Exhibition period: December 8th to December 18th, 2016

Exhibition location: Central Hall and Hall C on the first floor of Shenzhen Guan Shanyue Art Museum

 The original intention of the exhibition is actually very simple: "I just want to tell everyone that there are now some people who insist on doing their own space design in China.". Feng Yu obediently let go of this harsh sentence. For so many years, I have been focusing on and exploring the field of interior design, and finally someone has begun to reflect on and practice what China should have in terms of interior design. I hope that this exhibition can inspire more designers, institutions, and internal space decision-makers to rethink the current concept of Chinese space art and design. This poses a strong challenge to the current normal exhibition intentions for art museums and designers, and has received recognition and support from many predecessors, celebrities, authoritative scholars, and opinion leaders in the cultural, artistic, design, and civil arts fields.

 The first time I saw Feng Yu's work was in the promotional materials for the Red Dot Awards. The work "Hometown: Seemingly Right but Not Right" uses bamboo and light to outline a solidified time, carrying and amplifying the associations and memories of every person who passes by, stops, and lingers in this space, experiencing and experiencing nature, time and space, and memories. Feng Yu, as the first interior designer in Chinese Mainland who also won the Red Dot and IF's highest honor award for interior design, has made numerous comments and introductions on his people and works. In the process of exhibition planning, we found that the various levels of reflection conveyed by him and his works correspond to the various anomalies of the current situation of Chinese interior design under the explosive growth of Chinese society and economy. This exhibition is the first large-scale individual exhibition of Chinese interior designers organized by the Guan Shanyue Art Museum under the academic positioning of contemporary Chinese design. As a curator of contemporary space design research in China, I am not only pleased with it, but also deeply aware of the significant significance of this exhibition. Perhaps this will be a heated debate on the Chinese design concepts, paths, and other aspects in the research of contemporary Chinese spatial design art. It may also be an exploration of different dimensions and depths in the positioning, cognitive thinking, and reflection of contemporary Chinese spatial design.

In current China, especially in spatial interior design, the wide variety of style definitions often makes many design critics embarrassed, let alone the public's understanding. At this moment, perhaps what we need most is such a quiet reflection, the courage to think and move forward in the wilderness, and to welcome the dawn. Regardless of the exhibition and our thoughts, we just want to take advantage of this opportunity to interpret Feng Yu and his works from the perspective of contemporary Chinese design reality, in order to provide some help and promote contemporary space design art in China.