、《彩丘》系列等作品。王绍强的水墨表现形式，有别于“实验水墨”或“新文人画”，他突破了传统文人画中单一的主观表现情绪，以人文地理的科学考察为要素，在视觉与文献的学理探究和笔墨实验中挖掘自然物象背后的人文性。在谈及自己水墨实验的缘起时，他曾说：“喝茶的时候，茶水积累下来会形成某种浓度，每次形成的图像都不一样，这给了我灵感。我的画其实也是在利用这样的水性，以及水与空气、水与时间的关系来创作，当然这里面还是包含了主观的对自然和山水的向往。”

在追求新的人文精神和美学特质的同时，王绍强将现代自然科学与传统山水相融合，构建出时空沉淀的新山水视觉图像。

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前言

学

人文山水景观探索

张子康

（策展人、中央美术学院美术馆馆长）

论语道，“智者乐水，仁者乐山”。

山水是地球上最雄伟的自然景观，也是人类赖以生存的两大物质基础。在中国人几千年的生活和文化意识里，山水伴随中国整个历史发展，占有极重要的位置。

在今天，中国当代山水画的发展，融入了现代科学视角，通过观察体验，认识思考我们的社会环境，辩证地描摹自然。王绍强先生即以交叉学科“科学—史学—美学”三维体系的“后山水”表达范式，呈现了一场新的人文、地理、哲学的当代山水实验。

▲  天光 Heavenly Light

      250x738cm (250x123cmx6)

      纸本水墨 Ink on Paper 

      2021

▲  空蒙之二 Vacant Murk 02

      123x123cm

      纸本水墨 Ink on Paper 

      2021 

一、科学：来自“社会学家”的调查

这些年，王绍强更像一名“社会学家、考古学家”，通过对我国西北地区，包括甘肃、敦煌及张掖山海关等一带地质的现场考察与对当地地质博物馆藏品和文献资料的研究，作出详尽科学的人文地理系列调研报告。

一望无垠的孤烟大漠，河湖土状沉积物经风化、风蚀、流水等外界不同的作用力，在岁月蹉跎下所形成的天然地貌，给王绍强带来强烈的视觉震撼，带着孜孜不倦的好奇与追问，在人文地理图像学研究的基础上，王绍强推陈出新，在自然地理和人文地理两条线索融会贯通，历经千年形成的天然风貌、风积砂石成为了他作品“后山系列”的创作元素。

▲  红岩 Red Crages

      200x240cm

      纸本水墨 Ink on Paper 

      2021 

▲  边声之一 Borderline 01（左）；边声之三 Borderline 03（右）

      138x26cm（单幅）

      纸本水墨 Ink on Paper 

      2019 

二、史学：自然与人文结合

得益于他的史学思维，王绍强作为广东美术馆馆长，因为多元的职业身份和长期的工作经历原因，他能接触全球多元化视野范围的作品，产生了更多历史性思考。

本次新展《二即一：王绍强个展》，是王绍强水墨实验探索的一个艺术与思想上的总结归纳。参展作品《列宿垂象》一画，以墨色为底，银汉罗布，在古代天象图的传统中，纳入了现代天文学知识，既给人以真实感，又留下无穷的想象。

▲  列宿垂象 The Heaven Hangs out Figures

      384x534cm (96x178cmx12)

      纸本水墨，光媒体 Ink on Paper, Light Installation 

      2019 

▲  彩丘之七 Chromatic Hill 07

      48x38.5cm

      纸本水墨 Ink on Paper 

      2020 

三、美学：经营布局下的情感释放

除了学术性、思想性，王绍强作品的美感过人。

绍强曾言：“从仰天观地到尝试去窥探自然作用下孕育的文化变迁，我们发现，对地理学科人文性与艺术性的考量越来越无法脱离对人们个体的内在解读。”

“个体内在解读”是值得探究的话题。要解读王绍强的创作，就脱离不开他的个人经历、社会阅历与精神思考。

他的出生地潮汕地区是广东东部一个极具深厚传统文化的沃土，年少时候，王绍强接触不少水墨大家，包括丁立人、王天德，让他对水墨产生深刻的认知，丁立人那句“画画就是画出内心世界”植根在他内心，产生出强烈共鸣。

