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#dingyi#stonestele#constellation#liuyichun#shaoxing#modernart#cross#oraclescript#inscription#wuchangshuo
Recent posts
Over three thousand years ago, diviners of the Shang dynasty placed turtle shells or ox bones over fire, interpreting the cracks that appeared before inscribing their questions and the resulting omens onto the bone surfaces. Writing, material, and time were thus embedded within the same carved marks.
The exhibition “Millennia of Writing: Contemporary Interpretations from Oracle Bone Script to Stone Drum Inscriptions” explores a fundamental question: how has writing continually given rise to new visual languages throughout the history of Chinese civilization?
Wu Changshuo brought the knife techniques of seal carving, the material weight of ancient stone and bronze inscriptions, and the brushwork of calligraphy into his paintings. In his practice, “carving” and “writing” became intertwined, transforming traditional forms of writing into structures capable of generating modern visual languages.
Ding Yi‘s album work “Circular Order”and small-scale carved stone stele “Appearance of Crosses Stele 2025-4” are presented in the exhibition. Through writing and carving, the two works respond to the exhibition’s central theme while reflecting the diversity of the artist‘s practice across different forms and media.
Venue: Wuchangshuo Art Museum, Shanghai
Dates: October 19, 2026 – January 3, 2027
#DingYi #Cross #OracleScript #Inscription #WuChangshuo
06 Nov 2026
Closing soon at Fondazione Querini Stampalia: ‘Cosmotechnics: Ding Yi as a Planetary Code’.
Curated by Alfredo Cramerotti and Auronda Scalera, the exhibition brings together new and historic works that trace the evolution of Ding Yi’s language, alongside a series of stone steles that anchor the exhibition as a place of reflection and ritual, recalling ancient sites across China and Europe.
Coinciding with the 61st International Art Exhibition of La Biennale di Venezia, the presentation marks Ding Yi’s first solo exhibition in Venice since his participation in the inaugural exhibition of Chinese art in the city in 1993.
‘Cosmotechnics: Ding Yi as a Planetary Code’ is presented by the Fondazione Querini Stampalia with the support of Lisson Gallery and ShanghART Gallery.
🗓️ On view through 22 November 2026
📍 Fondazione Querini Stampalia, Venice, Italy
🔗 Explore via the link in bio
@fondazionequerinistampalia @curatorview @aurondascalera @dingyiartstudio
#DingYi #VeniceBiennale #ShanghART #Lisson
02 Nov 2026
“Constellation Stele” is a newly commissioned sculpture by Ding Yi, currently on view outdoors at Changwon House, a historic architectural complex, as part of the Changwon Sculpture Biennale🌳. @changwonbiennale
Under the central theme of “Resonance Field,” this edition of the Biennale invites artists to create site-specific works inspired by Changwon’s distinctive urban history, regional culture, and collective memory.
Ding Yi’s “Constellation Stele” draws inspiration from the “Celestial Chart of the Constellations and Regions”, a Korean national treasure housed in the National Palace Museum of Korea.
🌌 The artist distils and reconstructs the forms and arrangements of the Twenty-Eight Mansions depicted on the ancient astronomical stele into geometric abstractions, distributing them across the surface of a single stone slab.
These reconfigured constellation forms intersect and interweave with the cross motifs of his “Appearance of Crosses” series, overlapping in layers to create a distinctive visual language. In doing so, the work establishes a thought-provoking dialogue between precious historical and cultural heritage and contemporary artistic expression.
“Constellation Stele” challenges the traditional East Asian convention of upright monuments intended to be viewed from below. Instead, it lies horizontally, opening its surface toward the sky. The black, mirror-like stone simultaneously holds two layers of the heavens: an artificial, abstract celestial chart composed of geometric constellations and cross motifs, and the ever-changing clouds and light of the actual sky reflected upon its surface. ☁️☁️☁️
The exhibition opens from September 30th to November 15th, 2026
#DingYi #Constellation #ChangwonSculptureBiennale2026 #StoneStele #CelestialChart
29 Oct 2026
During his two recent visits to Keqiao, Shaoxing, Ding Yi first visited the Avant-Garde Bookstore, where he was inspired by a pavilion over the water designed by architect Liu Yichun.
The structure reminded him of the traditional pairing of pavilions and stone steles in ancient Chinese architecture. To further explore this idea, he returned to the region and visited the Lanting Stele Pavilion, where a chance encounter with a decorative stone lattice window became an important visual starting point for his new “image stele” works.
