This exchange event is a long-term collaboration between the Guan Shan Yue Art Museum and the Gwangju Yi Zhai Art Museum in South Korea. The theme of this exchange exhibition is "Urban Image": aimed at re understanding the traditional aesthetic characteristics of the context, using ink painting to express the urban landscape, the feelings of urban people, and people's thoughts on urbanization

Mr. Guan Shanyue is a well-known representative figure of the Lingnan School of Painting. Mr. Guan Shanyue has a common saying: "If I don't move, I won't draw.". This simple and simple language contains profound artistic philosophy. The so-called "movement" refers to going into life and nature. Leaving life and nature, artistic creation has become "water without a source" and "cooking without rice.". It is precisely because of the persistent "movement" that Guan Shanyue has drawn rich and diverse creative nutrients and themes from her life for over half a century.

The Monument to the People's Heroes, as the first national level public art project after the founding of the People's Republic of China, was laid by Chairman Mao Zedong on September 30, 1949 and officially completed on May 1, 1958. It took more than 8 years and is the longest running large-scale art project since the founding of the People's Republic of China. It is also an artistic masterpiece that embodies the wisdom and hard work of countless people. She not only became an image carrier of modern Chinese history, but also reflected the founding philosophy of an emerging country, which can be regarded as the opening masterpiece of New China.

China in the 20th century experienced a special period of ups and downs in history, and art also had a special significance that surpassed itself in this special historical stage. Especially the black and white woodcut art, which was once known as the "dagger and spear", has strengthened the strong and heroic artistic spirit. Zheng Zuoliang, Director of the Collection Department of the China National Art Museum and former military artist, is such a printmaking artist who has sublimated in the tradition of combat.

On the occasion of the 30th anniversary of the reform and opening up, we have launched the "Overseas Oil Painting Exhibition of the Guan Shanyue Art Museum Collection" through careful planning and careful screening. Part of this exhibition consists of Russian paintings. Russian painting has a long history and a distinct realistic painting philosophy, which has had a significant impact on China's art education and public aesthetics for a period of time.

The Huafu Sub district Office of Shenzhen and the Seventh Kindergarten of Shenzhen jointly held an exhibition of visual art representation works for young children with the theme of "Childlike innocence welcomes the Olympics, and childlike dreams soar". Children in the sub district area looked forward to the Olympics with a childlike perspective, enlightened their thinking, and unleashed their dreams. They follow the advocacy of the Green Olympics, mainly using environmentally friendly materials. With the guidance of teachers and the support of parents, they have created over 1000 works through various forms such as painting, handicrafts, and bricklaying. They cheer and cheer for the Beijing Olympics, expressing the infinite beauty of children's hearts, innocence, and fun!

The large-scale public welfare exhibition series "National Charm, Flourishing age and Love - Fulfilling Dreams -2008 Guan Yuliang Olympic Art Works Tour Exhibition" fully showcases the high enthusiasm and Olympic plot of Chinese artists to welcome the Olympics and bless the Paralympics; It is through the special carrier of art exhibitions that more people in the whole society are awakened to participate in the Cultural Olympics, pay attention to Paralympic sports, and care for the cause of people with disabilities; It reflects the social responsibility of artists to pay attention to the Olympics and Paralympics, and is an organic combination of their artistic views and humanitarian values.

Guizhou artists had a significant influence throughout the country in the early 1980s and were referred to as the "Guizhou Art Phenomenon" by the Chinese art community and media. In the process of contemporary art reconstruction, Guizhou artists have established their own historical significance through the deconstruction and reorganization of European and American modernism, Chinese traditional culture, and Southwest indigenous folk art. They have obvious individual rebellious characteristics. Compared with mainstream domestic creative systems and so-called contemporary art standard patterns, Guizhou's art still continues to pursue unique aesthetic pursuits that are free from various ideological trends to this day.