王绍强自述他对于西部自然的体悟深刻，在对张掖、敦煌的地质考察过程中，自然盛衰的变换直接地摆在眼前，他被深深触动，雅丹地貌历经孕育-幼年-壮年-老年-消亡的过程，似是人类无法抗拒的自然宿命。他在水墨的渲染中再现那神秘莫测的地理容貌，呈现沧海桑田的历史。经过他的一番精心经营，我们得以看见一种既真实又震撼的视觉图像。

▲  千米 Depth 

      500x123cm (250x123cmx2)

      纸本水墨 Ink on Paper 

      2021

▲  道上云川之十 Path Climbs the Cloud River 10

      23x34cm

      纸本水墨 Ink on Paper 

      2020

▲  道上云川之四 Path Climbs the Cloud River 04

      23x34cm

      纸本水墨 Ink on Paper 

      2020

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Asia Art Center is honored to announce that  "If Two, Then One: Wang Shaoqiang Solo Exhibition" will be held from July 24 to September 12, 2021. This exhibition is curated by Zhang Zikang, director of the Central Academy of Fine Arts Art Museum, displaying more than 30 works by the artist Wang Shaoqiang. From the multiple dimensions of science, history and aesthetics, it systematically presents the artist's experimental exploration and practice of ink and wash.

Wang Shaoqiang was born in Guangdong Province in 1970. He has multiple identities including artist, curator, museum director, professor, and doctoral tutor. These diverse backgrounds stimulated his thinking about regional culture and emotional connection. Wang Shaoqiang's works also highlight his enrichment and sublimation in different roles in life. In his rational thinking on traditional culture and contemporary value, he constructed his own contemporary "humanistic landscape".

Wang Shaoqiang's artistic creation has carried out in-depth research and exploration in human geography, Chinese and Western philosophy, ancient painting theory, and ink and wash materials. Continuing the exploration of geographic and humanistic environment, Eastern and Western philosophy and aesthetics at the level of iconology in the ink and wash, Wang has been looking for the inevitability of existence and interdependence of everything between tradition and modernity, as well as commonality of the East and the West. These elements merge together to present the grand atmosphere of the world and the sense of vicissitudes of life. Starting from the fusion of the differences between "form" and "meaning", he tried to transform different developmental processes and ideological concepts of Eastern and Western art in pursuit of the natural harmony of the universe. In his language exploration, he draws on the artistic conception of ink and wash. Through repeated superposition and accumulation, he integrates nature and humanities, giving everything a harmonious ecological atmosphere. In his works, Wang Shaoqiang uses the ancient Suduku and contemporary geographic coordinates and other geographical elements to integrate into his creation, forming a unique way of artistic expression, and exploring boundaries of ink and wash creation and find a balance between time and space. For instance, this exhibition displays artworks such as "The Heaven Hangs out Figures", "Heavenly Light" and "Depth", as well as the latest creations of the "Decline" series and "Chromatic Hill" series. During these ink and wash paintings, Wang's expression on form seems quite different from "experimental ink and wash" or "new literati painting". Wang breaks through the single subjective expression of emotion in traditional literati painting. In his ink experiment, he unearthed the humanity behind the natural objects. While talking about the origin of his ink experiment, he once said: “When drinking tea, the accumulated tea will form a certain concentration, which gives me abundant inspiration. My paintings are actually used this kind of relationship between water and air, water and time to create, which still contains a subjective yearning for nature and mountains and rivers."

While pursuing a new humanistic spirit and aesthetic characteristics, Wang Shaoqiang combined modern natural science with traditional landscapes to construct a new visual image of landscapes that precipitated time and space.

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Preface

F

Exploration of the Landscape as Humanistic Environment

Zhang Zikang

(Curator, Director of the Central Academy of Fine Arts Art Museum)

The Analects of Confucius declares, “The wise one enjoys water, the benevolent one enjoys the mountain”.

Mountains and rivers are the earth’s most majestic landscapes, and are also two major material foundations for human survival. For millennia, mountains and rivers, as the foundation of our landscape, have occupied an extremely important position in Chinese lives, in our cultural consciousness, and in the development of China’s entire history.

