Booth: - 1.18, Basement Level

XIAO Hanqiu’s work explores the subtle relationship between memory, emotion, and the materiality of objects through poetic and surreal imagery. She combines seemingly opposing elements, such as animals, minerals, the human body, and man-made objects in her paintings to visualise metaphoric poetries. The interaction between different materials in her work display a unique artistic tension, proposing distinct essence of the objects within. Her creative process usually starts out with a boundless imagination, is completed through deep interaction with the depicted objects and finally lets the work attains its own identity.

Tant Yunshu ZHONG’s practice examines the relational logic between objects and materials. Drawing from industrial samples and functional goods, she reconfigures them into sculptural assemblages that unsettle conventional notions of use and form. Her works reveal the contradictions embedded in everyday materials, balancing fragility with strength and precision with improvisation. They invite viewers to perceive objects as active participants in an unfolding process rather than fixed entities.

Booth: - 1.18, Sous-sol

Le travail de XIAO Hanqiu explore la relation subtile entre la mémoire, l’émotion et la matérialité des objets à travers des images poétiques et surréalistes. Elle combine dans ses peintures des éléments apparemment opposés, tels que les animaux, les minéraux, le corps humain et les objets fabriqués par l’homme, afin de visualiser des poésies métaphoriques. L’interaction entre les différents matériaux dans son œuvre montre une tension artistique unique, proposant l’essence distincte des objets en son sein. Son processus créatif commence généralement par une imagination sans limites, se termine par une interaction profonde avec les objets représentés et permet finalement à l’œuvre d’atteindre sa propre identité.

La pratique de Tant Yunshu ZHONG examine la logique relationnelle entre les objets et les matériaux. S’inspirant d’échantillons industriels et de biens fonctionnels, elle les reconfigure en assemblages sculpturaux qui déstabilisent les notions conventionnelles d’usage et de forme. Ses œuvres révèlent les contradictions inhérentes aux matériaux du quotidien, équilibrant fragilité et force, précision et improvisation. Elles invitent le spectateur à percevoir les objets comme des participants actifs d’un processus en cours plutôt que comme des entités fixes.

XIAO Hanqiu (b.1986 in Beijing, China) is a painter and a poet based in Beijing, China. Xiao’s paintings on canvas juxtapose objects in situations that conjure the ethereal magic and intensity of being. Her paintings operate like her poems—linear narrative is rejected in favour of open questions that reflect on the complexity, ineffability, and inconstancy of experience. Xiao received her MA Fine Art from Chelsea College of Art and Design in 2011, and BA Fine Art from Leeds University in 2008.

Her solo and duo exhibitions include: Do Angels Need Haircuts, Tabula Rasa Gallery (Beijing, 2024); Sci-Fi Doomsday/Lost in Wonderland, Shekou Gallery (Shenzhen, 2023); Love Stories and Horror Stories, Lyles and King (New York, 2022); Honey, Bee, Tabula Rasa Gallery (London, 2021); LISTE, dual solo booth, presented by Tabula Rasa Gallery (Basel, 2021); There May Be No Pearls in This Shell, Leo Gallery (Shanghai, 2020); Skating Through the Gallery With Tricksy Snakes, Tabula Rasa Gallery (Beijing, 2018); That’s Quite Something, Canton Gallery (Guangzhou, 2018); Self-portrait, Tabula Rasa Gallery (Beijing, 2016). Selected group exhibitions include: ORBITAL, Nova Contemporary (Bangkok, 2024); NADA Miami, presented by Tabula Rasa Gallery (Miami, 2023); Contemporary Myths and Artifacts, Stads Gasverk (Stockholm, 2023); Minor Attractions × Cornershop (London, 2023); Magic Square: Art and Literature in Mirror Image, Beijing Biennial (Beijing, 2023); Becoming Creature, Tabula Rasa Gallery (London, 2022); Tabula Rasa Vista, Tabula Rasa Gallery (Beijing, 2020).

She has published four poem collections: Losing Everything is Beautiful (2022), A dream come true The worst idea ever (2019), Three Minutes to Midnight Flower Thief (2018), and Four Hearts (2015).

XIAO Hanqiu (née en 1986 à Pékin, Chine) est peintre et poète, basée à Pékin. Les peintures de Xiao sur toile juxtaposent des objets dans des situations qui évoquent la magie éthérée et l’intensité de l’existence. Ses peintures fonctionnent comme ses poèmes — la narration linéaire est rejetée au profit de questions ouvertes qui réfléchissent à la complexité, à l’ineffabilité et à l’inconstance de l’expérience. Xiao a obtenu son Master of Arts en Beaux-Arts au Chelsea College of Art and Design en 2011, et son Bachelor of Arts en Beaux-Arts à l’Université de Leeds en 2008.

Ses expositions personnelles et en duo comprennent : Do Angels Need Haircuts, Tabula Rasa Gallery (Pékin, 2024) ; Sci-Fi Doomsday/Lost in Wonderland, Shekou Gallery (Shenzhen, 2023) ; Love Stories and Horror Stories, Lyles and King (New York, 2022) ; Honey, Bee, Tabula Rasa Gallery (Londres, 2021) ; LISTE, stand duo solo, présenté par Tabula Rasa Gallery (Bâle, 2021) ; There May Be No Pearls in This Shell, Leo Gallery (Shanghai, 2020) ; Skating Through the Gallery With Tricksy Snakes, Tabula Rasa Gallery (Pékin, 2018) ; That’s Quite Something, Canton Gallery (Guangzhou, 2018) ; Self-portrait, Tabula Rasa Gallery (Pékin, 2016).Ses expositions collectives sélectionnées incluent : ORBITAL, Nova Contemporary (Bangkok, 2024) ; NADA Miami, présenté par Tabula Rasa Gallery (Miami, 2023) ; Contemporary Myths and Artifacts, Stads Gasverk (Stockholm, 2023) ; Minor Attractions × Cornershop (Londres, 2023) ; Magic Square: Art and Literature in Mirror Image, Biennale de Pékin (Pékin, 2023) ; Becoming Creature, Tabula Rasa Gallery (Londres, 2022) ; Tabula Rasa Vista, Tabula Rasa Gallery (Pékin, 2020).