Ding Yi extracts the geometric logic embedded in the Lanting stone lattice window and transforms it into a new abstract pattern. The lines, intersections, and repetitive structures of the window grid resonate deeply with his long-standing exploration of basic symbols, grid systems, and visual order.
Another source of imagery for the steles comes from Shaoxing’s long-standing traditions of writing and poetry. More specifically, it draws on the ruled-grid formats found in historical texts associated with the Tang Poetry Road of eastern Zhejiang, as well as the ordering principles of writing embodied in the stone inscriptions of the “Lanting Xu”.
In traditional Chinese books and calligraphic practice, ruled grids play an important role in organizing the space occupied by text.
Ding Yi is interested in the structural forces underlying the arrangement of written characters: horizontal and vertical divisions, recurring units, and the relationship between writing and space.
Within his “Appearance of Crosses” system, the ruled grid shifts from an auxiliary framework for organizing text into an independent visual language. The stele, in turn, moves beyond its traditional role as a carrier of written inscriptions to become a site for contemporary abstract writing.
Location: Keqiao, Shaoxing
Main Venue: Shili Hutang
Satellite Venues: Jianhu Scenic Area, Jianhuli
Dates: September 30, 2026 – May 7, 2027
#DingYi #StoneStele #LiuYichun #ContemporaryArt #Shaoxing
24 Oct 2026
Travel has long been woven into the spiritual traditions of Chinese culture. It is not only a form of physical movement, but also a path of spiritual cultivation—a fundamental way of understanding the world and oneself.
Ke Qiao Art Walk takes this understanding of travel as its point of departure. Co-initiated by architect Liu Xiaodu and curator Cui Cancan, who serve as co-chief curators, the project seeks to establish a new model that brings art and travel together: a journey that looks toward both the revival of tradition and the experiences of contemporary life.
In 2025, Ding Yi introduced stone steles into his artistic practice for the first time. These works were subsequently presented in his 2026 solo exhibition “Cosmotechnics: Ding Yi’s Planetary Code” at the Fondazione Querini Stampalia in Venice.
For the inaugural Ke Qiao Art Walk, Ding Yi further situates his practice within the rich historical and cultural context of Shaoxing. Drawing on the region’s visual heritage and traditions of writing, he explores new formal and material possibilities, transforming the stone stele into a contemporary medium connecting time, space, and memory.
At the Avant-Garde Jianhu Bookstore in Shaoxing, Ding Yi has created a new group of stone steles. Two steles bearing four distinct patterns together form a contemporary monumental structure that exists between sculpture, writing, and image.
Location: Keqiao, Shaoxing
Main Venue: Shili Hutang
Satellite Venues: Jianhu Scenic Area, Jianhuli
Dates: September 30, 2026 – May 7, 2027
#DingYi #LiuYichun #StoneStele #Shaoxing #JianhuLake
21 Oct 2026
Two works from Ding Yi’s constellation series, “Appearance of Crosses 2024-14” and “Appearance of Crosses 2025-24”, are currently on view in “ESTABLISHING THE REALM WITHIN: Exploring the Abstract Eastern Essence of China,” the inaugural exhibition at Hanling Museum of Art (HMoA) in Ningbo, running from September 23 to December 20, 2026.
Situated on the shores of Dongqian Lake, Hanling Museum of Art was designed by Kengo Kuma. Inspired by the overlapping roof tiles of traditional Jiangnan dwellings, its staggered spaces echo the surrounding lake, mountains, and villages. In curator Wang Jiang’s view, Chinese abstraction has long been subject to a dual misreading: either as an imitation of Western formal autonomy or as a collection of nostalgic symbols and Zen clichés.
This exhibition seeks to challenge these assumptions, reframing the narrative through four perspectives—principle, hand, spirit, and the Dao—to re-examine the Eastern roots of contemporary Chinese abstraction. The curatorial text also considers differences between northern and southern China, resonances across generations, and the interplay between the exhibition design and the building’s spatial dynamism, bringing the artworks, their setting, and the viewer’s experience into a unified frame of consideration.
Ding Yi’s two paintings are presented in the section “道归澄明” (Dào Guī Chéng Míng). The path of abstraction also carries forward the spirit of innovation that has animated Chinese contemporary art since the ’85 New Wave, nurturing each artist’s distinctive visual language. Through forty years of sustained practice, Ding Yi has developed a rational framework and a genealogy of abstract syntax. Across dimensions such as ritual and materiality, the rational and the intuitive sustain one another, much like the mutually generative relationship between yin and yang.