Today, the development of Chinese contemporary landscape painting has become integrated with a modern scientific perspective. Through observation, practice, knowledge, and reflection on our social environment, we can describe nature dialectically. Mr. Wang Shaoqiang’s three-dimensional, interdisciplinary, “science, history, and aesthetics” system emerges as the “post-landscape”, a humanistic, geographic, and philosophical experiment in contemporary landscapes. 

▲  碧云天之四 Jade Heavens 04

      123x123cm

      纸本水墨 Ink on Paper 

      2020

▲  紫宸西忆之三 Recall the West's Indigo Palace 03

      123x123cm

      纸本水墨 Ink on Paper 

      2020

1. Science: A Sociologist's Investigation

In recent years, Wang Shaoqiang has become ever more akin to a sociologist and archaeologist. He has researched the geology of Chinese northwestern region, including Gansu, Dunhuang, and Zhangye’s Mountain and Sea Pass (Shanhaiguan). He has also investigated the collections and documents of local geological museums, resulting in a series of thorough, detailed, and scientific research reports on human geography.

Limitless expanses of solitary, sooty desert, and the soil formed by the sediments of rivers and lakes, have both been formed by differing external forces, such as weathering, wind erosion, and flowing water. The lapse of time structures these natural formations and imparts a strong visual shock to Wang Shaoqiang. With a tireless curiosity, expressed in part through his research on human geographic iconography, Wang Shaoqiang combs through the past and produces something new in the process. His expertise arises from comprehensive studies, integrating natural and humanistic geography. Millenia-old natural scenes and wind-gathered sandstone become creative elements within Wang’s “The After Hill Series.” 

2. History: Integrating the Natural and the Humanistic

His historical approach informs Wang Shaoqiang’s role as the director of Guangdong Museum of Art. His multiple professional identities and extensive work experience enable Wang to engage with art from a globally diversified horizon which, in turn, generates more intensely historical thinking.

This new exhibition, “If Two, Then One: Wang Shaoqiang Solo Exhibition” is an artistic and conceptual summary of Wang Shaoqiang’s experimental exploration of ink and wash. The exhibited “The Heaven Hangs out Figures” is a painting with ink color as the base over which the Milky Way is displayed. Into the tradition of ancient astronomical maps, modern astronomical knowledge is incorporated. This not only gives people a sense of verisimilitude, but also allows for limitless imagination. 

3. Aesthetics: Catharsis under Managed Composition

In addition to being academic and conceptual, Wang Shaoqiang’s works inspire surpassing aesthetic appreciation.

Wang Shaoqiang stated, “Observing heaven and earth, and trying to spy out nature’s purpose gave birth to cultural evolution. We discovered that deliberation over the humanistic and artistic aspects of geography is increasingly inseparable from people’s individual, internal interpretations.”

“Individual, internal interpretation” is a topic worth exploring. To interpret Wang Shaoqiang’s creative works as one cannot leave out his individual and social experience or his spiritual thinking.

His birthplace, Chaoshan, is a fertile land with an intensely deep-seated traditional culture in eastern Guangdong. When he was young, Wang Shaoqiang came into contact with many major ink wash artists, including Ding Liren and Wang Tiande. This produced in Wang a profound understanding of ink wash. Ding Liren’s phrase, “Painting is the drawing out of the inner world”, was planted in his heart and produced a strong resonance.

Wang Shaoqiang has mentioned his profound investigation into western China’s natural history. In geological surveys of Zhangye and Dunhuang, the unpredictable changes of nature’s fluctuations are directly arranged before his eyes, moving him deeply. The Yadan landform undergoes a life cycle of its own including birth, childhood, maturity, old age, sickness, and finally death. This is a natural fate that, as for humans, is inevitable. He reconstructs these mysterious geographical features by adding wash upon wash of ink and, in so doing, also represents the vicissitudes of history. Under his meticulous management, we perceive an image that is at once authentic yet shocking. 

