As the year draws to a close in the abundant month of December, it marks a time when we warmly welcome our friends from afar in Korea. Confucius once said, "How Delightful It Is To Have A Friend Coming From Afar"" Their arrival, akin to the warm sun on a winter's day, fills our hearts with genuine warmth. Jointly organized by the Guan Shanyue Art Museum in Shenzhen, China, and the Yizhai Art Museum in Gwangju, Korea, the "Sino-Korean Ink Art Exchange Exhibition" has for decades focused on fostering exchanges in the realm of ink art between our two nations. Art enthusiasts will find in this exhibition a vibrant showcase of creative and research forces from the ink art scene of both countries, as well as the most pertinent academic trends.

This year, we proudly present the 15th edition of "Ancient Elegance And New Understanding – 2018 Sino-Korean Ink Art Exchange Exhibition." In 1907, the renowned Chinese scholar Wang Guowei solemnly established "Ancient Elegance" as an independent aesthetic category, embodying profound insights and aspirations. The classical aesthetics of the East boasts a long and illustrious history, rich in depth and breadth. Aestheticians have proposed numerous aesthetic categories and propositions, especially in modern times when, like other cultural ideologies, Eastern aesthetics faced the challenge of Western influences. At the dawn of the 20th century, marked by intense cultural exchanges and collisions between East and West, Eastern artists had to make a choice. Wang Guowei's concept of "Ancient Elegance" was a response to this choice. Standing at the threshold of a new century, we still confront similar dilemmas: how to integrate Chinese classical aesthetics with Western aesthetics, or to blend them seamlessly. This is a modern imperative that Asian artists, steeped in the rich heritage of Eastern civilization, cannot overlook. The current "Ancient Elegance And New Understanding – 2018 Sino-Korean Ink Art Exchange Exhibition" showcases the reflections and choices of artists from both countries in their ink painting creations against the backdrop of contemporary culture. I believe that through this exhibition and subsequent exchanges, artists from both places will gain academic insights and energy.

In 2018, we will end our field research from a media perspective and embark on the second season of the "On the Road" series of academic activities. Starting from academic issues themselves, we will use hot topics in contemporary theory as clues to organize contemporary art literature. This academic event focuses on the changes brought about by current social development to human survival, as well as the relationship between these changes and future art, and their expression in art, with the keyword "unmanned".

Jointly organized by the Guan Shanyue Art Museum in Shenzhen, China, and the Yizhai Art Museum in Gwangju, Korea, the "Sino-Korean Ink Art Exchange Exhibition" has for decades focused on fostering exchanges in the realm of ink art between our two nations. Art enthusiasts will find in this exhibition a vibrant showcase of creative and research forces from the ink art scene of both countries, as well as the most pertinent academic trends.

Exhibition Name: "2018 Shenzhen Children's Painting Competition Award Winning Works Exhibition"

Exhibition period: December 25th, 2018- January 6th, 2019

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

The selected works for this year's exhibition prominently reflect the annual theme of China's 40 years of reform and opening-up. Among the 13 groups of selected works, 5 are directly related to this theme: "Today's Shekou," "The Tranquil Shenzhen River," "New Seascape," "Shatoujiao," and "Telling Shenzhen Stories in Jest." These works, from perspectives of humanity, geography, reality, history, and temporal-spatial contrasts, comprehensively capture the earth-shaking transformations brought about by 40 years of reform and opening-up in Shenzhen, inspiring awe and contemplation. The convergence of photographers and their works on this theme genuinely reflects a shared sentiment among Shenzhen residents—a profound affection and sensitivity towards reform and opening-up. It also reaffirms that reform and opening-up have become an essential identifier of Shenzhen's identity.

The Guan Shanyue Art Museum and the Shenzhen Professional Photography Association jointly host the "Shenzhen Memory" Old Photo Collection Exhibition. The exhibition takes the photography phenomenon in the development process of Shenzhen as a research sample, explores these phenomena and the development of photography, and conducts in-depth, objective, and more local academic research and elaboration on the cultural energy and historical value hidden behind them.

The development of printmaking today has entered a new era, with expanding and extending space and more diverse and diverse appearances. However, no matter how extended and enriched it is, black and white woodcut has always been the most representative in printmaking. Starting from the emerging woodcut movement, black and white woodcut has always been in an important position in the development of printmaking in China. A large number of classic works have appeared in various periods. In recent years, black and white woodcut has made new developments, and the performance of young printmakers is particularly outstanding. They are not limited to existing creative styles, but pay more attention to personal expression and their own experience, and their technical expression is also more pure, with the unique vitality and vigor of young printmakers. Zhang Liang is one of them.

New vision of chinese art 2018 - National Art Fund Youth Art Creation Talents (Fine Arts, Calligraphy, Photography, Arts and Crafts) Rolling Sponsored Works Tour is a selection of works from the National Art Fund's 2014, 2015, and 2016 Fine Arts, Calligraphy, Photography, Arts and Crafts Creation Talents, and Art Talent Training Sponsored Projects. The works are coordinated and organized by the Art Fund to utilize the results. The authors who created these works include young artists from professional art institutions, young teachers from art schools, and young artistic talents who work independently in society. Organizing and exhibiting their works reflects the further support of the National Art Fund for youth art creation, as well as the strength and intensity of encouraging youth art development from the perspective of national overall culture in the new era context.