#DingYi #HanlingMuseumofArt #KengoKuma #Ningbo #ChineseContemporaryArt
15 Oct 2026
From September 25 to November 15, 2026, la Galerie du 19M SHANGHAI takes over the third floor of the Museum of Art Pudong (MAP), bringing together the savoir-faire of the Maisons d’art, Chinese craftsmanship, and contemporary creation from both China and France.
At the heart of la Galerie du 19M SHANGHAI, the exhibition A Sense of Touch explores craftsmanship as a living practice. For this occasion, our Maison collaborated with Ding Yi @dingyiartstudio, who has been developing a distinctive visual language through his « Appearance of Crosses » series since the 1980s. Built upon a thread-embroidered base that echoes his intersecting patterns, the design uses variations in color and thread quality to capture the sense of vibration evoked by his art. This base is further embellished with needlework incorporating fragments of his paint—transformed into embroidery elements—thereby linking the piece to Ding Yi’s broader body of work through its materiality, while simultaneously reflecting the techniques and experimental vision of embroidery cultivated by Atelier Montex.
•
Du 25 septembre au 15 novembre 2026, la Galerie du 19M SHANGHAI investit le troisième étage du Museum of Art Pudong (MAP), réunissant le savoir-faire des Maisons d’art, l’artisanat chinois et la création contemporaine de Chine et de France.
Au cœur de la Galerie du 19M SHANGHAI l’exposition A Sense of Touch explore l’artisanat comme une pratique vivante. Notre maison a collaboré avec Ding Yi @dingyiartstudio , développant depuis les années 1980 un langage visuel affirmé à travers sa série « Appearance of Crosses ». Sur une base brodée au fil reprenant ses motifs d’entrecroisement, des jeux de variations de couleurs et de qualité de fils traduisent le sentiment de vibration ressenti face à ses œuvres. Cette base au fil est ensuite rehaussée à l’aiguille de fragments de sa peinture transformés en éléments de broderie, reliant ainsi cette pièce à l’ensemble de l’œuvre de Ding Yi à travers sa matérialité, tout en reflétant les techniques et la vision expérimentale de la broderie que développe l’Atelier Montex.
#laGaleriedu19MShanghai #CHANEL #le19M @le19M @le19M_at_large ©CHANEL ©Angèle Chatenet
12 Oct 2026
Ding Yi’s works on paper, Appearance of Crosses 2025-B1 and Appearance of Crosses 2024-B45, are currently on view in the “Looking Up and Down” section of “Gèn: Journey Through Art’s Transcendence,” running from August 30 to November 8, 2026.
One of the inaugural exhibitions at the Suzhou Museum of Contemporary Art, the exhibition brings the ancient and the present, gardens and the cosmos, the body and technology into a shared temporal space. “Looking Up and Down” explores this dynamic as both a way of seeing and a sudden expansion and contraction of temporal scale.
⚫️ Working primarily with the black, white, and grey palette of Chinese ink painting, these two works bring together the twenty-eight lunar mansions of the Naxi people’s Dongba culture in Yunnan and Ding Yi’s signature cross motifs. In recent years, Ding Yi has turned his attention to ancient civilizations across different regions, incorporating local cultures into his practice in pursuit of a more pluralistic perspective. In doing so, he creates points of encounter between traditional cultures and contemporary audiences, inviting new understandings of tradition.
📖 Both works are also included in the exhibition’s accompanying catalogue, Gèn: Journey Through Art‘s Transcendence.
Images 2–3: Appearance of Crosses 2025-B1
Image 4: Appearance of Crosses 2024-B45
#DingYi #SuzhouMuseumofContemporaryArt #Dongba #Constellation #ArtCatelogue
12 Oct 2026
Meet Ding Yi (@dingyiartstudio) at his Shanghai studio. Through both layering and subtraction, material, color, and imperfections emerge from the surface of his paints.
His studio, housed in a former shipyard, is extraordinary. The scale of the building contrasts with the meticulous nature of his practice. We got a firsthand look at the signature series of repeating and rotating crosses and grids that he has been developing since 1988.
More recently, the artist collaborated with Atelier Montex (@ateliermontex) to create works that blend embroidery, thread and beads in subtle relief — a shift toward addition rather than subtraction. These pieces are on view in the stunning exhibition “la Galerie du 19M Shanghai” (@le19m, @le19m_at_large) where craftsmanship and contemporary art seamlessly come together.