编辑 / Editor：陈婉婷 Sherry Chen

关于策展人About Curator
张子康，1964年生于河北，现任中央美术学院美术馆馆长，教授，博士生导师，《美术馆》杂志主编。中央美术学院艺术与科技研究院副院长。兼任中国美术家协会理事，中国美术家协会实验艺术委员会副主任。全国美术馆专业委员会副主任理事，全国高校艺术博物馆联盟主席。
1996年至今，主持策划、编辑出版各类文学、艺术图书千余册，多次荣获国家级图书奖项；著有《美术馆》（合著）、《文化造城》（合著）、《艺术博物馆理论与务实》（合著）、《跨界生存》（专著）、《张子康》油画作品集、《张子康——疆域》影像作品集等，并发表百余篇艺术理论相关文章。策划众多在国内外颇具影响力的大型艺术展览，如“雷安埃利希——太虚之境”、“卡普尔大展”、“悲鸿生命——徐悲鸿艺术大展”、“智识城市——2020深圳公共艺术季”等。作为艺术家, 他创作的绘画作品多次参加国内外重要学术展览。
Zhang Zikang, born in Hebei in 1964, is currently the director of CAFA Art Museum, professor and doctoral advisor of Central Academy of Fine Arts, and the editor-in-chief of Art Museum magazine. He is the deputy dean of Art and Technology Research Institute of Central Academy of Fine Arts. He is also a member of the Chinese Artists Association and the deputy director of the Experimental Art Committee of the Chinese Artists Association. He serves as the deputy director of the Committee of Art Museum in China, and the chairman of the Alliance of University Art Museums of China. 
Since 1996, he has planned, edited and published over a thousand of various literary and art books, and won many national books awards. He has co-authored Art Museum, Construct City with Cultural Element, Art Museum Theory and Practice, and authored Cross-Border Survival, published oil painting collections Zhang Zikang, photographic works collection Zhang Zikang - Territory as well as more than a hundred articles related to art theory. He has also curated many large-scale art exhibitions that are influential on home and abroad, such as Leandro Erlich: The Confines of the Great Void; Anish Kapoor; Xu Beihong: Living Art Forever; Intellective City - 2020 Shenzhen Bay Public Art Season, etc.  As an artist, his painting works have been exhibited in many major exhibitions at home and abroad.