Elle a publié quatre recueils de poèmes : Losing Everything is Beautiful (2022), A dream come true The worst idea ever(2019), Three Minutes to Midnight Flower Thief (2018), et Four Hearts (2015).

Tant Yunshu ZHONG (b.1990, Wuhan, China) lives and works in Shanghai, China. Zhong’s artistic practice focuses on the moments within everyday flow that can be used for resistance and questioning. These frozen moments may be simple, elegant, slightly comedic, or even absurd. There is no precise boundary in her assemblages; they are dispersed yet mutually constrained. She excels at linking, arranging, combining, and constructing multiple associations between different objects and words. She skillfully places the contradictions hidden within organic life. The state of her works seems to want to return to some fundamental rules and rhythms while faintly attempting to break them.  

Her recent solo exhibitions include: Unbelievably Soft Process，Tabula Rasa Gallery (Beijing,2025); Where Does a Wanderer Seek Rest at Night?, Tabula Rasa Gallery (London, 2023); Having a good night’s sleep, LISTE Basel (Basel, 2023); A Kitchen Blessing, LINSEED (Shanghai, 2022); The Quick Brown Fox Jumps Over the Lazy Dog, Tabula Rasa Gallery (Beijing, 2020); The Endless Spring, J: Gallery (Shanghai, 2016); Tissue and Tissue Paper, Tabula Rasa Gallery (Beijing, 2016); Lead, Lead, Lead, Surplus Space (Wuhan, 2016).  Recent group exhibitions include The Cabinet of Wonder, X Museum (Shanghai, 2025); Awakening, XZ SPACE (Beijing, 2025); Improvisation, Inside-Out Art Museum (Beijing, 2024); The Theater of Mimicry, Hanart TZ Gallery (Hong Kong, 2024); Drawer inside the Bar Lines, Power Station of Art, Emerging Curators Project (Shanghai, 2024); ….., Thomas Erben Gallery (New York, 2024); Righteous Market, Tabula Rasa Gallery (Beijing, 2024); Expeditionary Botanics, Longmarch Independent Space (Beijing, 2024);  Contemporary Myths and Artifacts (Stockholm, 2023); Tabula Rasa: Unveiled, No.9 Cork Street (London, 2023), among others.  Tant Yunshu Zhong’s works were acquired by MACA Art Center in Beijing, China and by Surplus Space in Wuhan, China.

Tant Yunshu ZHONG (née en 1990, Wuhan, Chine) vit et travaille à Shanghai, en Chine. La pratique artistique de Zhong se concentre sur les moments du flux quotidien qui peuvent être utilisés pour la résistance et la remise en question. Ces moments figés peuvent être simples, élégants, légèrement comiques ou même absurdes. Il n’y a pas de frontière précise dans ses assemblages ; ils sont dispersés mais mutuellement contraints. Elle excelle à relier, organiser, combiner et construire de multiples associations entre différents objets et mots. Elle place habilement les contradictions cachées dans la vie organique. L’état de ses œuvres semble vouloir revenir à certaines règles et rythmes fondamentaux tout en tentant faiblement de les briser.

Ses expositions personnelles récentes comprennent : Unbelievably Soft Process, Tabula Rasa Gallery (Pékin, 2025) ; Where Does a Wanderer Seek Rest at Night?, Tabula Rasa Gallery (Londres, 2023) ; Having a Good Night’s Sleep, LISTE Basel (Bâle, 2023) ; A Kitchen Blessing, LINSEED (Shanghai, 2022) ; The Quick Brown Fox Jumps Over the Lazy Dog, Tabula Rasa Gallery (Pékin, 2020) ; The Endless Spring, J: Gallery (Shanghai, 2016) ; Tissue and Tissue Paper, Tabula Rasa Gallery (Pékin, 2016) ; Lead, Lead, Lead, Surplus Space (Wuhan, 2016). Ses expositions collectives récentes incluent : The Cabinet of Wonder, X Museum (Shanghai, 2025) ; Awakening, XZ SPACE (Pékin, 2025) ; Improvisation, Inside-Out Art Museum (Pékin, 2024) ; The Theater of Mimicry, Hanart TZ Gallery (Hong Kong, 2024) ; Drawer Inside the Bar Lines, Power Station of Art, Emerging Curators Project (Shanghai, 2024) ; ….., Thomas Erben Gallery (New York, 2024) ; Righteous Market, Tabula Rasa Gallery (Pékin, 2024) ; Expeditionary Botanics, Longmarch Independent Space (Pékin, 2024) ; Contemporary Myths and Artifacts (Stockholm, 2023) ; Tabula Rasa: Unveiled, No. 9 Cork Street (Londres, 2023), entre autres. Les œuvres de Tant Yunshu Zhong ont été acquises par le MACA Art Center à Pékin, Chine, ainsi que par Surplus Space à Wuhan, Chine.