艺术家：
王广义
余有涵
方力钧 cynical realism, theme of scale(microscopic)
岳敏君 笑脸代表新一代人对社会的态度，并且带有慌张恐惧 loss, meaninglessness and spiritual decay
艾未未 meaninglessness 人类自恋地把自己当作造物主，但所谓的创作并不是什么创作

策展人/艺术评论家：
费大为

收藏家：
Uli Sigg (1st true collector of Chinese Contemporary Art): “Contemporary art is a very good mirror of society, also of change in a society, the Chinese art is mirrored that change in their works. Their topic changed from during the 80s, the grand themes of building a Chinese society, then 89, the big rupture, Chinese artists turned more to the self and the identity questions to everyday life, then during the 90s, you would see works appeared about consumerism, urbanism, urban destruction, destruction of old cities, destruction of living environment, now you have works very often dealing with identity question China is facing with this global mainstream western culture, how does it stand on its own values, what is its own values…”

观感：

80年代，在政治高压渐渐减轻和经济繁荣还没到来的时候，那些中国艺术家们享有了脱离政治和经济的自由，当时的人们创作的目的是为了解放自我。
如今的中国当代艺术更多地寻求一种有张力，给人以震撼的表现形式，艺术家们有时也会被重复自己有商业价值的旧作的引诱束缚，主题上来说更为迷茫。中西方的文化交合使当代中国人对自己的文化认知有所迷失，艺术品也正是为了寻找自我认同的身份感而创作。
如何在艺术品的商业化和创作自由之间寻求一种平衡？

详情见这里：

//mp.weixin.qq.com/s?__biz=MzI4MjYwNjE4MA==&mid=2247484204&idx=1&sn=914dcc13956680e840b265ca40d55059&chksm=eb962c27dce1a53178ef3aff391df430ba5d5ea64540dbfe8a4c7ce321e4e8d437f03ac84627&token=1677322958&lang=zh_CN#rd