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关于艺术家About Artist

王绍强，号后山，1970年出生于广东汕头。现任广东美术馆馆长，教授、博士生导师，享受国务院特殊津贴专家，兼任中国美术家协会理事、广东省美术家协会副主席，教育部高等学校指导委员会委员，中国美术家协会策展委员会委员、学术委员会委员，全国美术馆专业委员会委员。中国艺术研究院研究员、博士生导师，广州美术学院教授、硕士生导师，澳门科技大学艺术学院教授、博士生导师，曾任广州美术学院视觉艺术设计学院院长。参与策划广东百年美术大展，是2017广州影像三年展，2021广州影像三年展，第六届广州三年展的总策划与文献展策展人。2008年入选广东省高校“千百十工程”培养对象，2009年入选广东省“十百千”工程培养对象，2013年被评为广州美术学院教学名师，2017入选“广东特支计划”宣传思想文化领军人才，连续两次被评为“中国艺术权力榜”上榜人物，被评为《国家美术》风云人物。现生活工作于广州。重要个展：“二即一：王绍强个展”（亚洲艺术中心，北京，2021），“后山 · 心花”（七棵树艺术中心，广州，2021），“后山心图——王绍强作品展”（《湖上》杂志社林泉山房，杭州，2019），“‘后山——王绍强个展’艺术广东主题展”（广州流花展贸中心，广州，2019）重要群展：“花非花”（新加坡画廊，新加坡，2021），“思想与践行：新中国广东美术叙事（1949-2021）——广东美术馆藏品专题展”（湖北美术馆，湖北，2021），“自然的双重性——第二届西安山水邀请展”（崔振宽美术馆，西安，2021），“新潮动力——2021当代艺术与设计展”（潮州美术馆，潮州，2021），“周而复始——综合材料绘画学术邀请展”（国家艺术基金2019年度传播交流推广资助项目）（中央美术学院美术馆，北京，2021），“人与自然——中欧当代艺术邀请展”（广州紫泥堂六号仓艺术馆，广州，2020），“在思想中——中国当代艺术的思想史与方法论”（广东美术馆，广州，2020），“脚踏何地”（尚榕美术馆，广州，2020），“‘2020未来历史学’线上艺术展”（南京师范大学美术学院美术馆，南京，2020），“‘第三届大湾区生活艺术节’——‘重构现场’当代公共艺术展”（大湾区国际艺术品保税产业中心，广州，2020），“空间的再造——深圳首届抽象艺术展”（罗湖美术馆，深圳，2020），“臆象——粤港澳大湾区当代水墨艺术谱系（2000-2020）”（广东美术馆，广州，2020），“济南国际双年展”（山东美术馆，济南，2020），“时代先声——广州文艺百年大展”（广东美术馆，广州，2020），“青青熙春”（羊城晚报艺术研究院，广州，2020），“正如所见·观空间五周年特展”（观空间，广州，2020），“未来历史学”（南京师范大学美术学院美术馆，南京，2020），“2020水墨艺术实验研究展”（宝龙美术馆，上海，2020）， “中国表现 - 第一回展”（华泰顶层艺术社区，上海，2020），“水墨进行时：2000-2019”（广东美术馆，广州，2020），“同构——当代艺术作品邀请展”（罗湖美术馆，深圳，2020），“岭南意象——广东当代水墨八人展”（巴黎中国文化中心，法国，2019），“中国写意”（立陶宛国家画廊，立陶宛，2019），“南京水墨艺术双年展——纸性的语言”（南师大美术学院美术馆，南京，2019），“典雅艺博·水墨艺博”（香港会议展览中心 ，中国香港，2019），“新征程：第三届当代艺术双年展”（海上世界文化中心，深圳，2019），“深圳·洛里昂美术作品联展”（深圳画院美术馆，深圳，2019），“墨与物·第二届武汉水墨双年展”（武汉美术馆，武汉，2019），“历史的凝视”（木星美术馆，深圳，2019），“墨攻——武汉水墨双年展”（武汉美术馆，武汉，2019），“后笔墨时代：中国式风景”（广东美术馆，广州；浙江美术馆，杭州，2018），“时代新风·当代中国画大展”（陕西省美术博物馆，西安，2018），“墨因：当代艺术邀请展”（春美术馆，上海，2018），“脚本——广东美术馆藏影像作品展”（斯坦福大学艺术空间，美国，2018），“五柳先生的弦”（东莞万江壹号美术馆，东莞，2018），“水墨的地理与地理的水墨——十四人新水墨探索展”（21空间美术馆，东莞，2018），“闽江——关于水的想象”（威狮国际艺术中心，福州，2018），“时代风华·翰墨天河——广东名家中国画精品展”（天河区文化艺术中心，广州，2018），“足迹——广州美术学院粤东校友美术作品展”（陆丰甲子广东岭南美术馆，汕尾；广州美术学院大学城美术馆，广州，2018），“大潮起珠江——庆祝改革开放40周年全国美术作品展”（中国美术馆，北京；广东美术馆，广州，2018），“‘框架——当代绘画邀请展’第六届广州三年展”（华南农业大学艺术学院美术馆，广州，2018）策展：“致甜蜜的生活——二十世纪以来岭南风物研究展”（广东美术馆，广州，2021），“交融的激流：广州影像三年展2021”（广东美术馆，广州，2021），“边界的自觉”（广东美术馆，广州，2020），“西游南行——丁立人个展”（广东美术馆，广州，2020），“为水：林若熹个展”（广东美术馆，广州，2020），“青年力量”（广东美术馆，广州，2020），“‘珠江夜游’——后珠三角景观“（广东美术馆，广州，2019），“自然与田园——林丰俗的绘画世界”（广东美术馆，广州，2019），“般若·明悟 郑泽生深圳个展”（深圳画院美术馆，深圳，2019），“磅礴：杨识宏作品展”（广东美术馆，广州，2019），“铭刻时代——汤小铭艺术研究展”（广东美术馆，广州，2019），“伟大的风格——王肇民艺术研究展”（广东美术馆，广州，2019），“注疏韶华——广州雕塑院优秀成果回顾展（1956-2019）”（广东美术馆，广州，2019），“时代印记——广东省优秀美术作品收藏展”（广东美术馆，广州，2019），“弥散的光影：许永城油画作品展”（广东美术馆，广州，2019），“图绘新中国——广东国画的改造与转型”（广东美术馆，广州，2019），“幻——鸥洋、杨缨双个展”（广东美术馆，广州，2019），“墨尚大观——当代长安、当代岭南中国画邀请展”（广东美术馆，广州，2019），“广东画院建院60周年优秀作品展暨院史研究展”（广东美术馆，广州，2019），“莽园画展”（广东美术馆，广州，2019），“润物细无声——许川如作品展”（广东美术馆，广州，2019），“广州市立美术学校文献展”（广东美术馆，广州，2018），“笔墨纸砚——格式与想象”（广东美术馆，广州，2018），“时代风华——二十世纪中国美术名家精品展”（广东美术馆，广州，2018），“大潮起珠江——庆祝改革开放40周年全国美术作品展（广东站）”（参与策划）（广东美术馆，广州，2018），“不仅仅看见——新现实主义水墨研究巡回展（广州站）”（广东美术馆，广州，2018），“1949年的廖冰兄——历史转型期的廖冰兄漫画作品文献展”（广东美术馆，广州，2018），“第六届广州三年展-诚如所思：加速的未来”（总策划）（广东美术馆，广州，2018），“共生·未来——社区当代艺术计划”（华侨城盒子美术馆、佛山市顺德区顺峰山公园，佛山，2018），“未来进行时——中国当代艺术邀请展”（紫泥堂艺术中心、5号仓艺术馆，广州，2018）
