Yang Shu With regard to Yang Shu, "Outpouring of Desires' is only a superficial definition. For the past few years, Yang Shu has attempted a more extreme form of expression that provides the feeling of the body and a sense of the rhythm involved in its creation, liberating the two-dimensional images from their confines. Utilizing paper, tape, bronze, collage, installation, and sculpture he integrates a range of materials and style together. The three-dimensional form causes the paintings to cross over itself, and the body to truly return to itself. This “othering” and radicalizing of expression and the body attempts to both alienate and reconstruct the subject. However, behind the intimate and out of control painting style, we are unable to avoid the hidden rational awareness of it all. This can be found in the concern for color, the arrangement of space, or the symbols represented, as well as the general ordering of the work. It can clearly be seen that it is not only the painting that is important, but also the objectification of the work. The meaning of Yang Shu's project is in his paintings and the boundaries for words in the space between the works, which reaches a newly generated "sensibility distribution mechanism." The basis of the expression lies in everyday life, yet that does not mean that it is an everyday affair. However, it is also not something that can be raised above the daily acts of life. Yang Shu's distinct "discarded aesthetics" or "garbage aesthetics" actually utilize an everyday attitude to look at the inspection and introspection in everyday attitudes. His work does just that, it asks where exactly the distinction between regular so-called "graffiti" and professional "fine art" is. In other words, this project not only redefines "graffiti", it also redefines "fine art." （By Lu Mingjun）···································Zhai Liang From a basic form that is grey, calm, and rather gloomy, a section of the image is complemented by an appropriate yet embossed decoration, which both conceals and illuminates what came before it. As a result, the image's hidden narrative overflows with tension. Zhai Liang uses this kind of unaffected and exceptionally succinct narrative in order to offer us a form of regressive history, which recognizes contemporary perspectives and ways of life. Zhai Liang sees his painting as one narration that cannot be explained clearly. However, what can be said is that, for him, the appearance of a picture is not connected to its space, just as a narrative does not provide structure or logic, rather it only makes what is uncertain and unknowable apparent. Are “revolutionaries," regardless of circumstance, still the "proletariat," or could they be something else? This issue is not as clear-cut as some may think, and has merely acted as a vague metaphor for their status or identity. Rather than turn his experiments into an open display of our own world though, Zhai Liang’s work portrays one that is unknown to us, yet certainly possible. While this is not Zhai Liang’s primary concern, his style works to mold history and continuously calls attention to evidence that neither ourselves nor our history are rational. Our selfhood is not lost within a sense of reason. It is not what is remembered, nor forgotten; it is not the burdens' carried, nor what has been abandoned. Relying on his own quick-wittedness, Zhai Liang uses humor, ridicule, and preposterous remarks in order to reach the depth and thickness of histories. Not only does his work rebel against the spectrums of historic narrative, but also resists the structures of political narrative. The work demonstrates a particular attitude or, perhaps, some sort of self-aware game, rather than any type of ideology.（By Lu Mingjun）

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