The World That Feels Warm 有温度的世界


The World That Feels Warm有温度的世界 is an exhibition exploring the harmony between art, nature and humankind. The Institute for Australian and Chinese Arts and Culture has been engaged by Willoughby City Council to produce this exhibition at the Incinerator Art Space of Willoughby as part of the Chatswood Year of the Tiger Festival. Curated by internationally renowned Chinese-Australian artist Guan Wei, The World That Feels Warm features a diverse range of visual arts practices, from painting, photography and sculpture to installation-based work and video art by the highly esteemed artists Tracey Moffatt, Tim Johnson, Owen Leong and newly emerged artists Jingzhe Li and Huajie Zhang. Under the theme that “human beings and nature are one 天人合一”, this group of artists inspire passion and strength through their work to ease and heal the trauma brought by the global pandemic.

Curator: Dr Guan Wei

Guan Wei graduated from the Department of Fine Arts at Beijing Capital University in 1986. From 1989 to1992, he completed art residencies at the University of Tasmania, Australian National University and Museum of Contemporary Art in Sydney. In1993, he immigrated to Australia. In1833922 2008, Guan Wei set up a studio in Beijing. He now lives and works in Beijing and Sydney.Guan Wei has held more then 70 solo exhibitions in Australia and internationally, and has been included in many important international contemporary exhibitions, such as the Shanghai Biennial, China; the 10th Havana Biennial, Cuba; the Adelaide Biennial of Australian Art, Australia; the 3rd Asia Pacific Triennial of Contemporary Art, Australia; the Osaka Triennial, Japan; and the Gwangju Biennial, South Korea. He has been awarded in many art competitions, including: 2002 Sulman Prize at Art Gallery of NSW; 2015 Arthur Guy Memorial Prize, and Bendigo Art Gallery in Victoria.

Guan Wei’s work has a profoundly felt, if implicitly ironic, moral dimension. In their complex symbolic form, his subjects potently embody current social and environmental dilemmas. They are equally the product of his rich cultural repertory of symbols and his informed socio-political awareness and art-historical knowledge.