公共收藏：中国美术馆（北京）、广东美术馆（广州）、浙江美术馆（杭州）、山东美术馆（济南）、关山月美术馆（深圳）、西安美术馆（西安）、广州美术学院美术馆（广州）、亚洲艺术中心（北京 | 上海 | 台北）Wang Shaoqiang, literary name After Hiil, born in 1970 in Shantou, Guangdong. Wang Shaoqiang is the current director of Guangdong Museum of Art. He is also a professor, doctoral advisor, and is honored as an expert by the State Council. He is concurrently a director of the Chinese Artists Association and Vice Chairman of the Guangdong Artists Association. He is a member of the Steering Committee of Higher Education Ministry of Education, the Curatorial Committee of the Chinese Artists Association, the Academic Committee, the National Art Museum Professional Committee. He is also the Director of the Curatorial Committee and Executive Vice President of the Guangdong Museum of Art Association. His honors as an educator include being a researcher and doctoral advisor at the Chinese Academy of Art, a professor and master’s student advisor at the Guangzhou Academy of Fine Arts. Wang simultaneously holds a professorship at the Macau University of Science and Technology of Arts College where he is also a doctoral advisor, and he is the former Dean of the School of Visual Art and Design of Guangzhou Academy of Fine Arts. As a curator, Wang helped planning the Guangdong Centennial Art Exhibition and is the chief planner and documentary curator of the 2017 Guangzhou Image Triennial, the 2021 Guangzhou Image Triennial, and the 6th Guangzhou Triennial. Other honors include being selected in 2008 as a development model, part of provincial tertiary education’s, "Thousand, Hundred, Ten Project" in Guangdong, and, in 2009, Wang was again selected as a cultivation inspiration for the same event. In 2013, he was named as an outstanding teacher of the Guangzhou Academy of Fine Arts. He is considered a leading cultural talent and was listed as a notable figure in the "Chinese Art Power List" twice in a row as well as within the "National Arts" list. Wang currently lives and works in Guangzhou.Selected Solo Exhibitions: "If Two, Then One: Wang Shaoqiang Solo Exhibition” (Asia Art Center, Beijing, 2021), "Last Mountain, Heart Flower” (Seven Trees Art Center, Guangzhou, 2021), "Last Mountain, Heart Chart - Wang Shaoqiang’s Exhibition" (Lin Quan Shan Fang of Hushang Magazine, Hangzhou, 2019), “‘Last Mountain - Solo Exhibition of Wang Shaoqiang' Theme Exibition of Art Guangdong” (Guangzhou Liuhua Exhibition & Trade Center, Guangzhou, 2019) Selected Group Exhibitions: "Flowers, Not” (Singapore Gallery, Singapore, 2021), "Theory and Practice: The Story of New China's Guangdong Art (1949-2021) - Special Exhibition of Guangdong Art Museum Collection” (Hubei Art Museum, Hubei, 2021), "The Twofoldness of Nature - The 2nd Xi'an Invitational Exhibition of Landscape Art” (Cuizhenkuan Art Museum, Xi'an, 2021), "New Trend Power - 2021 Contemporary Art & Design Exhibition” (Chaozhou Art Museum, Chaozhou, 2021), "Round & Develop - Academic Invitational