Ding Yi at la Galerie du 19M Shanghai
Until November 15
Museum of Art Pudong
Shanghai 🇨🇳
10 Oct 2026
BAZAAR Art × Fosun Foundation 10th Anniversary Special Project “Beyond Portraits”
Ding Yi × Janice Man @janice_man : Making Order Visible
Producer: Dong Hao
Executive Producer: Jason Zhang
Coordinator: Yiyi
Creative Planning & Styling: Elio Wang
Director: Luying
Director of Photography: Peng Yanzhen
Editor: Daju
Colorist: Leng Bingbing
Design: Yueming
Gaffer: Tian Jiahao
Lighting Assistants: Meng Qiang, Liu Hua
Focus Puller: Sun Ao
Photography Assistant: Wei Chaoyue
#DingYi #JaniceMan #bbart #FosunFoundation
11 Sep 2026
Story | Exhibition of Modern Art by Six Artists
In the early 1980s, with the unfolding of reform and opening-up and the liberation of thought, Western artistic ideas began to flow into China like a rising tide.
It was within this historical context that a group of teachers and students from the Shanghai Arts & Design Academy, represented by Yu Youhan and Ding Yi, began to encounter and practice modernist painting. Through the limited catalogues and exhibitions available at the time, images and ideas from Western modern art movements such as Impressionism, Fauvism, and Expressionism deeply shook these young artists. Yu Youhan, then a teacher at the school, inspired his students through his interest in and study of Cézanne, awakening in them a desire to pursue modern painting.
One night during the Spring Festival of 1985, Ding Yi, Wang Guqing, Aide Wu, and Feng Lianghong gathered together. In conversation, the idea immediately struck them: after several years of painting abstract works, why not organize an exhibition? The next day, Yu Youhan gladly joined and wrote the exhibition preface. Qin Yifeng later joined the project, contacted the Student Union of Fudan University to secure the venue, and took charge of hand-drawing the poster and printing the invitation cards. Thus, ”Exhibition of Modern Art by Six Artists” began with an almost simple, heartfelt enthusiasm, while also, in ways perhaps unseen at the time, drawing the six artists toward the different creative paths they would later pursue.
On the occasion of Teachers’ Day, this post commemorates Yu Youhan, whose teaching helped sow the seeds of contemporary abstract art in Shanghai.
This text refers to Feng Lianghong’s 2008 essay “A Recollection of Exhibition of Modern Art by Six Artists.”
Image 1: Yu Youhan teaching at the Shanghai Arts & Design Academy, 1980s. Photo by Feng Lianghong
Image 2: Ding Yi, Aide Wu, Wang Guqing, and Feng Lianghong at the Shanghai Arts & Design Academy, August 1982
Image 3: Exhibition poster hand-drawn by Qin Yifeng
Image 4: Exhibition preface written by Yu Youhan and copied by Ding Yi
#DingYi #YuYouhan #Teachersday #ModernArt #ArtistStories
09 Sep 2026
“Peer: Shanghai et Paris — L’abstraction à travers le temps” traces over a century of artistic exchange between the two cities, examining the formation, circulation, and reinvention of abstract art across different cultural contexts. Rather than presenting a one-way narrative of influence, the exhibition considers how modern artistic experience was continuously translated into Shanghai’s own path of abstraction.
In the 1980s, China’s reform and opening-up brought an influx of Western artistic ideas and movements. Within this context, a group of teachers and students from the Shanghai Arts & Design Academy, represented by Yu Youhan and Ding Yi, began to introduce Western modernism into their artistic practice through imported catalogues and exhibitions. This marked a second encounter between Chinese and Western modern and contemporary art after the generation of France-trained artists such as Wu Guanzhong, Zao Wou-Ki, and Chu Teh-Chun.
The self-organized “Modern Painting: Six-Person Group Exhibition” in 1985 was a concentrated reflection of their practice during this period. Ding Yi’s 1985 work “Breaking the Sacrifice” is presented in the section revisiting this exhibition. Its fusion of Eastern and Western abstract brushwork reveals the multiple questions the artist was engaging with at the time, from modernism and personal language to forms of abstract expression.
Another recent painting on wood panel is featured in the section “Media and Experimentation,” which explores the parallel development of pictorial language and media concepts in Shanghai abstract art after the millennium.
Exhibition: Peer: Shanghai et Paris — L’abstraction à travers le temps
Venue: Shanghai Art Museum
Dates: July 30 – October 18, 2026
#DingYi #ShanghaiArtMuseum #AbstractArt #ModernArt #ShanghaiContemporaryArt
01 Sep 2026
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