Fang Di (b. 1987, Shenzhen, Guangdong) currently works in Shenzhen, China, Papua New Guinea. His work explores racism and social hierarchy through the news and current events. Switching between identities like a chameleon, he moves smoothly among different social classes. He sensitively absorbs and digests the wisdom and desire that arises from migration. He employs a range of artistic styles to explore the entanglements and meanings within urban life, bravely discovering how the definitions of special groups have been influenced by the global economy and nationalism and become important social fractures within a controlled, inverted reality.

Li Ming (b. 1986, Yuanjiang, Hunan) graduated from the China Academy of Art in 2008. He currently lives and works in Hangzhou. A self-directed working style is a through line in Li Ming’s video practice. As an effective means of expression, video easily transforms creative motivation. He often finds an image after letting the concept of a work ferment in his mind, which means that his work is always spontaneous. This creative context is best understood as a first-person narrator who is, like the viewers, letting matters take their course, rather than a game carefully planned by an artist.

Peng Zuqiang (b. 1992, Changsha, Hunan) has exhibited work at the UCCA (Beijing, China), Times Art Center (Berlin, Germany), the International Documentary Film Festival (Amsterdam, Netherlands), the AntiMatter Film Festival (Victoria, Canada), and the Museum of Fine Arts (Houston, USA). He has participated in the MacDowell, Skowhegan, and Core Program residencies and fellowships. In 2020, he won the Special Jury Prize at the Huayu Youth Awards and a Special Mention at the Festival Film Dokumenter (Yogyakarta, Indonesia) for his first feature film, Nan.

Shen Xin (b. 1990, Chengdu, Sichuan)  creates moving image installations and performances that empower alternative histories, relations, and potentials between individuals and nation-states. They seek to create affirmative spaces of belonging that embrace polyphonic narratives and identities. Shen Xin’s most recent work, Brine Lake (A New Body), premiered at the Gwangju Bi- ennale, Minds Rising, Spirits Tuning (2021), and will have its North American premiere in their first US museum solo exhibition at the Walker Art Center (2021).

Tao Hui (b. 1987, Yunyang, Chongqing) graduated from the  Oil Painting Department at the Sichuan Fine Arts Institute and currently lives and works in Beijing. Despite receiving a degree in oil painting, he primarily works in video and installation, refining and transforming personal memories, visual experiences, and popular culture to create new narrative modes and film styles. Focusing on issues of social identity, gender status, race, and cultural crisis, Tao Hui employs absurd, bizarre, and exaggerated scenes and characters that evoke metaphors and dislocations to present the collective experience of people today, prompting the audience to face their own cultural histories, lived circumstances, and social status.

Yuan Fuca is the Chief Curator-at-Large at Macalline Art Center, Beijing. She has worked to prepare for the institution’s launch since 2019. Yuan Fuca has previously held positions at Independent Curator International in New York City, Spacetime C.C. (the New York studio of American sculptor Mark Di Suvero), and the Beijing Contemporary Art Foundation. From 2016 to 2019, Yuan co-founded and managed Salt Projects, a non-profit art space that offered a site for practice and exchange among young artists and practitioners. Fuca’s curatorial practice has been supported by Parasite (Hong Kong), Maxim Gorki Theater, Asia Society, Japan Foundation and New Century Art Foundation. She is the founding editor of Heichi magazine, the online bilingual publishing platform affiliated with Macalline Art Center. Her writing has been published on platforms such as Artforum, Artnews, BOMB, Flash Art, and Frieze.