Exhibition of Comprehensive Material Painting" (Central Academy of Fine Arts Art Museum, Beijing, 2021), “Imagerie de Lingnan” (Centre Culturel de Chine, Paris, France, 2019), “Chinese Freehand Style” (National Gallery of Art, Lithuania, 2019), "Paper & Ink Language - Nanjing Ink Art Biennale 2019” (Art Museum of Academy of Fine Arts, Nanjing Normal University, Nanjing, 2019), "Fine Art Asia, Ink Asia” (Hong Kong Convention and Exhibition Center, Hong Kong, 2019), "New start: The 3rd Shenzhen Biennale of Contemporary Art” (The Sea World Culture and Arts Centre, Shenzhen, 2019), "Shenzhen·Lorient Art Works Joint Exhibition” (Shenzhen Fine Art Institute, Shenzhen, 2019), "Ink and things-The Second Biennial Exhibition of Wuhan Ink art” (Wuhan Art Museum, Wuhan, 2019), "The Gaze of History” (Jupiter Museum of Art, Shenzhen, 2019), "Wuhan Ink Art Biennale-Pursuit by Ink” (Wuhan Art Museum, Wuhan, 2019), "Ink Art West Lake-The 2nd International Ink Wash Fair” (Hangzhou Peace International Convention and Exhibition Center, Hangzhou, 2019), “Post-Brushwork Era: Chinese Landscapes” (Guangdong Museum of Art, Guangzhou; Zhejiang Art Museum, Hangzhou, 2018), “Times New Image: Contemporary Chinese Painting Exhibition” (Shanxi Province Art Museum, Xi’an, 2018), “Ink Reasons: Contemporary Chinese Art” (Chun Art Museum, Shanghai, 2018), “Image-Script: The Video Works Collection of Guangdong Museum of Art” (Stanford Art Gallery, USA, 2018), “Chen Jing, Contemporary Art Invitational Exhibition” (Wanjiang No.1 Art Museum, Dongguan, 2018), “The Geography of Ink & The Ink of Geography: An Exhibition of 14 Artist’s New Ink Exploration” (21 Space Art Museum, Dongguan, 2018), “Minjiang: Imagination about Water” (SeeWell International Art Center, Fuzhou, 2018), “Times Elegance: Ink Art Tianhe: Guangdong Masters’ Chinese Painting Works” (Tianhe Culture & Art Center, Guangzhou, 2018), “Footmarks: Eastern Guangdong Alumnus’ Art Works of Guangzhou Academy of Fine Arts” (Lufeng Jiazi Culture Art Centre, Lingnan Museum of Art, Shenwei; Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 2018), “Great Tides Surge Along the Pearl River: 40 Years of Reform and Opening-up in Guangdong” (The National Art Museum of China, Beijing; Guangdong Museum of Art, Guangzhou, 2018), “Framework: Contemporary Painting Invitation Exhibition, the 6th GZ Triennial” (Art Museum of South China Agricultural University, Guangzhou, 2018) Curation: "To the Sweet Life - Art Exhibition on Lingnan Terroir Since the 20th Century” (Guangdong Museum of Art, Guangzhou, 2021), "Intermingling Flux Guangzhou Image Triennial 2021” (Guangdong Museum of Art, Guangzhou, 2021), "Consciousness of Borders” (Guangdong Museum of Art, Guangzhou, 2020), "A Southbound Trip of the Journey to the West - Ding Liren’s Exhibition” (Guangdong Museum of Art, Guangzhou, 2020), "Research on Water, Drawing for Water-Works By Lin Ruoxi” (Guangdong Museum of Art, Guangzhou, 2020), "Exhibition of Young Power” (Guangdong Museum of Art, Guangzhou, 2020), “Night Tour of the Pearl River: The Landscape of the Post—Pearl River Delta” (Guangdong Museum of Art, Guangzhou, 2019), “Nature and Pastoral: Art World of Lin Fengsu” (Guangdong Museum of Art, Guangzhou, 2019), “Wisdom and Awareness: Zheng Zesheng’s Art Works” (Shenzhen Art Institute, Shenzhen, 2019), “Inscribe the Time: Art Research Exhibition of Tang Xiaoming” (Guangdong Museum of Art, Guangzhou, 2019), “Majestic Momentum: Yang Chihung” (Guangdong Museum of Art, Guangzhou, 2019), “A Great Character: Research Exhibition of Wang Zhaomin’s Art” (Guangdong Museum of Art, Guangzhou, 2019), "Comments on Spring - Retrospective Exhibition of the Outstanding Achievements of the Guangzhou Sculpture Institute (1956-2019)” (Guangdong Museum of Art, Guangzhou, 2019), "Sign of the Times–Exhibition of Guangdong Outstandig Art Works for Collection” (Guangdong Museum of Art, Guangzhou, 2019), "Dispearesed Dis Light and Shadow: Xu Yongcheng’s Oil Painting Exhibition” (Guangdong Museum of Art, Guangzhou, 2019), "Painting New China: Renewal And Transformation of Guangdong Traditional Chinese Painting (1949-1978)” (Guangdong Museum of Art, Guangzhou, 2019), "Fantasy - Ou Yang & Yang Ying” (Guangdong Museum of Art, Guangzhou, 2019), "Ink of the View - Contemporary Changan & Lingnan Ink Painting Exhibition” (Guangdong Museum of Art, Guangzhou, 2019), "Exhibition of Excellent Works and Institute History Research in Commenration of 60th Anniversary of Guangdong Art Institute” (Guangdong Museum of Art, Guangzhou, 2019), "Exhibition of Guo Mangyuan’s Art” (Guangdong Museum of Art, Guangzhou, 2019), "Moisturizing Everything in Silence - Xu Chuanru's Works” (Guangdong Art Museum, Guangzhou, 2019), “Documentaries of Guangzhou Municipal School of Art” (Guangdong Museum of Art, Guangzhou, 2018), “BI MO ZHI YAN: Form and Imagination” (Guangdong Museum of Art, Guangzhou, 2018), “Prime of the Times: Collection Exhibition of Chinese Art Masters in the 20th Century” (Guangdong Museum of Art, Guangzhou, 2018), “Great Tides Surge Along the Pearl River—40 Years of Reform and Opening-up in Guangdong” (Guangdong Museum of Art, Guangzhou, 2018), “Not Only View: Research Exhibition of Neorealism Wash Painting” (Guangdong Museum of Art, Guangzhou, 2018), “Liao Bingxiong in 1949: Liao Bingxiong’s Comics and Literature in Historical Transitional Period” (Guangdong Museum of Art, Guangzhou, 2018), “The 6th Guangzhou Triennial: As We May Think: Feed Forward” (Guangdong Museum of Art, Guangzhou, 2018), “Symbiosis/Future: Contemporary Art in Community” (Boxes Art Museum OCT, Foshan, 2018), “Future Progress: Invitational Exhibition of China Contemporary Art” (Zinitang Art Centre, Guangzhou, 2018)
Public Collections: The National Art Museum of China (Beijing), Guangdong Museum of Art (Guangzhou), Zhejiang Art Museum (Hangzhou), Shandong Art Museum (Jinan), Guan Shanyue Art Museum (Shenzhen), Xi'an Art Museum (Xi’an), Art Museum of Guangzhou Academy of Fine Arts (Guangzhou), Asia Art Center (Beijing | Shanghai | Taipei)

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